Gary is another great example of the hyperactively funny male translator. He’s incredibly fun, warm, and without going into any ALTA politics, one of the important people on ALTA’s board and committees who is liked by all sides. In addition to his ALTA work, and serving as review editor for Translation Review, Gary teaches at Long Island University’s Brooklyn Campus (in contrast to the most excellently named C. W. Post campus).
Anyway, this ALTA conference was the first time I met Gary in person, although I’ve talked with him by phone and e-mail over the past year or so while serving on ALTA’s publications committee. He really does have boundless enthusiasm, and I’m sure will be a huge player in ALTA’s development—especially in terms of its publications, website, and involvement with younger translators.
On to the questions:
Favorite Word in Any Language: carpetovetonico, which refers to a fustian madrileno
I so love the specificity of this word. Not just a pompous Spaniard, but a fustian Madrileno. Now I just need to find a good moment in which to use this . . . Hopefully without starting a bar fight . . .
Best Thing You’ve Translated to Date: La vida es sueno (Life Is a Dream) by Pedro Calderon de la Barca
Calderon (1600-1681) is considered by many to be one of Spain’s greatest playwrights, and, according to Wikipedia (the internet’s greatest quick hit informational resource), he “initiated the second cycle of Spanish Golden Age theater.” Here’s a description of Life Is a Dream (also from Wikipedia—which I feel the need to apologize for, but seriously, this description kicks ass all over the one you can find on the Penguin Classics website):
In the play, the king of Poland has had his son Segismundo imprisoned all of his life because it has been prophesied that the son will bring disaster to the country. The king tells his subjects that his son died after childbirth. After his son has grown to be a man, the king reveals to his court that his son lives, and allows the court to vote in favor of allowing the son to become heir. However, the son turns out to be violent, killing a man and attempting rape. For this he is drugged and returned to his prison, and told upon waking that the previous day’s events were merely a dream. Still, his jailer scolds him for his un-princely behaviour, which prompts remorse in Segismundo. Rebels who are working against the king, who have found out about the treatment of Segismundo, break him out of prison. The rebels defeat the king’s army; however, Segismundo doubts again if he is in reality or a dream, finally deciding that even in a dream we have to behave well because “God is God” and forgives the king . The play ends in a wedding.
(Totally side note, but I think it would be great to do some special panel/podcast/interview with drama translators to talk about the special issues involved in translating plays . . .)
Book that Needs to Be Published in English Translation: Retranslation of Jose Hernandez’s Martin Fierro
As one of the most important Argentine works of all time, I approve this recommendation. In fact, it’s almost shocking that there aren’t new translations of this every few years . . . Maybe it’s time for a Penguin Classics edition?
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .