Alfie the Apostrophe

A friend of mine who works at a library and knows about my love for punctuation, especially apostrophes, and my interest in children’s literature recently bought me a children’s book as a present. Called Alfie the Apostrophe, it is by Moira Rose Donohue and illustrated by JoAnn Adinolfi.

Little Alfie is in a talent show and he wonders how he can possibly compete with the exclamation points and question marks and commas (some wonder if he isn’t just an upside-down comma himself!) and the rest of the gang. You’ll have to read the book to see if Alfie the Apostrophe’s magic show wins him first place!

A fun book for any children and/or punctuation-fans you may know!

Just In Case...

Just in case any of you happen to be in Stockholm tomorrow and have a couple of free hours in the afternoon, come hear a guest lecture by yours truly at Stockholm University. Here are the details:

Child’s Play: Translating Figurative Language in Children’s Literature

B. J. Epstein, Swansea University, UK

Abstract:

What is figurative language? Why do authors use it in their work? How can translators translate such language? And are the answers to any of these questions different when it comes to children’s literature?

In this presentation, B.J. Epstein will use her research into the translation of children’s literature to analyse what figurative language is and how it can be translated. She will discuss a dozen translatorial strategies and will employ a variety of English source texts and their Swedish translations to exemplify how these strategies work (or don’t).

The presentation will be given in English, but examples will be based on translations from English to Swedish.

The lecture will be between 1 p.m. and 3 p.m. on 19 September, at F 220 i F-huset, Södra huset, Frescati, Stockholms universitet (i.e. at the Frescati campus in F House, room 220).

2008 Literary Translation Prizes and the 2008 Sebald Lecture

On 29 September at 8 p.m., there will be the presentation of the 2008 Literary Translation Prizes followed by the 2008 Sebald Lecture, given by novelist Louis de Bernières (Captain Corelli’s Mandolin, among other books). This event will take place at the Southbank Centre and tickets cost £10. If you get there at 6.30 p.m., you can hear readings from the prize-winners.

A Problematic Lingua Franca

We all know that English has become the world’s lingua franca (now that’s a phrase that needs updating!). But sometimes having English as a common language can be a bad thing, or at least a problematic thing.

For example, as Yann Foucault has pointed out, translation can help expand both the target language and whatever topic the text is on.

Also, using tongues other than English can create a sense of regional identity. Read this piece on using English in the Nordic countries. In the Nordic region, is it better to use English as the common tongue or to insist on interpretation and translation?

How to Get Grants

An article I wrote recently on how to get grants has been published in the Funds for Writers newsletters. I am posting it here as well.

How to Get Grants
B.J. Epstein

In the past year alone, I’ve been the recipient of 16 different grants. Eleven of these were on behalf of a major international conference I organized and five were for me individually. Of those five, one was a grant for my academic research on the translation of children’s literature, two were for my writing (one of those two paid half of the costs for me to attend a writing workshop), one helped pay for me to attend a conference, and the most recent one is to support my work translating a novel from Swedish to English. In this same year, I applied for two other grants that I did not receive; the rejection letter for one explained that the foundation preferred to support people further along in their doctoral studies and encouraged me to apply again next year. This means that out of approximately 18 applications/requests (it is possible that I may be forgetting something here), I had a success rate of close to 90%. The total sum of these grants was over $30,000.
So how have I been so successful? What are my tips for getting grants? Here, I will give you the secret to my success.

-Research is the first step. This is the same advice I’d give if you were, say, looking to query a publication or apply to an MFA program. You should carefully study any information the foundation or other grant-giving body provides, whether it is just a blurb in a newsletter or a multi-paged, detailed website. You must understand what the foundation is looking for and whether you fit the profile, so you don’t waste both your time and theirs. If you are unsure, call or email them and tell them a little bit about yourself and your project and see if they think you should apply. If you do contact them, don’t take up too much of their time. There are reference books on grants at many libraries and bookstores and helpful newsletters and websites, so use these resources, too.

-Apply for any grant that is even slightly relevant, no matter how small the amount of money they offer is. Remember that each grant you receive helps you get the next one by showing other potential sponsors that people already believe in you. Also, of course, even small sums matter, especially for struggling writers. The smallest sum I received was $100 but it still made a difference to me and it helped build the “grants received” section of my CV.

-Write excellent letters/essays. Here again is where the research comes in; refer to the foundation or organization in particular and explain why what you are doing fits in with their goals and how it will benefit them to support you. Do not just explain why and how they can help you. They already know you are looking for money and they are surely inundated with letters from people like you. State what you can do for them. If it is a foundation that focuses on supporting writers from a certain region, discuss your connection to that region and how your work is inspired by it. If you are applying for a grant and you know your project is a bit different from what they usually choose to sponsor, make sure you tell them why you felt it was worthwhile to apply anyway and why your project relates to their foundation. Do not send a form letter for every grant you apply for. You must personalize each application by referring to the particular foundation and their objective.

