Nobel Lecture by Jean-Marie Gustave Le Clézio

You can read or watch the Nobel lecture by Jean-Marie Gustave Le Clézio, this year’s Nobel Prize winner in literature, online. There is also a lot of other interesting material on the Nobel Prize website.

Favorite Translation/Language Blogs

I've long kept a list of blogs on this site, but I thought I'd call your attention to it now, as the days are getting darker and people just want to stay inside with a warm drink and some good reading material. This is not a complete list, of course, just a few of my favorite, frequently updated blogs on translation and language.

Three Percent

Beyond Words

Language Log

David Crystal's Blog

Language Hat

Omniglot

From Our Lips

Web Translations

Life In Translation

Translating is an Art

Masked Translator

About Translation

Separated by a Common Language

Ur språkens tunnlar (in Swedish)

Another Round-Up

A short NPR news segment looks at translation and interviews three translators.

This article is on the future of books and publishing.

Here is an essay on bilingualism.

And just for fun, from the same site, an essay on procrastination. Warning: this might keep you from your work!

A Reference Website

This reference website doesn't include the Scandinavian languages, but it does have Spanish, French, German, Chinese, Russian, Greek, Korean, and other languages. You type in a word in Dictionarist's search engine and it then gives you the translation to all those languages and you can also hear the word pronounced. Unfortunately, it doesn't offer the pronunciation of the translations, but this feature could be useful for English-language learners.

Podcast on Translation

I haven't listened to this yet, but I have been informed about a new podcast on translation.

Astonishing!

A few weeks ago, I was reading Voltaire’s Candide (in translation) and I came across the following lines in Chapter 18:

Cacambo translated the King’s witticisms for Candide, to whom they seemed witty even in translation. Of all the things that astonished Candide, this was by no means the least astonishing.

In other words, Voltaire seems to be suggesting that the idea that humor could be translated is astonishing. Many things on Candide’s adventures are indeed astonishing, but good translations, in my opinion, should be viewed as achievable in the hands of good translators, not shocking.

The Smell of Books

I can’t be the only bibliophile to love the smells of books and of libraries. Leather, a hint of dust or mustiness, ink, even pipe tobacco. Mmmm.

So for my birthday a few weeks ago, I was very pleased to receive an amazing perfume called In the Library. This is one of many unusual scents created by Christopher Brosius. I recommend it for all book-lovers!

Residency Program for Translators

I learned about a residency program at Banff International Literary Translation Centre.

The Banff International Literary Translation Centre is open to literary translators from Canada, Mexico, and the United States translating from any language, and to international translators working on literature from the Americas.

The annual BILTC residency program has places for 15 translators. Since the inaugural program in 2003, the program has hosted translators from 21 countries, translating work involving 31 languages.

Applicants must have published at least one book-length literary translation (or equivalent) and participants are selected on the basis of material submitted to the Advisory Council. Eligible projects include translations of works of fiction, literary essays and biography, poetry, oral tradition, children’s literature, and drama.

Priority is given to projects that have signed publishing contracts.

Call for Submissions for Translation Award

I received word of the following award:

Northern California Book Awards-Translation Award

Dear Friends:

The Center for the Art of Translation is co-sponsoring the Northern
California Book Award in Translation for the best translation by a Northern
California translator. The deadline for nominations is quickly approaching
so please send in any suggestions for the award.

We are gathering books that may be qualified for the translation award and
ask for your assistance in identifying book-length translations from any
language into English (primarily fiction and poetry, though some non-fiction
will be considered) published by Northern California translators in 2008.
For clarification, Northern California is here defined as Fresno and north
to the Oregon border; the publisher does not have to be from Northern
California, but the translator must currently reside there. This award is
co-sponsored by the Northern California Book Reviewers (formerly Bay Area
Book Reviewers Association/BABRA) and PEN West Translation Committee.

Sponsors of the Northern California Book Awards (with categories in fiction,
non-fiction, poetry, children's literature, and translation) include the
Northern California Book Reviewers, Poetry Flash, and the San Francisco
Public Library. This year's NCBA ceremony will be held at the San Francisco
Main Library in April 2008.

DEADLINE: DECEMBER 1, 2008

(If the book is due out later in December, we still need all the information
in advance of the deadline.)

