Annelise Finegan Wasmoen— Across interviews and essays, the experimental writer Can Xue characterizes her fiction in two ways that speak to what are also questions about translation: as, at once, the embodied performance of freedom, and, at the same time, as an automatic process predicated by a logic or mechanism.
On the heels of our publication of Nobel Prize winner Patrick Modiano’s Such Fine Boys and Sundays in August in English, two of his esteemed translators sat down to discuss Modiano’s idiosyncratic and impressive body of work and the distinct nuances of translating it. It is with great pleasure that we present
The Walnut Mansion by Miljenko Jergović—translated by Stephen M. Dickey with Janja Pavetic-Dickey—is a grand novel that encompasses nearly all of Yugoslavia’s tumultuous twentieth century, from the decline of the Austro-Hungarian and Ottoman Empires through two world wars, the rise and fall of communism, the breakup of the nation, and
In Why Translation Matters, acclaimed translator Edith Grossman argues for the cultural importance of translation and for a more encompassing and nuanced appreciation of the translator’s role. For Grossman, translation has a transcendent importance. The following is comprised of excerpts from Why Translation Matters. Translation is crucial to our sense of ourselves as
Alex Zucker— Translating Tomáš Zmeškal’s Love Letter in Cuneiform was a joy, to be honest, because of his sense of humor and the play and playfulness within the text itself. One example of this that also demonstrates how literary translation is not simply a reproduction in English of the original
Fady Joudah, Palestinian-American, physician, celebrated poet and translator of poetry, and winner of the 2007 Yale Series of Younger Poets Competition for his collection Earth in the Attic, discusses the inherent linguistic and subjective difficulties that each translator must face when presented with a work to be translated in his
Award-winning translator Ellen Elias-Bursac recently had the chance to talk with Serbian writer and translator David Albahari about Globetrotter, her latest translation of one of Albahari’s novels. Ellen Elias-Bursac: How did you come up with the idea for the trilogy of Snow Man, Bait, and Globetrotter? Did you design the three
We had the privilege of sitting down to talk with Mark Polizzotti, who, among other things, has recently translated a trio of novellas from Nobel Prize–winner Patrick Modiano, Suspended Sentences, which publishes today. In our conversation, we talk about Modiano, the Nobel Prize, the art of translation, and the joy of
Mark Polizzotti— At first blush, the qualities suggested by Patrick Modiano’s fictions do not shout “Nobel.” Unlike Sartre (the laureate malgre lui), with his grand philosophical pronouncements, or France’s previous honoree, the famously peripatetic J. M. G. Le Clezio, Modiano tends to keep to himself, in narratives that are often
In the previous installments (part one, part two) of Danuta Borchardt‘s reflections on translating Trans-Atlantyk, she articulated why the variant of Polish Witold Gombrowicz used in the novel was so difficult to render in English. After considerable research and experimentation, she hit upon an approach that enabled her to translate the archaisms and idiosyncrasies