-In your application pack, include all the information they ask for. Do not send anything they don’t really need, as that just creates more work for them. Don’t try to impress them with extra reference letters or by sending many samples of your work. Similarly, don’t send them less than they ask for, as they can not thoroughly judge you then. Follow the instructions precisely or you will end up overwhelming and/or annoying them.

-Check the grammar and spelling of everything you send. Remember that if a foundation receives a letter riddled with misspellings and odd grammar, they will not feel confidence in your writing skills and they will be glad to have a reason to swiftly reject you rather than have to spend time reading your application.

-Always be polite in your dealings with the foundation. Sounds obvious, right? Well, I have had to deal with secretaries of foundations who spelled my name wrong or addressed me as Mr. (I am a Ms.), but I always politely correct them, or just let it go, rather than write a rude email such as, “My name is clearly spelled in my signature! How hard is it to get it right?” I have also had meetings, such as on behalf of the conference, with people who were clearly unsure about me and whether I could pull off the project. Sometimes such people made harsh comments that hurt my feelings. I always stayed calm and polite and just explained again who I was and what I could do for them. Offending people is a sure way of not getting the grant.

-If you need letters of reference, ask the referees early (i.e. weeks before the application is due) and give them all the information they need. Give them the name and address for where they should send their letters. Provide letters and stamps if snail mail is required. Tell them all about the foundation and why you think this grant suits you. Give them the latest copy of your CV, your list of publications, writing samples, and anything else that is appropriate, so they have enough information about you to write a good letter. One of my grants came from a foundation in Sweden. None of my referees knew Swedish, so they could not read the website that offered information on how the letters were to be written and what issues should be addressed in them. Therefore, I translated all the relevant details for my referees. I was later told how helpful this was. Make the process of writing letters as easy for your referees as possible.

Following the steps above should help you as you apply for grants. But writing a great letter and being polite is not all that you need to do. Here are a few final tips for after you’ve submitted your application:

-Here’s another obvious point. Thank your referees and anyone else who has helped you as you applied. For one application, the administrator actually took the time to let me know that one of my references hadn’t arrived and since the reference was coming abroad, she offered to accept the letter by e-mail for the time being. The letter did eventually arrive, but the fact that she both let me know and helped me find a solution to the problem was something I definitely thanked her for. It’s good manners to be grateful to anyone who goes out of their way for you.

-If you do not get a grant and no reason has been given, whether in the letter to you or else on their websites (such as in the form of a press release about what projects they have supported and why or in statistics), write to the administrators and ask if they can tell you why. Say that you would like to know so you can make your application stronger for the next time. Whether they give you this information or not, if you do apply again, clearly state both that you have applied before and that you have developed since your last application. Then say what you have done differently and/or what is new with your project since you last applied.

-Add all the grants you’ve received to your CV and your website. As I said above, the knowledge that others have sponsored and believed in you often can have a domino effect that makes additional foundations look at you differently.

- Many foundations require a detailed report of what you did, sample work finished during the time of the grant, and complete budgets for how you spent the money. Keep careful track of all the money you have spent. Get receipts and have a running spreadsheet for the period of your project. Depending on the grant, different things count: if you bought a pen or a notebook or an ink cartridge for your printer, if you traveled by train to a workshop, if you bought groceries, workshop fees, if you took time off work, etc. Be very clear in advance about what you can use the money for. Provide the foundation with the complete budget and report and anything else they want to see by the deadline they give you.

I hope this advice will help you successfully apply for more grants!

Yay, 78!

Brave New Words is at 78 in a list of the top 100 language blogs on the web. See the list on the Lexiophiles website for more interesting sites to visit.

Chinglish: Leaving Values Far Behind

Shanghai was an interesting choice of location for the FIT conference. I must say that China does not seem to be a country that places much emphasis on professional translations.

One of my particular interests is bad menu translations. Here are a few of the items I saw in China:

beef pulls noodle

frying without adding anything shrimp

sheet iron Germany salty pig's hoof

liquor rice with mini-bums

the seafood is harsh

cowboy bone

fried how delicious crab

vegetarian ham

the tea tree mushroom roasts the winter bamboo shoot

syrup carbon fever pork

social beef

marinated three white

vermicille with wild fangs

soft-shelled turtled cooks ox whip

peaceful is big prawn

characteristic fish gluten

crab ovary

the chinese flowering quince the clam gentlemen frog

sichuan taste gluttonous frog

crosses the bridge spare ribs

pot pan

sandwich calcium cake

fragrant tasty entry

best tasty

high fly pizza

crystal-like cake

On tour buses, I repeatedly heard “Don’t leave your values on the bus.” And I saw the motto “We service you whole-heartedly” throughout the country. I just wonder if that whole-hearted service really extends to translation. I think many people in China left their translation skills on the bus.

The Visual Made Verbal

As I mentioned in the last post, at the FIT conference, I learned about a different kind of translation.