For all suggestions, please include the author's name, the translator's
name, the publisher, the original language, and the title of the book, and
send the information to:

Olivia Sears: osears@catranslation.org

You can also write to us at:

Center for the Art of Translation
Attn: NCBA Translation Award
35 Stillman Street, Suite 201
San Francisco, CA 94107
tel: (415) 512-8812
fax: (415) 512-8824

We look forward to hearing from you,

Olivia E. Sears & Barbara Paschke

Center for the Art of Translation
web: www.catranslation.org

The Center for the Art of Translation is a non-profit organization that
promotes international literature and translation through programs in the
arts, education, and community outreach

Our postal address is
35 Stillman Street
Suite 201
San Francisco, California 94107
United States

Our website is www.catranslation.org.

Cultural References in Translation

How obvious do you have to make cultural references in translation? Recently, I was reading an English translation of a novel by a Japanese author. I caught phrases such as “going to a Japanese teahouse” and “X, the Japanese god of…” and so on. In other words, the translation gives more information than the original and emphasizes the “Japaneseness” of the text (I assume this anyway, since I can’t read Japanese, but I doubt a Japanese work would need to explain Japanese concepts for Japanese readers). Do you think literary translations should have added explanations (non-fiction translations require different strategies, as we know)?

Article Round-Up

Time for another article round-up!

The first article is on the growing strength of Latin courses. As someone who studied Latin (and even attended the Latin School of Chicago!), I was happy to read that.

Next is a piece on text analysis and the use of words.

The article on preserving the Arapaho language also has an accompanying video.

Speaking of videos, I also liked this brief one featuring physicist Murray Gell-Mann talking about languages.

This review made me want to read of Roy Blount Jr.’s new book The Alphabet Juice.

Penultimately, here is an article on on urban fiction, or “street lit”.

And finally, the piece on translation and the U.S. This article includes quotes such as the following:

It is a commonly held assumption that Americans don’t like to read authors who write in languages they don’t understand. That belief persists here in Frankfurt, where publishers from 100 countries show off a smorgasbord of their best — or at least best-selling — books.
By and large, the American publishers spend most of the week in Hall 8, the enormous exhibit space where English-language publishers hold court.
…
“When you look at how much is paid for a mediocre midlist author” in the United States, he said, “and how much you have to pay to get a world-class author who has been translated into 18 languages, it is ridiculous that more people don’t invest in buying great literature.” Mr. Godine said he had purchased the rights to a foreign book for as little as $2,000.

Conference on Subtitling

I saw this announcement for a conference on subtitling and thought some of you would be interested:

Languages & The Media
7th International Conference on Languages in the Audio Visual Media

www.languages-media.com

**************************************************
Quality Audiovisual Media for All

// Quality standards of subtitling and translation are high on the agenda of this year's Languages and The Media conference //

Berlin, Germany. The conference programme of Languages and The Media has been finalised. The 7th International Conference and Exhibition on Language Transfer in the Audiovisual Media will take place from October 29th - 31st at Berlin's Hotel InterContinental.

Bringing together delegates from more than 20 countries, the conference will contribute to the international debate on inclusion and universal access to mass media on a global scale.

The event focuses on the translation and transfer of language in films and on television, as well as in interactive media such as computer games and the Internet. Experts from the fields of media, translation and academia from all over the world discuss current developments in the media industry and exchange their expertise.

The conference programme offers insight into quality standards of translation, synchronisation and subtitling. Further topics are the localisation of content, as well as the effect of new tools and future technologies on the transfer of language, like machine translation and speech-recognition captioning.

Localisation refers to the process of adapting digital content to culture, locale and linguistic environments at a high quality. Carmen Mangiron, who is one of the localisers of the Final Fantasy series into Spanish, will show how language barriers in video games can be overcome through audiovisual translations and editing techniques.

Subtitling and audio description enable the deaf and hard-of-hearing as well as the blind or partially sighted audiences to access media. Bernd Benecke from Bayerischer Rundfunk - Germany's only full-time editor for audio description - will offer insight into this rare discipline in a pre-conference workshop.

The conference will be accompanied by an exhibition, showcasing vendors and manufacturers of language technology products and providers of language services.

Further information: www.languages-media.com

LANGUAGES & THE MEDIA
7th International Conference & Exhibition on Language Transfer in Audiovisual Media
October 29 - 31, 2008, Hotel InterContinental Berlin

Participation fees: 400 Euro, students 190 Euros
Organiser: ICWE GmbH, Leibnizstr. 32, 10625 Berlin, Germany
Contact: Ms Astrid Mendoza, Tel: +49 (0)30 310 18 18-0
info@languages-media.com, www.languages-media.com

The Best Translations?

