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Pink Venom (English Translation) – BLACKPINK GeniusFriday, August 19, 2022
Thursday, August 18, 2022
PAIRAPHRASE INTEGRATES AMAZON TRANSLATE'S ENGINE INTO ITS TMS SOFTWARE - PR Newswire - Translation
The integration of Amazon Translate within Pairaphrase's translation management software enables organizations to achieve human-quality language translation using neural networks & deep learning.
BIRMINGHAM, Mich., Aug. 18, 2022 /PRNewswire/ -- Enterprise language translation software company Pairaphrase has integrated Amazon Web Services' machine translation engine into its premium translation software solution. Its users now have the option to translate with Amazon Translate to create custom translations, helping users get closer than ever to achieving human-quality translations.
Amazon Translate produces custom translations on demand by leveraging its own artificial neural networks and deep learning system, along with a user's glossaries and translation memories.
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"At Pairaphrase, we're thrilled to make the power of Amazon Translate's engine accessible to our TMS users. Users should expect to invest a little more time upfront building their glossaries and translation memories when using the AWS engine. However, this will yield a larger return over time by reducing translation-related costs and almost eliminating post-editing" says Pairaphrase CTO, Rick Woyde.
The company has confirmed that when using AWS Translate in Pairaphrase, the Pairaphrase user interface does not change. Pairaphrase now also supports CSV glossary files, making it easier for users to import the glossaries necessary for getting the most out of the AWS translation engine.
Pairaphrase puts advanced translation technologies into the hands of everyday business users to reduce the time and costs associated with the production of secure, high-quality translations. For more information about Pairaphrase, please contact Rick Woyde at [email protected] or visit https://ift.tt/sMNbhe1.
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Wednesday, August 17, 2022
New initiative seeks to translate 'Original Testament' in every language to bridge the 'gap' - The Christian Post - Translation
A Christian group seeking to expand people’s engagement with God’s Word is working to accelerate the translation of the Old Testament to reduce the language barrier preventing some from reading the Bible.
The 4.2.20 Foundation’s Institute for Biblical Languages & Translation trains translators and consultants in Hebrew, both in Jerusalem and online, so speakers of any language can absorb God’s Word, particularly the Old Testament.
The organization’s goal is for complete Bible translations in every language to begin by 2033. As the 4.2.20 Foundation notes on its website, every fourth New Testament verse is a reference or a direct quote from the Old Testament, adding to the importance of ensuring people understand it.
In a Tuesday statement to The Christian Post, Ricki Gidoomal, chief of staff of the 4.2.20 Foundation, explained that the organization has a growing staff of over 35 people, including teachers.
“Regarding funding, there is a continuing need to sponsor Bible translators and consultants who are trained in our programs, both in Jerusalem and online — these are those who will be returning to the field to ensure the Bible is translated into their mother tongues, as well as for the development of online curricula and exegetical resources for Oral & Deaf Bible translators,” Gidoomai wrote.
The foundation worker stated that the organization works closely with over 47 Bible translation agencies to ensure “those who are trained continue to serve in projects into the future.”
Most of the world's languages — 90% — do not have a full translation of the Bible, the organization notes on its website. Of the over 400 sign languages worldwide, only one has a complete Bible.
During Pentecost this year, men and women gathered at the Garden Tomb in Jerusalem to address “The Original Testament Gap,” which refers to how the Old Testament is under-translated and frequently misunderstood.
“That’s what this consultation is all about,” David Swarr, president and CEO of the 4.2.20 Foundation, said in a statement published by CBN News. “We had people from around the globe that have gathered here very prayerfully to seek the Lord.”
“The Original Testament is the foundation for us to understand the Gospel of the Kingdom that Jesus came preaching,” he added.
David Hamilton, 4.2.20 Foundation’s vice president for strategic innovation, elaborated on why the group referred to the Old Testament as the “Original Testament.” Hamilton has also served Youth With a Mission (YWAM) for about 38 years, a group working on translating 30 Bible passages by the end of 2025 orally.
“When something is old, you just want to toss it out and replace it with something else. Original speaks of [a] foundation that has legacy and value in a multi-generational way. The Original Testament was the Bible that Jesus and the apostles used, and we want everyone to have access,” he said.
Hamilton noted that it would be impossible to read with New Testament without having read the stories of Abraham, Moses, David and other figures that appear in the Old Testament.
“Or places like Jericho or Jerusalem and events like crossing the Red Sea or manna in the desert and you have no idea in your language what these stories were about,” he added. “What happened? Who were these people?”