Joel Snyder gave a very interesting presentation on audio description, which can be said to be a form of translation for blind people. He defines audio description as “a verbal version of the visual image.” In other words, while visually impaired people listen to a tv show or movie or even a live performance, they not only hear the dialogue, but they also hear a description of what is being shown.

Mr. Snyder gave an entertaining and informative presentation and since his website offers a lot of details on audio description, I won’t repeat it here. However, what I want to emphasize in this post is that learning about this field broadened my understanding of translation. Mr. Snyder may not translate from one language to another, but he does translate from one format to another and he transfers cultural and visual elements for his customers.

On the FIT Conference

Earlier this month, I attended the FIT conference in Shanghai. It was a huge event, with over 1500 attendees from 70 countries, 4 keynote lectures (including one by Karl-Johan Lönnroth, the Director-General of the Directorate-General for Translation of the European Commission), and 8 parallel sessions with ten or so choices per session (i.e. 80+ parallel sessions, some with 5 speakers per session).

There were presentations on everything from the translation of Chinese medicine to terminology, from interpretation studies to translation and culture, from corpus-based translation studies to the translation industry, from publishing and copyright to translation criticism. I myself spoke about translating allusions in children’s literature. Talks were given in Chinese, French, and English, and despite this being a translation conference, only the keynote speeches were interpreted, unfortunately.

There were also poster presentations, including one by Yann Foucault, who translates accounting texts between English and French. His conclusion was relevant to fields far beyond accounting, however: Mr. Foucault felt that by translating texts and not just keeping them in the international language of English, one was both expanding the target language and allowing new, useful ideas to be created in that language.

In the next post, I will discuss a new kind of translation I learned about at FIT.

Another Round-Up of Articles

The first article is by Hillel Halkin, whom I mentioned just a few posts ago. Thank you to Erika Dreifus for sending me this article!

The second piece is on Sweden, where I lived for a number of years, and its literature. Thank you to Professor Duncan Large for sending me this article!

The next article is about online writing.

A Reference Website

h2g2 is a website put out by the BBC. It is a bit like Wikipedia in that anyone can contribute to the information, but the focus is somewhat different. It calls itself “an unconventional guide to life, the universe, and everything

There are around 200 articles in the language section, on topics such as alphabets and usage. An interesting article is on the letter thorn.

About WALTIC

At the beginning of July, I attended the WALTIC conference in Stockholm. It is a bit late to write about it, but I did want to say that it was an enjoyable opportunity for translators, writers, and others interested in literature and literacy, to meet and discuss things.

There were several sessions on translation and I attended as many of those as I could. Some were rather disappointing, as people were not always as well-prepared as they should have been, but I enjoyed learning about, for example, Russian literature (as I mentioned in my last post) and about writing in Mongolia. The latter presentation was read by a translator on behalf of Khaidav Chilaajav, a Mongolian poet who started the Union of Mongolian Writers. Mr. Chilaajav passed out copies of The Poetry of the Steppe, which afforded us a chance to experience Mongolian writing.

The keynote speeches by authors Mia Couto and Nawal El Saadawi were enjoyable. Around the city during the conference, there was a free literature festival as well. I attended one on children’s literature that included authors and/or story-tellers Philip Pullman (who spoke well about age banding, among other issues), Gcina Mhlophe, and Sonia Nimr.

My biggest criticism is that the conference was very expensive to attend, and I knew many people who would have liked to go but could not afford it. Since many writers and translators don’t necessarily earn much money, I think the price of future WALTIC conferences would have to be significantly lower.

Russian Writing in Translation

I have written nothing about the WALTIC conference so far (see the next post!), but I would like to mention a publisher I learned about there called Glas Moscow. Glas publishes contemporary Russian writing in English translation, including quite a few interesting anthologies, and their catalog is worth a look.

Books with Translators

We know that translators translate books, but are translators ever characters in books? I don’t believe that it is too common for “translator” to be a character’s job title. Why is that?

I recently read The Liberated Bride by A.B. Yehoshua (I read it in translation by Hillel Halkin) and was happy to see that one character, though a fairly minor one, was a translator. Hannah Tedeschi, referred to as “the translatoress”, is the second wife of the main character’s former mentor, and she translates from Arabic to Hebrew. In fact, she does some on-the-spot translations that the main character judges to be excellent and moving. The reader never sees her working (except in the one scene where she translates as a poet reads the poems, though her actual labor is not portrayed), but we do experience her actual translations.

Can you think of other books with translator characters?

Contest for Japanese-to-English Translators

Japanese-to-English translators may be interested in the Kurodahan Press Translation Prize, “awarded for excellence in translation of a selected Japanese short story into English”. See this website for more details.

A Question about Ergonomics

As someone who runs her own business and works very hard, I often find that I spend long days (sometimes as much as 16 hours) in front of the computer. Like many translators, editors, and writers, I have suffered from carpal tunnel and other pains in my arms, hands, neck, and back.