The Society of Authors has posted a list of the 50 best translations to English from the last 50 years. In a way, the list represents the usual suspects. It’s perhaps not surprising that many of the books reflect the few foreign books English-speaking readers have actually heard of. What do you think?

Ethical Concerns, Or, Being Plagiarized

Ethics are important in every job. In our field, our customers rely on us to be the experts, especially as they may not have the knowledge to check over our work. It is up to us to make sure we translate the words correctly, edit the text multiple times, and so on. Doing something incorrectly or sloppily can cause a lot of damage for our clients.

So I can’t help but wonder what it means for their clients when a translation company plagiarizes and doesn’t seem to be overly concerned about ethical and legal behavior. It could very well imply that said company doesn’t have good oversight and that they don’t care about doing things the right way. That’s bad news for the company’s clients.

A few weeks ago, I was made aware that a British translation company called Merlin Translations (I won’t link to them, so as not to give them additional traffic) was plagiarizing me. They post this blog on their website so that it looks like they themselves do all the work of researching and crafting these posts.

I emailed them. A manager claimed not to have been paying attention to what an employee was doing. That suggests a clear and worrisome lack of supervision that shouldn’t exist in any company, including a translation company. I said that either they could credit me for each post they used or else they must remove all my content from their site. Not only have they made no improvements to the situation, but they also have continued to post the content from Brave New Words.

I’m a person who works hard at what I do. I take my work as a translator, writer, and editor very seriously. I also enjoy making knowledge about translation more widely available via this blog. So it is disappointing and upsetting to me personally when I am being plagiarized in this way. But on a bigger scale, the fact that a company that provides services to clients would use unethical means to try to make themselves look better (that is, increasing the material on their website by plagiarizing others) is disturbing indeed.

Another Call for Submissions

TWO LINES Call for Submissions

TWO LINES World Writing in Translation is currently accepting submissions for its sixteenth volume, guest edited by award-winning translators MARGARET JULL COSTA and MARILYN HACKER.

DEADLINE: October 31, 2008.

TWO LINES World Writing in Translation publishes original translations into English of writing from any literary genre. Translations from any language will be considered, and works from outside Europe are especially sought.

- Previously unpublished work only.

- The translator cannot also be the author of the piece unless it is a co-translation.

- We generally publish one to four poems from a single submission, but we will read up to a maximum of ten pages.

- The average prose submission is about 2500 words, but we do publish shorter and longer pieces (1000-4000 words). Short stories are preferable to novel excerpts. However, novel excerpts will be considered if thoughtfully excerpted to stand as independent pieces (to the extent possible).

- In order to be considered, submissions must include a brief introduction (400-500 words) with information about the original author, the background of the piece, and unique issues that the translation process presented.

- All submissions must include a copy of the original text.

- Translators are expected to acquire copyright permission for all work not in the public domain.

Electronic submissions are preferred, but hardcopy submissions are also accepted. For electronic submissions, please save your documents as RTF (Rich Text Format). If you would like your materials returned, please send an appropriately-sized SASE.

Send submissions to submissions@catranslation.org or to the postal address below.

TWO LINES
35 Stillman Street, Suite 201
San Francisco, CA 94107

We highly encourage everyone who submits to TWO LINES to read a copy before submitting.

Translators will be notified of editorial decisions by February 1, 2009.

We offer a complimentary copy of TWO LINES to translators and living authors whose work is chosen for publication as well as a nominal honorarium.


ABOUT THE EDITORS

Lauded for her translations of Nobel Laureate Jose Saramago's novels of the last decade, including SEEING, MARGARET JULL COSTA has also brought the work of Fernando Pessoa into English, for which she received the Portuguese Translation Prize. Costa also translates from Spanish, her work with novelist Javier Marias having garnered an International IMPAC Dublin Literary Award and the Instituto Cervantes Translation Prize. This year Costa was awarded both the PEN Translation Prize and the Oxford Weidenfeld Translation Prize for her translation of THE MAIAS by Eca de Queiroz. Described by Jose Saramago as "the greatest book by Portugal's greatest novelist," THE MAIAS first appeared in excerpt in TWO LINES World Writing in Translation.