To illustrate this point, the 4.2.20 Foundation published the Gap Testament, a version of the New Testament without any references to the Old, according to CBN.
“You can see as you go through the scriptures, different parts are just missing because when we read it without an understanding of the original … we do not get the full picture of God’s purposes,” Hamilton said.
“So, we just want the fullness of God’s good Word to be available to all people. The goal? The whole Word for the whole world.”
Tuesday, August 16, 2022
What the @#$%! Everett mom publishes a dictionary of curse words | HeraldNet.com - The Daily Herald - Dictionary
EVERETT — If you’re going to swear, do it properly.
What’s up with that?
Erika M. Weinert, 42, is the author of “Cursing with Style,” a reference book on so-called “bad” words. Many can’t be printed in this newspaper, hence you’ll see asterisks substituting for letters in some words in this story.
Like abso-f***ing-lutely, the first word dissected in the book.
Weinert, a copy editor who does business as The Werd Nerd, spent about $1,000 to publish the dictionary of expletives.
“Cursing with Style” began as a spreadsheet she made for herself as a guide because of the time spent looking up how to correctly use swear words she came across while editing fiction copy. She figured it would be handy for other wordsmiths. She also edits copy for luxury home magazines with pretty words.
The book is $14.95 on Amazon.
“If a manuscript you’re writing or editing is sprinkled with s***s, damns, b***es and f***s, this book is for you,” it says (sans the ***) in the Introduction.
It defines over 100 words, from A to W.
Each word gets a page synopsis with “Part of Speech,” “Definition” and “Remarks.”
Pronunciation is not listed.
“Everybody knows how to pronounce all these words,” she said.
Weinert learned a few new words, as might you.
S***balls is her favorite word.
“It just spills out of my mouth.”
Her daughter, 13, isn’t allowed to curse.
“Not in front of me,” she said. “My mom never let me cuss. I’ve never heard her cuss.”
So, what does her mom think of the book?
“She f***ing hates it,” Weinert said. “She says she’s proud of me, but she wishes it was something else.”
The book is dedicated to her father: “The late David K. Moberg, who was as foulmouthed as they come.”
There are hundreds of books about cursing, including adult coloring books.
Weinert said her book is geared for editors and their clients.
“That’s what makes it different,” she said.
Associated Press style calls for not using obscenities unless they are part of direct quotations and there is a compelling reason for them.
Some might argue this story is not a compelling reason. And that my stories in general are a bunch of crap. In which case this one should be “craptastic” (page 63). Definition: “the crappiest of the crappy, hardly believable it’s so crappy.”
Weinert’s book has six of George Carlin’s “Seven Words You Can’t Say on TV” from 1972. He later added a few more.
“We have more ways to describe dirty words than we have dirty words,” Carlin says in his comedy monologue.
Netflix did a six-part 2021 documentary series, “History of Swear Words,” hosted by Nicholas Cage with a cast of comedians about the joy and etymology of expletives.
In cartoons and comics, a series of typographical symbols, such as @#$%&!, are used to represent swear words. There’s even a word for it: grawlix.
Profanity pays off.
Sandy Boo of Everett turned her word of choice into a business, My Curse Purse.
“I wanted a purse that had the F-word all over it, that’s how I got started,” she said.
Boo designs socks, totes, scarves, umbrellas and phone covers emblazoned with the F-word. She traded a career as a social worker to sell merchandise online and at craft markets in Edmonds and at Everett Mall.
Erika M. Weinert’s book “Cursing with Style,” shown with a bookmark. (Andrea Brown / The Herald)
The F-word is on page 97 of Weinert’s book, with variations that go on for another 20 pages, including FML. Hint: the ML stands for My Life.
The average swearing person says 80 curse words a day, according to the internet. Turns out, an F-bomb can be good for you.
Swearing can relieve stress and reduce pain. One study found it helped drivers cope with their frustration on the road.
(WTF: People actually get paid to study this stuff?)
Another study found that people who held their hand in icy water while cursing lasted 50% longer than those who used neutral words.
It might not be worth getting your mouth washed out with soap, though.
Andrea Brown: 425-339-3443; abrown@heraldnet.com; Twitter: @reporterbrown.
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US Health Agency Set to Mandate Machine Translation Post-Editing for 'Critical Text' - Slator - Translation
Professionals and lay people seem to agree: Machine translation (MT) systems are still not fit for use in certain medical situations, as evidenced by a 2021 study on the use of Google Translate in the ER.