I’ve tried different things (physical therapy, buying a more comfortable chair, an ergonomic keyboard, voice-recognition software – well, that was some years ago and I wasn’t patient enough to keep training the software), but I still have the same problems. Now the best thing I’ve come up with is to force myself to step away from the computer and take breaks, either by doing something else in the house or by getting out for a walk. This helps to some extent, but doesn’t really solve my problems.

I saw this website, which offers many products to make your work station more ergonomic. What products do you use and what do you recommend? Do you have any pain-reducing or pain-avoiding tips to share with your fellow translators?

Ideology and Translation

I want to quote from Clifford E. Landers’ book Literary Translation: A Practical Guide once more.

Regarding translation and ideology, he writes “What does the profession of translation do? Obviously, it translates. If a translator allows ideology to color anything he or she translates, the profession suffers. And when translation is stifled ether by repression or self-censorship entire nations are deprived of a glimpse into the mind of the Other.”

Clearly, his comment refers to the ideal of translation. In this ideal world, ideology would not color our translations. But sometimes (especially for texts that are not primarily factual, such as contracts) it is impossible to avoid. We translators must simply be hyperaware of the fact that our opinions and experiences do influence and they may make us choose certain translatorial strategies or words or styles of writing that perhaps are not exactly right for the text.

Mission: Possible?

I have mentioned Clifford E. Landers’ book Literary Translation: A Practical Guide several times on this blog before. He includes the well-known quote from writer Kurt Vonnegut: “All I require of a translator is that he or she be a more gifted writer than I am, and in at least two languages, one of them mine.”

I know the comment is partly tongue-in-cheek, but it does reveal how high the demands are on translators. Of course, based on some books I have read, this goal is not only possible to reach, but almost impossible not to!

A Round-Up of Articles

Time for another round-up of articles!

The first article is on the translation of Chinese menus. As you know, I love menu translations.

The next piece is on literary lists. I personally love to make lists so I was interested in this article. What would be on a list of books about translation and/or language?

The third article is about the Pennsylvania Dutch (actually German, not Dutch) language/dialect. What words sound like home to you?

Next, we have an article on the disappearance of the semi-colon.

This BBC piece is about the perfect voice.

Learning languages is another of my interests, so I enjoyed this article on that topic, specifically on learning Hebrew.

Continuing with Hebrew, this article is about translating to and from that language. Thank you to Erika Dreifus for sending me this article!

Much Ado About Language Books

I like to read books about language. Often the books are rather serious (not so for “Mother Tongue” by Bill Bryson, but in general). So I enjoyed getting the chance to read something much lighter.

Richard Watson Todd’s “Much Ado About English” is a short, easy-to-read, and entertaining book about the English language. Sure, it is educational, too (for example, many chapters have little exercises, although they are mostly fun), but basically you just find yourself giggling and shaking your head at how illogical English can be.

Every brief chapter (usually around three pages) is about a different topic, such as slang, wordplay, British versus American English, pronunciation, making plurals, and much more. You learn a lot of random but interesting facts, such as that the word “penguin” comes from the Welsh “pen gwyn”, which means “white head”, and that “bizarre” comes from the Basque word “bizar”, which means “beard.” Then you are invited to try out your new knowledge by making guesses about other words or phrases.

The section on “self-contradictory sentences” is quite amusing, when you consider sentences such as “This vacuum cleaner really sucks” (is that good or bad?) and “Her intelligence is legendary” (does that mean the legend is true or false?). You’ll be wondering how people actually communicate in English.

I’m always looking for suggestions for books about language, so email me if you have any ideas. During the summer, I’d especially like to read some entertaining books, like Todd’s was.

No to Age Banding

Last month, on one of my children’s literature lists, the writer Philip Pullman posted a note, wondering what list members thought of age banding. Age banding is when publishers place an age recommendation/restriction on the book, much like what generally occurs with films.

I believe everyone who responded on the list (including me) was against age banding. Naturally, publishers may find that it boosts sales and is also a way of protecting themselves against parents or teachers who complain about (or who even threaten to sue over) books that they feel are not age-appropriate for their children or students. However, there are many reasons against this.

Mr. Pullman and a group of other writers, including David Almond, Aidan Chambers, Terry Pratchett, Helen Dunmore, and Melvin Burgess, then decided to write an explanation of why they are against this. Their letter has now been published in the Bookseller. In addition, they have started a website that serves both to express their view on this subject and also to collect signatures of those who agree with them about it.

Their sensible reasons include:

“Each child is unique, and so is each book. Accurate judgments about age suitability are impossible, and approximate ones are worse than useless.

Children easily feel stigmatized, and many will put aside books they might love because of the fear of being called babyish. Other children will feel dismayed that books of their ‘correct’ age-group are too challenging, and will be put off reading even more firmly than before.

Age-banding seeks to help adults choose books for children, and we're all in favour of that; but it does so by giving them the wrong information. It’s also likely to encourage over-prescriptive or anxious adults to limit a child's reading in ways that are unnecessary and even damaging.