Distinguished with the first ever Robert Fagles Translation Prize, MARILYN HACKER has published numerous volumes of her translations of poets Venus Khoury-Ghata, Claire Malroux, Emmanuel Moses, Guy Goffette, and Marie Etienne from French, several of which have appeared in previous volumes of TWO LINES World Writing in Translation. Also the author of twelve books of poetry, most recently ESSAYS ON DEPARTURE and DESESPERANTO, Hacker has been a recipient of the National Book Award, two Lambda Literary Awards, the Lenore Marshall Poetry Prize, and an Award in Literature from the American Academy of Arts and Letters. Hacker's numerous honors include the Bernard F. Conners Prize from the Paris Review, the John Masefield Memorial Award of the Poetry Society of America, and a Guggenheim fellowship.

Call for Submissions: Translations from Spanish

I saw the following call for translations in Erika Dreifus’ excellent newsletter:

Sudden Fiction Latino: Short-Short Stories Wanted for New Anthology from W.W. Norton. "We seek translations from the Spanish of short-short stories from Latin America. The stories may be previously published, preferably within the last ten years, or unpublished, and should be between 500 and 1750 words long. Any topic or style, traditional or experimental - we are looking simply for the best recent stories from Latin America in this length. Our past anthologies, such as Sudden Fiction International, have included some of the world's most well known writers, and some yet to be known. If there's a great story that's just a little outside our time period or length limits, we'll consider it - but the odds of acceptance are much
better if it's within. The pay is not great but the company of writers will be excellent. Projected fee: $150 total to include both translator and author. Deadline: December 1, 2008." For more information, see the announcement on the
ALTA Calls for Submissions page,
http://www.utdallas.edu/alta/publications/calls.html

The Nobel Prize

Once again, it's time for the Nobel Prize in literature.

The secretary of the Swedish Academy, Horace Engdahl, recently got himself into some trouble with his comments about American literature. If you can read Swedish, check out this article. And if not, here is one in English.

Basically, Engdahl criticized American literature and suggested that not much good is coming out of the U.S., literature-wise at least, now (also implying that American writers better not hope for a Nobel any time soon!). What do you think? Is American literature more insular than that of other countries? Do any Americans deserve a Nobel Prize for their writing?

This year's winner is Jean-Marie Gustave Le Clézio.

Opinions?

New Journal

Some of you may be interested in learning about a new academic journal, called Translation Studies.

A Debate on Children’s Literature

On September 16, at Kulturhuset in Stockholm, there was an interesting panel debate on children’s literature. The participants were Lotta Olsson, who reviews books for Dagens Nyheter, Sweden’s biggest newspaper; the author Ulf Stark; Karin Salmson, the publisher of Vilda, a publishing company that only puts out books that are politically correct; Jan Hansson, the head of the Swedish Institute for Children’s Books; Kristin Hallberg, who teaches children’s literature; Dag Henried, the publisher of Alfabeta; and Johan Unenge, an author and illustrator. The debate was led by Lillemor Torstensson, who also works at the Swedish Institute for Children’s Books.

Earlier this year, Dagens Nyheter criticized Vilda for the way it marks books as though they were organic or free-range products and for the ideology that runs through them. This set off something of a debate in the Swedish media and among Swedish children’s authors and illustrators of children’s books. So the debate on the 16th focused on art versus ideology, commercialism, and what children’s books are instruments of/for.

Kristin Hallberg felt that children’s books “create a meeting” between text/author and reader. She said they shouldn’t have morals or points or be used for a specific purpose. Others agreed that it should be about the story and if the story happens to teach or comfort or do anything else, that’s fine, too. Obviously, Karin Salmson thought differently. She felt that it was important to have books with gender equality, race quality, etc. Some participants, including some audience members who spoke, agreed that it was important for all children to feel they were “reflected” in books (i.e. that there were books about people like them), but that marking books or having requirements for books might be going a bit far. Then the issue of whether ideology affects quality was raised, but no final points were made regarding this.

Another topic that came up was Dagens Nyheter’s recent list of the 100 most important children’s books. About 1/3 of the books were by Swedish writers, mostly modern ones, and the rest of the books were primarily classics from the western world. Some felt that it was strange that so few Swedish books were on it, while others felt that too many were. Others thought older Swedish books and more modern foreign books were ignored. My own annoyance with the list came from the fact that for foreign books that had been translated to Swedish more than once (which is often the case for classics, such as Alice in Wonderland), the newspaper simply wrote “multiple translations available”. As we translators know, translations can vary wildly in quality, and therefore I think it is important that if one recommends a book in translation, one also recommends which translation is best.

