Monday, July 3, 2023

7 Contemporary Finnish Novels in Translation - Electric Literature - Translation

Electric Literature recently launched a new creative nonfiction program, and received 500 submissions in just 36 hours! Now we need your help to grow our team, carefully and efficiently review submitted work, and further establish EL as a home for artful and urgent nonfiction. We’ve set a goal of raising $10,000 by the end of June. We’re almost there! Please give what you can today.

While Finland is often depicted as a uniform country in which people are more likely to engage in cold-water swimming than small talk, the population is by no means homogenous, and there is no better place to see this than in the diversity of Finland’s contemporary literary scene.

Shaped by histories and narratives of exclusion and survival, Finnish authors are blurring the lines of genre to tell new stories in luminous, captivating prose. These prize-winning contemporary novels engage with the effects of war and inequality and offer deeply compelling explorations of what it means to be human.

The novel that I translated from Finnish to English is The Red Book of Farewells by Pirkko Saisio. With her experimental prose and long career starting in the 1970s, Pirkko Saisio can be seen as an influence on many of these writers. The Red Book of Farewells offers a beautiful portrait of a young woman finding her voice in 1970s Helsinki.

Here are seven Finnish novels I consider essential reading:

Bolla by Pajtim Statovci, translated by David Hackston

Born to Albanian parents in Kosovo in 1990, Pajtim Statovci fled with his family to Finland when he was two. Themes of exile, identity, and war feature prominently in each of his novels, and in Bolla, his latest, he delivers a tragic love story with his characteristically beautiful and propulsive prose. Set in Kosovo in 1995, the story revolves around Arsim, a newly married university student, and Miloš, a Serb. The two meet one day in a café, and their attraction to one another leads them into a secret but doomed affair: Arsim is forced to flee the war with his family, and Miloš is sent to the front line. They meet again at the end of the novel, broken by their experiences and an unforgiving society who cannot accept them for who they are. The bolla, a snake-like creature from Albanian mythology, appears throughout as an ambivalent symbol of hope and forbidden desire. 

The Union of Synchronized Swimmers written and translated by Cristina Sandu

Like Statovci, Cristina Sandu grew up between two cultures, and she was born into a Finnish-Romanian family in Helsinki. In her second novel, she follows the lives of six young women who form a synchronized swim team in an unnamed Soviet bloc country in order to escape to the West. Once a tight unit always moving together in sync, they scatter to places like Helsinki, Rome, and California. These women do not necessarily find happiness or freedom; instead, their stories detail their aching inability to fit in, their desperate attempts to earn money and some semblance of security, and the vulnerability of being female. Each woman’s story delves deep into the heart of loneliness and the harsh realities of trying to survive in society as an outsider.

Purge by Sofi Oksanen, translated by Lola Rogers

A Finnish-Estonian writer, in Purge Oksanen depicts the corrosive effects of fear, torture, and jealousy during Stalin’s purges and the post-war Soviet occupation of Estonia. The story centers on two women, Zara, a sex trafficking victim who manages to escape her captors, and Aliide, an elderly woman who reluctantly takes her in and has her own secrets to hide. Zara is looking for her grandmother Ingel’s home in Estonia, who as it turns out was Aliide’s sister. A chilling drama plays out between them as the chapters alternate between the horrors both women have suffered and their distrust of one another, and it is only at the end of the novel that readers find out whether Aliide will ultimately save her own flesh and blood. 

When I Forgot by Elina Hirvonen, translated by Douglas Robinson

In Elina Hirvonen’s accomplished debut, a young journalist named Anna Louhiniitty is trying to come to terms with the trauma of her past: the years she has spent trying to protect her mentally ill older brother, Joona, and the generational trauma she has inherited from her family and the legacy of WWII. She is sitting in a café, attempting to read Michael Cunningham’s The Hours, given to her by her lover Ian, a visiting lecturer from the U.S. It’s just over a year after 9/11, and as Anna processes her memories, she also tells us Ian’s story, who has suffered his own trauma as a bullied child with a father who succumbed to mental illness in the Vietnam War. In Hirvonen’s lucid prose, Anna grapples with her painful memories, as well as those of Ian and her family, and slowly begins to find the words to name her experiences and accept them. As she ends her quiet afternoon in the café, she knows she can go on, one day at a time.