Now, the US Department of Health and Human Services (HHS) has chimed in with its take on MT in a new proposed rule to Section 1557 of the Affordable Care Act. The proposed rule, among other things, outlines when and how machine translation (MT) may be used for healthcare-related communications.
Crucially, it states that MT output must be reviewed by a “qualified human translator” for content that is “critical to the rights, benefits, or meaningful access” of the patient, when accuracy is essential, and so on.
The document defines MT as text-based, automated, and instant translations between various languages, sometimes with an option for audio input or output (e.g., speech-to-text), that are produced without the involvement of a qualified human translator.
“While the technology behind machine translation has improved in accuracy, the possibilities of significant consequences from inaccurate translation continue to exist,” the rule states, adding that based on HHS’ review of the literature, “all studies indicated error rates so high as to be ‘unacceptable for actual deployment in health settings.’”
“Context-dependent nature of common words in specialized health and medical domains […] are causing subtle yet clinically significant errors and confusion” — Wenxiu Xie, Meng Ji, et al. in the International Journal of Environmental Research and Public Health
The rule also cites anecdotal instances of multiple US states and territories receiving complaints from individuals with limited English proficiency (LEP) during the Covid-19 pandemic, related to inaccurate or confusing translations on official government websites, likely generated by MT.
While the HHS proposes that a qualified human translator review MT output in certain critical situations, it stops short of specifying just who might be considered “qualified” for the task.
In fact, the oldest study cited in the proposed rule — a paper from 2013 — acknowledged professionally-trained medical interpreters as the gold standard for communication between LEP individuals and healthcare providers, but noted how community practices increasingly turn to MT when interpreters are unavailable.
Limited Shelf Life of MT Studies
Another source, a 2018 review of 18 studies covering MT in clinical settings between 2006 and 2016, showed its age in its conclusions: “In comparison studies, statistical machine translation systems were more accurate than rule-based systems when large corpora were available.”
A 2021 study cited by the proposed rule to Section 1557, on the other hand, attributed significant improvement in MT accuracy and quality to the advent of neural MT, widely accepted as the sine qua non in the field since roughly 2016.
That study, published in the International Journal of Environmental Research and Public Health, introduced a “risk prevention mechanism” to help healthcare providers assess the risk of “clinically significant mistakes” when using MT (specifically Google Translate for English–Chinese).
The authors concluded that complex medical jargon is no longer the greatest challenge for MT, suggesting instead that the “context-dependent nature of common words in specialized health and medical domains […] are causing subtle yet clinically significant errors and confusion.”
That said, a 2020 meta-analysis of published research (from 2000 onward) regarding the use of raw MT in healthcare “did not come across cases where MT was the documented cause of ill-suited medical advice or other serious healthcare issues.”
The paper did, however, point to “interactive phrase dictionaries” as potentially more promising than MT in healthcare settings — although, much like MT, “there is no standardized method for evaluating the technology in these contexts.”
Monday, August 15, 2022
To Foreignize or to Domesticate: Notes After Leading a Translation Seminar - lareviewofbooks - Translation
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I begin by quoting a passage that Walter Benjamin quotes in his seminal essay “The Task of the Translator”:
The basic error of the translator is that he preserves the state in which his own language happens to be instead of allowing his language to be powerfully affected by the foreign tongue. […] He must expand and deepen his language by means of the foreign language. It is not generally realized to what extent this is possible.
What most strikes me as I read this is the last sentence. I have often, I say, worried away for months about whether or not a particular sentence of a translation is possible in English, or whether it is over the top. Then I have seen it in proof, or in a published volume, and wondered what on earth I was anxious about.
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One of the finest prose translations of the last century, I believe, is the S. S. Koteliansky/D. H. Lawrence/Leonard Woolf translation of Ivan Bunin’s short story “The Gentleman from San Francisco.” Koteliansky provided a literal version; this was edited first by Lawrence, for publication in The Dial, then by Leonard Woolf, for a book published by the Hogarth Press. Lawrence and Woolf both had a light touch as editors; they knew when to leave well alone. They understood that an intelligent literal translation often needs only the most delicate of adjustments to become poetry. Wanting to move from generalities to discussion of a specific text, I hand out a page with a few excerpts from this translation.
a) “Naples grew and drew nearer. The brass band, shining with the brass of their instruments, had already assembled on deck.”