Everything about a book is already rich with clues about the sort of reader it hopes to find – jacket design, typography, cover copy, prose style, illustrations. These are genuine connections with potential readers, because they appeal to individual preference. An age-guidance figure is a false one, because it implies that all children of that age are the same.

Children are now taught to look closely at book covers for all the information they convey. The hope that they will not notice the age-guidance figure, or think it unimportant, is unfounded.

Writers take great care not to limit their readership unnecessarily. To tell a story as well and inclusively as possible, and then find someone at the door turning readers away, is contrary to everything we value about books, and reading, and literature itself.”

SpråkPortalen

Translators to and from Swedish might be interested in this new website, which proclaims itself to be a meeting place for those who translate or work with language.

BookTrust’s Translated Fiction Website

BookTrust here in the UK has recently started a new website dedicated to translated fiction. It is definitely worth a look, and I think that BookTrust is open to suggestions for how to improve the site.

Also, I noticed that translator Eric Dickens, who has previously provided this blog with information about Yiddish, has an article on the new website.

Resource: The PEN Website

The PEN site has a lot of useful and interesting information on translation (and other topics, of course). There is a page for translation and this includes a translation handbook and a model contract. There is also a report called “To Be Translated or Not To Be”, with a foreword by novelist and translator Paul Auster.

Thanks to poet and translator Rika Lesser, who helped write the model contract and reminded me about what a good resource PEN is!

He died writer Chingiz Aitmatov

It is, of course, cruel to use someone's death as an example. However, this article, translated by machine translation software and sent to me by translator Eric Dickens, is yet more proof of what a mistake it is to rely on translation software.

He died writer Chingiz Aitmatov

writer Chingiz Aitmatov died in a clinic in Germany on June 10, 2008. He had not lived to 80 - anniversary a few months. Classic Kyrgyz and Russian literature, he was one of the most famous and beloved writers for many millions of people, Bakililar.AZ passes with reference to the BBC.

His novels and novels, "Farewell, Gulsary "," White steamer "," Pegy dog, running the edge of the sea "," I lasted longer than a century day "," Plaha "made him well-deserved glory and entered the textbooks and hrestomatii.

In one interview, Chingiz Aitmatov said that love - this is the true home of vitality. And in his works seen a tremendous love for the author's rights is part of nature, which, in turn, inform, acquiring human traits.

According to Tatar Ravilya Buharaeva writer, "his home, his world, in which it was, is the world of mythology and folklore Kyrgyz mountains and space .... Because mythology - a reflection of mythology in everyday life. And in this sense he was a consummate craftsman ".

C stigma "enemy of the people " Torekulovich Chingiz Aitmatov was born in 1928, in Kyrgyzstan. When he was nine years old, in 1937, his father was arrested. After another year of his shot.

Chingiz son grew up with the stigma enemy of the people. That played a big role in shaping the identity of the writer. His Uzbek counterpart Hamid Ismailov believes that this probably was the "initial impetus to the fact that he was able to trust their feelings only white sheet of paper, where he was able, so to speak, vyplesnut himself ".

At the age of 20 years Aitmatov received by the Agricultural Institute in the city of Frunze (the current Bishkek). Even a student, Aitmatov was published in the periodical press their first stories in Kyrgyz language.

Joined the highest literary courses in Moscow, he was able only in 1956, after HH CPSU congress. That is, after being exposed Stalin's personality cult, a repressed, including his father Aytmatova, have begun to rehabilitate.

At the end of the year courses in 1958, Aitmatov published a story, "Jamil" That brought him worldwide fame.

"Jamil" - the thing is so great that even a genius for its communist leaders were unable to recognize the danger in which it lies - believed Hamid Ismailov. -- When rereads Aytmatova, amazes his literary genius ".

Novels and Aytmatova novels written over the next 20 years, read throughout the world.

" What would he nor wrote, either, "White steamer", where he makes this great image of mother-olenihi, or wild camel from "Burannogo polustanka ", or - this great thing, absolutely not afraid of the word - "Pegy dog, running edge of the sea ", which refers to the north, are all seen a single vision. This is - an attempt to find a common language of all humanity "- Ravil writer believes Buharaev.

Titulovanny Writer

Over the next quarter-century Aitmatov wrote a number of novels and novels, which are now classics of Russian and Kyrgyz literature.

This "Topolek in my red kosynke " "first teacher", "Farewell, Gyulsary! " "White steamer", "Pegy dog, running the edge of the sea", "I lasted longer than a century Day" (novel, which was renamed the "stop Burana"), "Plaha ".

In these works Aitmatov raises the eternal questions: about a man, his soul, feelings, conscience. That's what Chingiz Aitmatov told himself: "Conscience - is a great heritage, the great legacy of the human race, human consciousness, the human spirit. Thanks to a person becomes a man of conscience ".

Chingiz Aitmatov was one of the most Soviet writers to style: Hero of Socialist Labor, the winner of many awards, deputy leader or member of many groups and committees ...

In 1990, Aitmatov is becoming a diplomat. First, he was Ambassador USSR, and later the Ambassador of Kyrgyzstan in the Benelux countries.

