18 November 13 | Chad W. Post

A current MALTS student here at the University of Rochester, Allison M. Charette is also a translator from the French who recently helped launch the Emerging Literary Translators’ Network in America. After attending this year’s American Literary Translators Association (ALTA) conference, she wanted to write up a couple of the more interesting panels. Here’s one.

You know those list-y blog posts, right? “Top Ten Things You’re Doing Wrong at Work” or “8 Commonly Mispronounced Words” or “25 Ryan Gosling GIFs to Make You Smile”?

Don’t worry, this isn’t one of them.

But I, a true member of my generation, read lots of them. Some of them even have to do with translation (which I also do). And those lists of “Top Ten Things to Make You a Better Translator” always include a directive to talk. Specifically, to read the original text out loud. Then to read your written translation out loud. Everything is supposed to make more sense when you do.

Jordan Smith agrees. As he pointed out in his panel at the recent ALTA conference, “Decentering Semantics: Poetics and Meaning in Translation,” there’s more to words and characters than just their content and contextual meaning. He’s currently translating some wonderfully experimental poetry by Yoshimasu Gōzō, a Japanese poet, which involves a lot of puns, wordplay between different languages, and homophonographic play within its own language.

There’s a practice in Japan called ateji, which replaces a normal kanji character with different characters that are pronounced the same. English has these word games, too—mondegreens, or the physical card game Mad Gab—but it seems to be more poetic and less slapstick in Japanese. Jordan gave an example from Gōzō’s “火・Fire . . .” (published in last summer’s Poetry Review):

smoke: kemuri 煙
ke               mu                           ri
毛               無                             里
HAIR          NOTHINGNESS    VILLAGE

By sounding out each word carefully, the reader gets a new, alternate meaning in each character (or, in English, set of letters). Sounding it out gives it a new sense. In this particular poem, it’s a deeply interesting feature and a novel idea.

In poetry translation, though, it’s something more: the most extreme way to support the idea that sound is more important than content. Rendering a poem literally into another language is stilted at best and wildly off the mark at worst. Jordan argued that the best approach is to keep the semantic meaning decentered, or at least to recenter it somewhere in the space between languages.

To translate this ateji, though, Jordan was faced with a challenge. No matter how you elongate or twist the sounds in the word “smoke” in English, you’ll never hear anything about hair, or village, or a void. But if the sound is all that matters, then “some-oak” or “sumo-oak” should work just fine. And so it does, in Jordan’s translation:

          Thinking of the fire in the heart of Adonis
     «drapé de feu»
“soft flames of the earth’s surface, …….(July 8, 2000. From Miyake-jima, like the hand of an infant, // fresh some,oak (smoke, …….) = hair,nothingness,village (ke毛,mu無,ri里, ……)”
     door = «戸»
seed of the fire even beyond the seed of the fire in the heart of Adonis-san
     door = «戸»

My first reaction to this poetry was “wow, this is strange.” This poem includes three different languages in just this one little excerpt, plus bibliographic information as part of the poem itself. It’s not something you see every day. But it’s beautiful. It sounds beautiful when you speak it out loud. Even though there’s no semantic reference to “oak” in the original poem, it fits. The sound itself fits. And in the end, with poetry, that’s what matters most.

This poem and more will be included in a forthcoming anthology entitled Alice, Iris, Red Horse: Selected Poems of Gozo Yoshimasu: a Book in and on Translation, edited by Forrest Gander.


Comments are disabled for this article.
....
A Greater Music
A Greater Music by Bae Suah
Reviewed by Pierce Alquist

A Greater Music is the first in a line of steady and much-anticipated releases by Bae Suah from key indie presses (this one published by Open Letter). Building off of the interest of 2016 Best Translated Book Award longlist nominee. . .

Read More >

Two Lost Souls: on "Revulsion" and "Cabo De Gata"
Two Lost Souls: on "Revulsion" and "Cabo De Gata" by Horacio Castellanos Moya; Eugen Ruge
Reviewed by Tim Lebeau

The dislocation of individuals from the countries of their birth has long been a common theme in contemporary literature. These two short novels recently translated into English appear firmly rooted in this tradition of ex-pat literature, but their authors eschew. . .

Read More >

Melancholy
Melancholy by László Földényi
Reviewed by Jason Newport

In Melancholy, Hungarian author, critic, and art theorist László Földényi presents a panorama of more than two thousand years of Western historical and cultural perspectives on the human condition known as melancholia. In nine chapters, Földényi contrasts the hero worship. . .

Read More >

The Hatred of Music
The Hatred of Music by Pascal Quignard
Reviewed by Jeanne Bonner

Pascal Quignard’s __The Hatred of Music_ is the densest, most arcane, most complex book I’ve read in ages. It’s also a book that covers a topic so basic, so universal—almost primordial—that just about any reader will be perversely thrilled by. . .

Read More >

Fragile Travelers
Fragile Travelers by Jovanka Živanović
Reviewed by Damian Kelleher

In Gustave Flaubert’s Madame Bovary, Flaubert attempted to highlight the ordinary, tired, and often crass nature of common expressions by italicising them within the text. When Charles, Emma Bovary’s mediocre husband, expresses himself in a manner akin to that of. . .

Read More >

Nineteen Ways of Looking at Wang Wei
Nineteen Ways of Looking at Wang Wei by Eliot Weinberger
Reviewed by Russell Guilbault

Eliot Weinberger takes big strides across literary history in his genuinely breathtaking short work, 19 Ways of Looking at Wang Wei, tracking translations of a short ancient Chinese poem from the publication of Ezra Pound’s Cathay in 1915 to Gary. . .

Read More >

Radio: Wireless Poem in Thirteen Messages
Radio: Wireless Poem in Thirteen Messages by Kyn Taniya
Reviewed by Vincent Francone

Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .

Read More >

The Subsidiary
The Subsidiary by Matías Celedón
Reviewed by Vincent Francone

The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .

Read More >

Thus Bad Begins
Thus Bad Begins by Javier Marías
Reviewed by Kristel Thornell

Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .

Read More >

Death by Water
Death by Water by Kenzaburo Oe
Reviewed by Will Eells

Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .

Read More >