This is strikingly vivid and almost literal, though the repetition of “brass” is not in the original. Bunin has muzykanty (musicians) where the translators have “brass band.” I am surprised that this pleasingly brassy repetition attracts criticism from some of the group. I have often noticed how often people want me to edit out any repetitions, any archaisms, any inversions from my own translations. Is there perhaps today an element of the puritanical in many people’s attitude towards language?
b) “strings of bare-shouldered ladies rustling with their silks on the staircases and reflecting themselves in the mirrors”
“Reflecting themselves” is both brilliant and outrageously literal — the Russian is a standard reflexive form which most people would have translated simply as “being reflected.” “Reflecting themselves” suggests that the ladies are engaged in an activity, perhaps making the tiniest of movements as they scrutinize themselves. It also carries a hint of “reflecting upon themselves”; on their way down to dinner, the ladies feel self-conscious.
c) “A heavy fog hid Vesuvius to the base, and came greying low over the leaden heave of the sea”
Russian often uses verbs of color where English uses the verb “to be.” “A tree was greening at the end of the garden,” for example, is a literal translation of an entirely normal Russian sentence. “Came greying low” seems to me very successful indeed. A literal translation would be “was greying low.” Changing “was” to “came” does just enough to accommodate the un-English idiom, without making it any less strange or vivid. Rhythmically, the second half of the sentence is perfect.
d) “he began to make preparations as if for his wedding. He turned on all the electric lights, and filled the mirrors with brilliance and reflection of furniture and open trunks.”
The millionaire thinks he is getting ready for dinner; rather than getting married, however, he is about have a heart attack and die. The translators have rightly chosen not to add articles to any of the nouns at the end of this sentence. Russian has neither definite nor indefinite articles; a more plodding translator would have written something like “filled the mirror with the brilliance and reflections of the furniture and open trunks.” The transcendental — or mock-transcendental — quality of this moment would have been lost.
e) “where the lonely parrot woodenly muttered something as he bustled himself in his cage”
Here, I think Lawrence slipped up. “Bustled himself,” like “reflecting themselves,” is hyper-literal. Unlike “reflecting themselves,” it is odd without being interesting or expressive. I imagine that Leonard Woolf felt the same. By the time of the story’s second publication “bustled himself” had been changed to “bustled about.”
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While preparing for the seminar, I realized that today’s debates about translation contain little that is new, little that was not said — usually more clearly — during the great 16th- and 17th-century debates on translating the Bible. The vivid language of those debates was, to a striking degree, dominated by a single central metaphor: that of light. The Puritans, in their Bible as in their churches, wanted clarity above all; they had no time for deliberate mystery or obscurity, for stained glass or its literary equivalent. The Catholics and High Anglicans, on the other hand, were more afraid of creating an illusion of clarity, of misleading people into thinking they understand mysteries that lie beyond understanding. In today’s jargon, they were foreignizers. The Rheims-Douai Bible, the Catholic translation published in 1582 (The New Testament) and 1610 (The Old Testament) has been described by Benson Bobrick in his study Wide As the Waters (2011) as “an eminently learned, often excellent English version of the text studded with Latinate terms and phrases in which words were either transliterated or retained in their original form.” Some of their coinages have entered the language; some, like “inquination” and “correption,” are as incomprehensible to most people today as they were at the time.
These translators were following in the footsteps of one of Henry VIII’s most conservative bishops, Stephen Gardiner. According to Bobrick, Gardiner came to a 1542 meeting about the translation of the Bible with a list of 99 Latin words,
“which for their genuine and native meaning, and for the majesty of the matter in them contained,” he thought should not be translated at all, but only Anglicized. The list included: poenitentia (penitence or penance); caritas (love or charity); gratia (favor or grace); ecclesia (congregation or church); sacramentum (mystery or sacrament); simulacrum (image); idolum (idol); spiritus sanctus (holy ghost); benedictio (blessing); adorare (to worship); and elementa (rudiments).
These words, in Gardiner’s view, were so important, and so sacred, that it was better not to translate them at all than to translate them imperfectly. The Protestants, not surprisingly, had little time for this way of thinking:
“Wanting the power to keep the light of the Word from shining,” one of them wrote, “[Gardiner] sought, out of policy, to put the light of the Word in a dark lantern … to teach the laity their distance; who, though admitted into the outer court of common matter, were yet debarred entrance into the holy of holies of these mysterious expressions, reserved only for the understanding of the high priest.”