Biograf Abdyldazhan Akmataliev writer believes that the diplomatic service Aytmatova gave Kyrgyz much: " Since Soviet times world to know about Aytmatove more than about Kyrgyzstan. He embodies our spiritual passport, our calling card ".

However, in March 2008, Aitmatov was dismissed without explanation from the post of Ambassador of Kyrgyzstan in Europe.

In the middle May writer, while in Kazan on film shooting in the novel "I lasted longer day century", was hospitalized with a diagnosis of "kidney failure ".

Then he was sent to continue treatment City of Nuremberg (Germany). I

n one interview, Chingiz Aitmatov said: "I do feel life as a tragedy. Since zhizneutverzhdayuschim finale ".

" Upasi you about people from the ills nelyudskih - Upasi fire neugasimyh, From the bloody Battle irresistible, Forbid you from irreparable Affairs, Upasi you about people from the ills nelyudskih ... "Aytmatova end of the book" Cry of migratory birds

So You Think You Can Translate

The popularity of reality TV shows has sometimes made me wonder what a reality show about translation would involve. Note that I don’t have a television, so I may be a bit off on what the average reality show is all about, but from what I understand, it involves challenges and each week someone is kicked off the show.

So we have a group of eager wannabe-translators. What would they face on So You Think You Can Translate?

Every week, our eager contestants would pick a new style of text out of a box (financial report, poem, academic article, medical records, play, essay, speech, contract, short story, etc.) and they would have to translate that on their own. To make this even more difficult, they could also pick references from a box, so they would be limited to using one or some combination of the following: computer tools, dictionaries, Internet references, encyclopedias, or libraries. Contestants might get a total of two special links for the entire season, and that would mean that if they were really stuck on a translation, they could decide to call a professional translator or some other expert (a professor, language teacher, botanist, lawyer, novelist, editor, architect, etc.) for help.

In addition, there would be group, pair, and individual challenges. Challenges might include learning a new language, performing a sight translation, working on a relay translation, subtitling, interpreting, giving a presentation on some aspect of translation, learning how to use a new computer tool, reviewing a book on language or translation, negotiating with a customer, handling an angry client, advertising their services, and putting together a literary magazine of new translations.

The contestants’ translations would be critiqued by a panel of experienced judges, but the viewers would vote on who the winners of the other challenges should be. Each week, the contestant with the least votes would have to leave the show.

As the season draws to a close, the ultimate winner would be pronounced the nation’s Best Translator and she or he would get help starting her or his own freelance business. This would include an office with the works (computer, big desk, ergonomic chair, coffee machine, full sets of dictionaries and encyclopedias, etc.) plus a year’s worth of advice from an accountant, a mentor, and membership in any appropriate translators’ association.

I know I’d watch this show! Anyone else? What else should be on it?

Summer Break

Now that it's summer, I'm going to be posting a little less frequently. I'll be travelling for part of the time (seven different countries in a matter of months!) and I'll be attending various conferences, including two translation-focused ones (WALTIC in Stockholm later this month and FIT in Shanghai in August -- let me know if you're going to be there!). But I will keep posting, so check back.

And stay tuned for my version of Translation: The Reality TV Show!

Have a great summer!

More Humor

I am a fan of bad translations – not in a professional sense, of course, but just because I find them amusing. This funny website is primarily for those who know Swedish, but there is a section that can be read by everyone (at least the bad translations can; the commentary can not be). Click “äldre inlägg” at the end of each page to get to the next one.

A Round-Up of Articles and Videos

Time for a round-up of interesting articles and videos.

Here is an article on words meaning what they say/how they sound.

The next piece is on standardizing English and it relates to a guest post featured on Brave New Words last year.

This brief video is about how Aramaic is still being used in some villages today.

Ars Magna, short documentary, is about about anagrammist Cory Calghoun.

Finally, this parody song, “I Am Thesaurus,” is a play on the Beatles’ “I am the Walrus.”

Learn Vocabulary and Help Others

I freely admit that I love word games. Scrabble is probably my favorite (and if you’re on facebook, feel free to join me in a game – scrabble is about the only good thing I think facebook has - but make sure you let me know who you are when you "friend" me!).

Anyway, a word game I found not long ago is Free Rice and it is addictive and also is a way of donating to charity. You correctly define words and rice is donated through the UN World Food Program. That’s a game worth playing!

On Loan Words

An article in the Swedish newspaper Svenska Dagbladet about Finland Swedish claims that “loan words are the spice of a language.” On the other hand, some languages are staunchly against loan words and try to create new words rather than borrow ones from other tongues. What do you think?

What are your favorite loan words? Or words that you think should be loaned from one language to another?

I have written here before about my desire to see the Swedish word “sambo” adopted to English. Share some of your favorites!