Troll: A Love Story by Johanna Sinisalo, translated by Herbert Lomas

In this masterpiece, a photographer nicknamed Angel finds an abandoned troll cub by the trash cans outside his apartment building. He feels compelled to take the enchanting creature home, and so begins Angel’s obsession with his new companion, which in the novel’s world is a real but very rare species. The novel is interspersed with excerpts from reference works that Angel consults to learn about the troll as well as Finnish novels that highlight the uncomfortable, fearful relationship humans have with other animals. Told in the first person, the narrative perspective also changes and includes various other outsiders who are part of Angel’s world: Ecke, Angel’s young and eager suitor; Dr. Spiderman, Angel’s ex-boyfriend and a veterinarian, and Palomita, an abused Filipino mail-order bride who lives with Angel in the same building. As Angel’s obsession with the troll deepens, he takes ever more desperate steps to hide it, but ultimately he is unable to prevent the violent ending the troll brings about.

The Colonel’s Wife by Rosa Liksom, translated by Lola Rogers

Veteran author Rosa Liksom delivers her darkest tale to date in this exploration of an unnamed woman enamored with fascism and her violent husband and idol known simply as “the Colonel.” The protagonist eagerly joins the Colonel on his trips to Germany in the late 1930s and early 1940s, a time when the Nazi top brass were supporting Finland in its efforts to rebuff Soviet advances on Finnish territory. However, the Nazis eventually turn against the Finns, and in his rage and disappointment, the Colonel becomes increasingly abusive towards his wife. Told in the first person, readers cannot escape the protagonist, who is by turns loathsome and sympathetic. Liksom based the colonel’s wife on a real person named Annikki Kariniemi and thus offers a fascinating portrait of a complex character from the beautiful wild lands of northern Finland.

White Hunger by Aki Ollikainen, translated by Emily and Fleur Jeremiah

This haunting debut novel takes place during the Finnish famine of 1867 which wiped out 15-20% of the population. This novel follows Marja and her young daughter and infant son on their journey south to Helsinki to find food, and the sparse, tightly-controlled prose is gripping in its relentless depiction of starvation and its effects: the desperate attempts to make bread out of lichen (often poisonous), pine bark, and even ground up bones; how a child’s long-empty belly bursts after eating too much thin gruel all at once; the dehumanization of Marja and her children who are abused and denied food and lodging again and again. Their misery is further emphasized by the story of two well-heeled brothers in Helsinki, one a doctor, and the other a government official, who remain personally unaffected by the mass starvation around them. All the while hunger blazes white through the long winter and constant blizzards, leaving only Marja’s infant son to survive the ordeal at the end. 

Adblock test (Why?)

Definitions of Popular Gen Z Terms from the Founding Fathers ... - McSweeney's Internet Tendency - Dictionary

“Streaming” [verb / strEEm-ing]: Crossing a medium-sized body of water in short trousers to rescue one’s horse and carriage from sudden peril.

“Bop” [noun / bäp]: The sound of George Washington’s hand-crafted Masonic gavel landing on a ceremonial cornerstone.

“Cheugy” [verb / chew-ghee]: The act of using one’s wooden teeth to thoroughly masticate turtle soup.

“Taylor Swift” [noun / TAY-lor SWIH-ft]: A tradesperson who can alter silken blouses at an exceptionally quick pace.

“Bougee” [noun / BOO-jee]: The name of Thomas Jefferson’s childhood kitten.

“Clapback” [noun / klap-bAk]: An unfavorable condition for a racehorse’s spine.

“Ded” [adjective / DEH-d]: Obituary delivered via illiterate messenger.

“G.O.A.T.” [noun / GOH-t]: A delicious hearty stew.

“Texting” [verb / tEk-st-ING]: The act of carrying flat wooden printing platen across town in large satchels typically made from wool and miscellaneous hides.

“Stan” [noun / STAN]: James Madison’s personal errand boy.

“Lit” [adjective / LIT]: Candlelight used to brighten one’s living quarters in an effort to ward off complete and total darkness.