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I recently encountered the same arguments as those put forward by Gardiner and the Catholic translators of the Bible in a book by a Polish journalist, Mariusz Wilk. The original, Polish text of his Journals of a White Sea Wolf, an account of two years he spent in the Solovky Islands in the White Sea, is — like the Catholic Bible — studded with foreign words and phrases; Wilk’s untranslated words, however, are not Latin but Russian. Wilk feels torn between two opposite wishes. On the one hand, he passionately wants to understand and explain Russia; after traveling huge distances and feeling that the country always somehow escaped him, Wilk thought he might do better to stay in one place and explore it more deeply — and the Solovky Islands, he felt, were a microcosm of the entire country. On the other hand, Wilk clearly has a deep feeling that Russia will always resist both his own understanding and that of his readers. It is precisely in order to emphasize Russia’s alienness, to prevent readers from glibly translating Russian reality into their own familiar terms, that he leaves so many words untranslated, as well as leaving peculiarly Soviet bureaucraticisms or awkward bits of slang in the original Russian; he even chooses not to translate the word for potato, “kartoshka.” It is impossible, he says, for foreigners to imagine the almost transcendental importance of the “kartoshka” in the lives of the inhabitants of the islands. And so, like a contemporary Bishop Gardiner, he has studded his Polish with words from an alien tongue.
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Shortly before the Passover, according to Saint Mark, a woman pours “ointment of spikenard” over Jesus’s head. In the King James Bible, the story continues as follows:
And there were some that had indignation within themselves, and said, Why was this waste of the ointment made? For it might have been sold for more than three hundred pence, and have been given to the poor. And they murmured against her. And Jesus said, Let her alone; why trouble ye her? she hath wrought a good work on me.
This story encapsulates the perennial battle between puritanical good sense and the love of ritual and celebration. Exactly the same battle, curiously, has been fought with regard to the question of how the “murmurers” complaint should be translated. Martin Luther quotes this sentence as it appears in the Vulgate, “Ut quid perditio ista unguenti facta est?” and continues,
If I follow those literalist donkeys, then I have to render it as “Why has this losing of the ointment occurred?” But what sort of German is that? What German person would say, “Losing of the ointment has occurred”? And even supposing he can make sense of it, he will think that the ointment has been lost and that perhaps he should go and look for it […] What a German would say is […] “Why such a waste?” [or] “It’s a waste of good ointment.” That is good German.
Luther, as always, writes clearly and sharply, but he ignores the fact that the language of the Vulgate has been deliberately heightened. Clearly no lover of mystery and extravagance himself, Luther would, I suspect, have been one of those who “murmured against” the woman. Four hundred years later, the translators of the New English Bible followed his lead with their clear, idiomatic, no-nonsense “Why this waste?’
The translators of the King James Bible, however, achieved something different — and perhaps more profound. “Why was this waste of the ointment made?” might seem to be exactly the kind of translation Luther was criticizing; it is certainly not idiomatic English. Considered more deeply, however, this literal translation is eloquent — both rhythmically and through its suggestion that the woman who pours ointment on Christ’s head has not wasted something but has acted creatively, has made something. She is, without knowing it, preparing Jesus for his final drama, for the Last Supper and Crucifixion. As Jesus himself says, she has “wrought a good work.” [1]
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In principle, I say, my sympathies are on the side of the foreignizers. All too often, however, I see their arguments being used in order to defend poor translations. Plausible statements about reproducing the original “in all its uniqueness” or “in all its oddity” serve to introduce work that looks as if it has been dashed off with no thought at all. As I say this, there is a general murmur of assent; the participants in the seminar, mostly practicing translators rather than academics, clearly feel the same.
It is easy enough to write odd English; it is harder to write English that is convincingly odd. The best translators, I suggest, are those who are willing to be bold and extravagant when this is appropriate but who also know when to be simple. The King James Bible, for example, is full of eloquent Hebraicisms, but it does not employ a large vocabulary, and many of the most memorable verses, like the following, are remarkably simple: “When the morning stars sang together, and all the sons of God shouted for joy.”