Summer School for Translators

Here is some information on a summer school for translators:

The British Centre for Literary Translation has been offering the International Literary Translation Summer School, the highlight of our annual programme of activities, since 2000. Every year acclaimed writers and translators are gathered together for an intense week of translation workshops, panel discussions, and talks, culminating in multilingual readings of the work accomplished. This residential programme takes place from 20-26 July at the University of East Anglia, with participants coming from many different countries. The languages represented change from year to year, and in 2008 will include the following:


Arabic to English
Translator/Workshop Leader: Paul Starkey. Writer: Hassan Daoud

English to Italian
Translator/Workshop Leader: Susanna Basso. Writer: Giles Foden

German to English
Translator/Workshop Leader: Shaun Whiteside. Writer: Lena Gorelik

Irish-English/English-Irish
Translator/Workshop Leader: Paddy Bushe. Poet: Gabriel Rosenstock

Portuguese to English
Translator/Workshop Leader: Daniel Hahn. Writer: José Eduardo Agualusa

Spanish to English
Translator/Workshop Leader: Cecilia Rossi. Writer: Carmen Posadas

Registration is now open and bursaries are available.
For more information and registration details, please visit the BCLT website: www.uea.ac.uk/bclt .

Avoiding the Influence of English

I’ve recently discovered a great site for those who translate to Swedish or use Swedish in any way. It looks at English words that are being used unnecessarily in Swedish and gives the Swedish equivalents of these words. While some countries reject the influence of English and other languages, others, such as Sweden, seem to absorb too much, to the point that people use English words rather than perfectly acceptable Swedish ones. This site tries to rectify that. I wonder if there are websites like this for other languages.

A Possible Solution to Language Education

I’ve posted some here about learning languages and there’s been a guest post about language education in the United States, so this article on a solution to teaching languages in the U.S. is quite relevant.

Thank you to Erika Dreifus for sending me this article!

Writing for Young Adults

Writing for young adults is a relatively new genre (a genre, some say, that has been created by the pressures of marketing) and recently, I've had two opportunities to learn more about it. The first was a workshop I attended several weeks ago at the Arvon Foundation (at their center in beautiful Yorkshire), taught by writers Linda Newbery and Nick Manns (with the entertaining, controversial Melvin Burgess as a guest speaker), and the second was a lecture yesterday by Scottish writer James Jauncey, the author of a new book for young adults entitled The Witness.

What I've found is that authors themselves aren't always certain they are writing for young adults. They feel they are just writing books, period. That the texts may have characters who are young adults does not necessarily mean the work should be limited (in terms of marketing and readership, that is) to young people. Mr. Jauncey pointed out that if books such as The Catcher in the Rye or To Kill a Mockingbird had been labelled as being for children or young adults, they might never have become as popular or well-read as they did. The label limits the work.

What all the writers I heard or spoke to in recent weeks have mentioned is that creating a category of books for young adults is generally a choice made by publishers, teachers, parents, and other adults, and some believe that it stems from two major issues: the desire to make money and the idea of reducing risk. For the former, having another genre creates more opportunities for marketing (and also for producing side products, films, tv shows, etc.). As for the latter, people today do not want to make choices or to have to be accountable. A parent may not have the time or interest to read and vet their children's reading choices. So a little label on a book that says which age group it is suitable for removes responsibility from the adults. And it also supports publishers; some parents complain to the publishers if their children are exposed to words or themes they do not deem appropriate. Now, publishers can say, "Well, there was a label on there, so if your child read a book that was not age-appropriate, that was your fault, not ours."

Besides the genre reducing responsibility, it also imposes limits. Many authors say their publisher makes them aware of words or topics they must avoid. Mr. Jauncey claimed he did not consider language or appropriateness; all he thinks about when writing is being honest to the story and the characters and telling the tale as authentically and truthfully as he can. Other writers are not so lucky, however, and this is something people must consider when working on a book that they think may be aimed at children or young adults.

A point Ms. Newbery made is that children tend to read up, so they can learn what is coming next in their lives. She felt that 9-12 year-olds wouldn't read the books labelled as being for that age group; instead, they'd books for the 13-15 year-old set, because they are looking towards that time in their lives.

But does all this mean that children and young adults don't read about adults? Or that adults don't read about young people? I really don't think so, even if publishers seem to believe that. Why is there so much separation in literature now? Mr. Jauncey reminded us that there are no books for 30-year-olds or for 80-year-olds. In a way, of course, one can understand that the childhood and teenage years are a challenging time and that young people like and need to read about others their age. But when I was young, I certainly read voraciously about people of all ages, not to mention all backgrounds, religions, genders, races, and so on, and I know I am not alone in this. Are we underestimating young people? Are we doing them a disservice by deciding what books and topics they should have access to?

A Bad President Under a Crowd

Not long ago, I was somewhere that had several flat-screen televisions lining the walls. The volume on the tvs was off, but programs were playing anyway, and closed-captioning was used so those watching could know what was being said.

I know that closed-captioning, unlike subtitling, is generally in real-time, but I was still surprised by the number of mistakes -- there were errors in nearly every sentence. Some were really odd, though many were clearly based on phonetic confusions. Sometimes a caption was corrected, but usually the viewer was left to puzzle it out (and to giggle, as in my case).