It was an interesting evening and I hope there will be future debates on children’s literature, both in Sweden and elsewhere. Over 100 people were in the audience and it was great to see how many people are actively engaged in and concerned about the field of children’s literature.

IBBY Conference

In early September, I attended the IBBY conference in Copenhagen. To be honest, I was disappointed by this conference, though on paper it sounded really interesting (not to mention the fact that the social events, such as dinner at Tivoli and a buffet at Copenhagen’s city hall, were fun).

IBBY is the International Board on Books for Young People, with chapters in 72 countries. Every two years, it has a large conference, at which there are many presentations, and the H.C. Andersen Prize is awarded to one living author and one living illustrator (this year, Queen Margrethe of Denmark gave the prizes to the winners, Swiss author Jürg Schubiger and Italian illustrator Roberto Innocenti), and the IBBY Honour List of good books and translations for children is announced, and the IBBY-Asahi Awards for reading promotion are presented (this year to Editions Bakame of Rwanda and Action with Lao Children). Incidentally, regarding the H.C. Andersen award nominees, as I was reading through the detailed list, which was given in Bookbird magazine, I was surprised, and a little frustrated, to see that a not insignificant number of writers felt that writing for children was easier than writing for adults. I would definitely disagree with that.

One of the keynote speeches was by a Norwegian woman (note: not a Jewish Norwegian) who wrote children's books based on her own experience as a Norwegian child during the German invasion in Norway in WW2 and another keynote speech was by a Danish writer, who had published children's books based on her mother's experiences during the war (her mother was Jewish and left Hungary for Denmark, but the author herself was baptized and raised Lutheran). Another speaker, who presented children’s books on the Holocaust, was criticized for not discussing Palestinians, even though that was not her area of expertise and there was not enough time to discuss every possible issue. Also, there was a keynote speaker who discussed Palestinian children’s books. So something that made the conference leave a bad taste in my mouth, so to speak, was that quite a few people complained about all this attention being paid to Jews at the conference. That an academic conference – especially one on children’s literature, which should be a field that is open and accepting – is expected to be politically correct is not news to me, but it is disappointing.

The next post will discuss more on ideology and children’s literature.

A Lovely Tree

Not long ago, I read Ett Träd Med Vida Grenar: De Indoeuropeiska Språkens Historia by Ola Wikander. In case you don’t know Swedish, the title is A Tree with Wide Branches: A History of the Indoeuropean Languages. And in fact, the only problem with this book is that as of now, it’s only in Swedish. I hope it will be available to readers in other countries soon, as it is quite interesting.

Mr. Wikander is a young Ph.D. student and translator in Sweden who is already the author of several books on “dead” languages, as well as co-author, with his father, of a novel. In this book, he discusses the science of reconstructing what is called proto-Indoeuropean (PIE), or the language from which stem all the Indoeuropean languages, including Swedish, English, Latin, Greek, Sanskrit, Romanian, and many more. The purpose of this field, as he thoroughly explains in his book, is not just to reconstruct this language for the fun of it (although he includes some examples of writing people have attempted to do in PIE in modern times), but is in part to understand the cultures and languages that have helped shape Europe, Asia, and other parts of the world.

Mr. Wikander is a talented writer who manages at times to make this science seem like a mystery, in that it is exciting to learn about how the reconstruction work is done and how Indoeuropeanists can use the reconstructed vocabulary, and other evidence, such as archaeology, come to conclusions about where those who spoke PIE lived (probably the south Russian steppes) and what their culture was like.

If you can read Swedish, I recommend this book and also Mr. Wikander’s blog. If not, you’ll have to wait for a translation!

Speaking of Punctuation…

Well, after reading Alfie the Apostrophe, I was in the mood for more punctuation. So I was glad Erika Dreifus sent me this article.

And further speaking of punctuation, what punctuation mark are you? I’m a colon! Take this silly quiz to find out.

Here’s what the quiz says about me and all the other colons out there:

You Are a Colon

You are very orderly and fact driven. You aren't concerned much with theories or dreams... only what's true or untrue. You are brilliant and incredibly learned. Anything you know is well researched. You like to make lists and sort through things step by step. You aren't subject to whim or emotions. Your friends see you as a constant source of knowledge and advice. (But they are a little sick of you being right all of the time!) You excel in: Leadership positions You get along best with: The Semi-Colon

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!