Another important point is that, for the main part, interesting English versions are likely to emerge not so much because translators want to write unusual English as because they feel they have no choice; they are compelled to write unusual English because more ordinary English cannot convey what is important in the original. Mary Phil Korsak’s translation of the Book of Genesis, for example, is shockingly different from any previous translation, but what motivates her to disrupt normal English syntax and vocabulary is not simply a love of exoticism. On the contrary, she justifies what might seem high-handed treatment of English vocabulary with convincing clarity:
In some rare cases, the systematic adoption of one and the same word in the target language involves an adaptation of English to Hebrew usage. By way of an example I will take the verb yalad, which I have translated by “to breed.” In Hebrew yalad is used for men, women, and animals. […] I suggest that the use of a single verb for humans and animals implies kinship between the species. […] The noun toledot is formed from the same root as the above-mentioned verb yalad. […] I have translated toledot by “breedings”:
These are the breedings of the skies and the earth at their creation.
This is the record of the breedings of Adam.
The breedings of Noah […] of Esau, of Jacob! A single root links animal life, human life, and the life of the universe. Through these cross-connections the whole of creation and the whole of human history are seen to be united in a single process of birth.
Korsak has not, like the early translators of the Bible and the classics, brought new rhythms and intonations into English literature. The power of her work arises from something different — from the unusual degree of attention she has brought to bear on each individual word of the original text.
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Advocates of foreignizing often say that a translation should sound like a translation; it is wrong, they say, to assume that a perfect translation into, say, English should sound as if it were originally written in English. This view may be dangerous if taken too far; nevertheless, there are certainly occasions when it is helpful to be honest, to lay bare the nature of the genre in which one is writing. Mary Phil Korsak, for example, can emphasize her point about the kinship between humanity, the animal kingdom, and the universe as a whole only by drawing the reader’s attention to the foreign words she is importing from a foreign world.
I have myself been trying for some time to introduce the word toskà into English. In our translation of Platonov’s Happy Moscow, my collaborators and I have consistently left the word untranslated. In my preface I quote Vladimir Nabokov’s explanation of this quintessentially Russian word, a word that is central to Russians’ understanding of themselves:
No single word in English renders all the shades of toskà. At its deepest and most painful, it is a sensation of great spiritual anguish, often without any specific cause. At less morbid levels it is a dull ache of the soul, a longing with nothing to long for, a sick pining, a vague restlessness, mental throes, yearning. In particular cases it may be the desire for somebody or something specific, nostalgia, lovesickness. At the lowest level it grades into ennui, boredom.
After my reading of this quotation, one of the participants in the seminar remarks that no one expects Nabokov to explain the word ennui. At some point, however, it must have seemed as alien as the word toskà does today.
What I have come to realize more and more, however, is the complexity of the factors that determine whether or not a particular foreign word is acceptable in a particular context. In Happy Moscow, one of Platonov’s most complex and discordant works, my collaborators and I felt able to use toskà quite frequently. Sometimes this is because Platonov himself calls attention to the word. Here, for example, the word toskà is not necessary to the sense of the sentence and therefore attracts considerable emphasis in the original: “[The musician] said he was playing for himself now, because he felt melancholy and full of toskà; he was unable to go to sleep until dawn, and that was still a long way off.” Sometimes it is because of the power and strangeness of Platonov’s imagery that it seemed right to use an unfamiliar word:
In the daytime Sartorius was nearly always happy, satisfied by the work he was doing, but during the nights, as he lay on his back on heaps of old files, toskà was born inside him, a restless yearning that grew up from beneath the bones of his chest like the tree that climbed towards the vaulted ceiling of the Old Merchants’ Arcade and rustled its black leaves there.
Sometimes the unfamiliar of the word in English serves to intensify a horror that is present in the original but which could easily be lost in translation: “It was impossible for him to remain the same uninterrupted person, he was being gripped by toskà.”
To our surprise, however, we found ourselves unable to use the word toskà when we came to translate Soul, Platonov’s Central Asian novel. Soul is a more coherent, more optimistic, and less jagged work than Happy Moscow. The language is less rebarbative; it calls less attention to itself. Platonov uses the word toskà a number of times, but it does not represent such an inescapable and overwhelming force as in Happy Moscow. Perhaps for these reasons, perhaps for reasons I cannot articulate, it never felt right to use toskà in our translation of Soul. Each time we tried to use the word, it unbalanced the sentence. Here, for example, it seems merely distracting: “[A]nd his heart grew exhausted from wandering, from the memory and toskà he felt for Ksenya, Aidym, and Khanom.” We ended up replacing toskà with “longing.”