Here are a few of the wrong captions I recall:

“This sets a bad president” instead of “This sets a bad precedent”
“Now things are under a crowd” instead of “Now things are under a cloud”
“This is about award” instead of “This is about a war”

Bad closed-captioning and bad subtitling can definitely set a bad president.

Pirated Translations

I recently started getting the bi-monthly email newsletter called “Annogram”, sent out by Ann Cefola, whom I met at the AWP conference in January. The newest issue has the following interesting information:

Free translations lead to book sales

Thanks to translator Ruth A. Gentes Krawczyk (www.krawczyktranslations.com) for this fascinating piece of marketing insight:

Brazilian novelist Paulo Coelho has grown his readership with free translations. Fortune says, "Intrigued by his growing sales in Russia, Coelho used the Bittorrent site—a favorite for illicit distribution of media—to seek out and download online translations of his books as well as audio versions. By 2006 he was hosting an entire sub-site he called The Pirate Coelho, with links to books in many languages."

His newsletter is said to have 200,000 subscribers and Coelho indicates he gets about 1,000 e-mails from fans every day. "I don't understand why publishers don't understand that this new medium is not killing books," Coelho says. "I'm doing it mostly because the joy of a writer is to be read. But at the end of the day, you will sell more books."

I’ve heard a lot about the music and software industries being upset about torrents, but there hasn’t been as much news about how the publishing industry is dealing with this technology. So it is interesting to see what one author is doing with pirated transläted editions.

An Editor’s Rant: On Using Foreign Languages in a Text

Today’s post is more of a rant. Why do authors who want to include words or phrases in foreign languages not check that they are using the correct spelling and grammar (unless, of course, there is a reason for using something in the wrong way, such as to show that a character is pretentious but really ignorant)? Why don’t editors check these things?

In recent weeks, I’ve been reading a lot of work in Swedish. In Sweden, it can be considered cool to include English in a poem or short story, or an author may genuinely find that there is something she or he must say in English rather than in Swedish. But often, I find serious mistakes. And to be honest, the author has lost me as soon as I see that she or he (or the editor or publisher) couldn’t be bothered to have an editor check over the text.

A Round-Up of Articles

For the next week, I am going to be away attending a workshop and there is apparently no internet access there. I am sure I will go through withdrawal, but I’ll look forward to posting upon my return.

Here are a few articles for you to read in the meantime.

This article is about learning specialized vocabulary and includes the following quote: “Sailing is just one more thing I’ve taken up as an adult but wish I’d begun doing as a child. The reason for wishing that isn’t just the experience that would have accrued by now. It’s the innateness you feel for things you have been doing a long, long time, the utter lack of self-consciousness with which you inhabit a language that seems outlandish to newcomers.”

The next piece is a review of Indo-European Poetry and Myth by M.L. West and it discusses the language of asterisks, i.e. the ur-Indo-European language:
“West reconstructs the Indo-European world on increasingly complex levels: first language (grammar and vocabulary); then poetry; then myth. Poetry, with some of the formal solidity of language and some of the inspirational idiosyncrasies of myth, mediates between them. The poetic parallels can be quite striking, and West makes the most of them. Of a certain pattern of three proper names, for instance, he says: ‘It is hard to avoid the inference that this was a traditional formula from the common poetic inheritance. Here we seem to find a remnant of the Indo-European storyteller’s building work: a recognisable structural component, with the lineaments of its verbal patterning still in place.’”

Finally, this article discusses a way of writing that might become popular in the future. Here is the man who wrote 200,000 books!

Translation Subsidies

For my initial description of the London Book Fair see Erika Dreifus' blog Practicing Writing. In this post, I just want to expand on something I mentioned in the other one: translation subsidies.

Many of the literary organizations I spoke to, such as Finnish Literature Exchange, Arts Council of Sweden, Norwegian Literature Abroad, Icelandic Literature Fund, and Danish Arts Agency’s Literature Centre (I am just mentioning the ones from the Nordic countries here, since I know the most about them, but I spoke to others as well), offer subsidies to publishers for translation, sometimes for as much as 75% of the cost. Usually, only publishers are allowed to apply, though translators (especially those who have a contract with a publisher) can sometimes apply for grants, too, such as to travel to meet the author whose work they are translating.

In The Deal, the magazine of the book fair, Israeli author Amos Oz is quoted as having said: “As you read a foreign novel, you are actually invited into other people’s living rooms, into their nurseries and studies, into their bedrooms. You are invited into their secret sorrows, into their family joys, into their dreams. Which is why I believe in literature as a bridge between peoples. I believe curiosity can be a moral quality.”

So, I suggest all you translators to find books you love in whatever languages you translate from, and then to try to get publishers to publish these works; telling them about these subsidies, information about which is not always easily accessible, may encourage them to take a chance on books they would otherwise claim not to have money for. Subsidies may also ease the translator’s work, too.