Another occasion when I have deliberately left a word untranslated is in my translation of Eugène Guillevic's Carnac. This poem cycle is a meditation on the megalithic site in Brittany, on the stones and the sea, on time and space. As well as frequent irregular rhymes on père and pierre, there is a repeated background pun on mère and mer. Most of the time it seemed acceptable to glide over this, since the association between the sea and the mother is clear enough to the reader even without this pun. The following short poem, however, obstinately refused to be turned into English; every possible version seemed limp and lifeless:
Si par hasard tu crois à la valeur des sons
Tu dois bien frissonner
A ce seul nom de mer.
It was only as I was going through the proofs that I realized there was a solution, one that was simultaneously simple and complex:
If you happen to believe in the power of sounds,
Then you must surely shiver
At the mere word: mer.
Incorporating one tiny word of French, which every reader is sure to understand, allows the word “mere” to fill with meaning. As well as the surface meaning, the word evokes not only the French mère but also the old English “mere” meaning “lake” or “sea.” It is a triple pun, and every meaning is relevant. To acknowledge the impossibility of translation does not always mean to admit defeat.
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Amazed as I am at how seldom people mention Ezra Pound these days, I rarely miss an opportunity to mention him myself. I ended the seminar by reading the opening of his translation from the Anglo-Saxon, “The Seafarer.” More than any other translator I know, Pound succeeds both in seeming fresh and modern (even though it is now 90 years since he translated “The Seafarer”) and in evoking another time and another world:
May I for my own self song’s truth reckon,
Journey’s jargon, how I in harsh days
Hardship endured oft.
Bitter breast-cares have I abided,
Known on my keel many a care’s hold,
And dire sea-surge, and there I oft spent
Narrow nightwatch nigh the ship’s head
While she tossed close to cliffs. Coldly afflicted,
My feet were by frost benumbed.
Chill its chains are; chafing sighs
Hew my heart round and hunger begot
Mere-weary mood.
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Robert Chandler’s translations from Russian include works by Alexander Pushkin, Vasily Grossman, Andrey Platonov, and Teffi. He has also written a short biography of Pushkin and compiled three anthologies for Penguin Classics: of Russian short stories, of Russian magic tales, and, with Boris Dralyuk and Irina Mashinski, The Penguin Book of Russian Poetry. His latest translation is Vasily Grossman’s The People Immortal (NYRB Classics, 2022).
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Featured image: “The Anointing of Jesus at Bethany” by Julius Schnorr von Carolsfeld (1794–1872).
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[1] I am indebted for much of this paragraph to Adam Nicolson’s fine Power and Glory: Jacobean England and the Making of the King James Bible (2003).
Hot Summer 2022 New Releases by Women in Translation - Book Riot - Translation
August is Women in Translation Month! Less than 31% of books published in English translation are written by women, according to numbers pulled from the translation database started by Three Percent and Open Letter and now hosted by Publishers Weekly. Founded by literary blogger Meytal Radzinski and now in its ninth year, Women in Translation Month was started to promote women writers from around the world and combat this dreadfully low statistic. As summer rolls around each year, I go through catalogs and read a stack of galleys and pick out some of the titles by women in translation I’m most excited about published in June, July, and August.
With each new year, Women in Translation Month gets bigger, and it’s a joy to see the bookstore displays, literary events, excitement on social media, special sales, and all of the books published around this time of year, often by small independent publishers who make it a priority to include and increase the amount of books they publish by women in translation. This year’s list is a fascinating mixture of debut novels, some returning favorites like author Sayaka Murata and translator Ginny Tapley Takemori, short story collections, poetry, and so much more so I encourage you to check out these hot summer 2022 new releases by women in translation!
Summer 2022 New Releases by Women in Translation
Dogs of Summer by Andrea Abreu, translated by Julia Sanches
I love novels of summer. The kind that capture the sticky heat and restlessness that seeps into everything. Everything is just a little more intense in the summer. The emotions a little closer to the surface. It’s as if someone forgot to turn the volume down even though the pace of the world has slowed. Set in a working-class neighborhood on the Canary Islands, high near the volcano of northern Tenerife, Dogs of Summer is a perfect summer novel that follows two best friends as they come of age and their friendship begins to simmer with desire and violence. The writing is a crave inducing mix of bachata lyrics, Canary dialect, and the language of girlhood — gritty, wild, poetic — an exquisite feat by debut author Andrea Abreu and renowned translator Julia Sanches.
Chinatown by Thuân, translated by Nguyễn An Lý
Acclaimed Vietnamese author Thuận is a recipient of the Writers’ Union Prize, the highest award in Vietnamese literature and Chinatown is her twelfth novel, but her first to be released in English, although I doubt it will be the last. This novel is an intense and propulsive stream of consciousness journey through Hanoi, Leningrad, and Paris as one woman recounts and tries to make sense of her life and past. The question she spins around is: Is it actually possible to forget in order to live? Chinatown is a rich and surprising novel of love, memory, and loss.
When the Night Agrees to Speak to Me by Ananda Devi, translated by Kazim Ali
Acclaimed Mauritian writer Ananda Devi, who readers may know from Eve out of her Ruins and The Living Days, both translated in staggeringly gorgeous prose by Jeffrey Zuckerman, returns with a collection of poetry, this time translated by writer, poet, and translator Kazim Ali. “Let the truth leave these bodies” writes Devi in a complex and personal collection that blends poetry and autobiography and speaks in powerful truths to desire, violence, and aging. This beautiful bilingual collection also includes a translator’s note, a fascinating interview between Devi and Ali, and a short essay on reading Devi’s poetry by academic Mohit Chandna.
Witches by Brenda Lozano, translated by Heather Cleary
Paloma is dead. Her death brings together city journalist Zoe and Paloma’s cousin Feliciana, a renowned Indigenous curandera or healer in the mountain village of San Felipe. Together the two women explore trauma and healing in the wake of deeply engrained societal violence against women and gender-nonconforming people. Brenda Lozano is one of the most striking voices of a new generation of Latin American writers and I’m in awe of her thoughtful blending of these two narratives and styles. And Heather Cleary’s razor sharp translator’s note examines the political and cultural implications of the choices translators make in their work.
Bad Handwriting by Sara Mesa, translated by Katie Whittemore
I adored Sara Mesa’s sharply written and atmospheric novel of power, privilege, and violence, Four by Four, also translated by Katie Whittemore, and was thrilled to see this new short story collection exploring many of the same themes. And while there was sustained terror and tension in Mesa’s novel, these stories feel even stranger and more unsettling in all that is left unsaid inherently in a short story, each pause and ending feel like a sudden drop into darkness. Bad Handwriting is also notably one of the books in Open Letter’s new Translator Triptych program, along with Wolfskin by Lara Moreno and Mothers Don’t by Katixa Agirre, all translated by Whittemore. The program is designed to honor and empower literary translators by emphasizing their role in the discovery, curation, and promotion of international literature.
Talk to My Back by Yamada Murasaki, translated by Ryan Holmberg
Drawn & Quarterly has the most fantastic offerings of literature in translation and so I was thrilled to hear about this first English translation of Yamada Murasaki’s groundbreaking alt-manga Talk to My Back. The comics were originally serialized in the influential magazine Garo from 1981–1984 when few women were creating alternative manga. Yamada details the interior lives of women in the collection, addressing domesticity, womanhood, and the failures of the nuclear family in startlingly fresh and poignant observations. I’m grateful to translator Ryan Holmberg and the publisher for bringing this book and Kuniko Tsurita’s critically-acclaimed The Sky is Blue with a Single Cloud to readers who can now enjoy the work of previously unpublished women of the alt-manga scene.
Where Dogs Bark With Their Tails by Estelle-Sarah Bulle, translated by Julia Grawemeyer
Where Dogs Bark with Their Tales is a stunning novel that is both one family’s story and a sweeping epic of Guadeloupe and its diaspora that spans decades and oceans. I haven’t stopped thinking about the novel’s characters since I finished it — each is written so intimately and vividly, especially the matriarch Antoine. And while there’s a lot that’s hard to read here, as Guadeloupe’s history is marked by colonialism and capitalism and we watch this family search and struggle to find their way in the world, it is a powerful and compelling novel from debut author Estelle-Sarah Bulle and brilliantly translated by Julia Grawemeyer.
Life Ceremony: Stories by Sayaka Murata, translated by Ginny Tapley Takemori
Sayaka Murata is widely admired for her short stories in Japan so it’s thrilling to see Life Ceremony, Murata’s first short story collection available in English, out this summer in another striking translation by Ginny Tapley Takemori. In the same vein as Convenience Store Woman and Earthlings, this strange, beguiling, and unconventional collection looks closely at societal expectations and pressures to conform to dizzying effect. Her characters are often outcasts and loners, or they exist just on the edge of cultural norms and traditions, and Murata, with humor and brilliance, teases out startling truths about relationships, belonging, individuality, and ultimately the nature of humanity.
For more great reads by women in translation, check out this list of 50 Must-Read Books by Women in Translation.
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