“Dank” [adjective / DAHN-keh]: Damp/musty conditions, typically used to describe wine cellars, houses of repentance, and Benjamin Franklin’s living room.

“Fire” [noun / fIEUH]: Inexorable natural disaster.

“Spilling the Tea” [expression / SPIL-ing thuh TEE]: An extreme act of American mercantile protest.

“Wig” [noun / WHIG]: 1. A delightful white hair piece used to cover childhood quill scars and uneven balding. 2. A frightening threat to democracy.

“Big Yikes” [expression / BIG YYKS]: Smallpox.

Adblock test (Why?)

Dictionary with over 6500 words in Maya and Spanish integrated - The Yucatan Times - Dictionary

More than 6,500 Maya words have been translated into Spanish and integrated into a dictionary as part of the work carried out by the Autonomous University of Yucatán (UADY), in collaboration with Sedeculta, to create the first Peninsular Linguistic Corpus, stated Karina Abreu Cano, the coordinator of the UADY’s Institutional Language Center.

What is a linguistic corpus?

It is a collection of texts or language samples used for the study and analysis of a language. They can be written, spoken, or a combination of both, gathered from various sources such as books, articles, newspapers, conversation transcriptions, websites, and any other form of written or oral communication.

What is its objective?

To strengthen and preserve the Maya language as a valuable tool for teaching and academic projects related to this native language. This tool will also allow the creation of materials for language instruction, whether for speaking or writing; the generation of digital or interactive dictionaries; text predictors, among many other academic uses.

How much progress has been made in the study of the Maya language?

We already have a dictionary of 6,586 Maya-Spanish words, 65 affixes, and we have documented 68 linguistic variants throughout the Peninsula.

Is there only one Maya language?

Due to dialectal variations, there can be dozens of linguistic variants. We aim to cover the majority of areas where these variants are spoken. Some of the communities where Maya speech is analyzed include Tekax, Tahdziú, Pixila, Texán de Palomeque, Hunukú, Dzonot Carretero, and Tizimín in Yucatán; Dzitbalché in Campeche; and Tuzik, San Silverio, and Sabán in Quintana Roo.

Where do you obtain the information?

This Linguistic Corpus will also be based on the collection of audiovisual materials, for which we have the support of the Kellogg Foundation. The goal is to compile these materials in the Maya language and then process them for glossing.

What will be done with all this data?

The objective is to upload this work to a platform, which we are developing in collaboration with the Ministry of Culture and the Arts of Yucatán and CentroGeo. Through this project, a digital platform will be created that can be accessed by anyone to consult materials such as audios, videos, and images.

Who is involved in this research?

The compilation of information involves the Institutional Language Center of the Autonomous University of Yucatán (UADY), the Ministry of Culture and the Arts of the State of Yucatán (Sedeculta), and the Center for Research in Geospatial Information Sciences.

TYT Newsroom

Adblock test (Why?)

Translation is an art: why translators are battling for recognition - The Guardian - Translation

They have often been overlooked in the artistic and literary process, but translators have long claimed they have the power to change everything.

There are tales of myths being born, societies being forged and cities destroyed with just a slip of the pen, such as the supposed translation error that allegedly led to the US deciding to drop the atomic bomb on Hiroshima, or the speculation about life on Mars after the mistranslation of an Italian astronomer.

“[In the literary world] there are entire studies dedicated to tearing apart Constance Garnett’s many translations of Dostoevsky, Chekhov, Tolstoy and Gagol, or Helen Lowe-Porter’s translations of Thomas Mann,” said Richard Mansell, a senior lecturer in translation at Exeter university.

“But there are also plenty of examples where we gain through translation. Would we have the same rich history of the sonnet form in English without the early translations from Petrarch? Or what about the hundreds of expressions in English which stem from the King James Version of the Bible?”

Last week, the work of translators was in the spotlight after the writer Yilin Wang said she did not receive any credit or reimbursement for her translations of the work of Qiu Jin in the British Museum’s China’s Hidden Century exhibition.

The museum has since called it an “unintentional human error”, removed the segments from the exhibition and offered to pay Wang £150 for the time they were displayed.

But for Wang, a translator, poet and editor who lives in Vancouver, the museum’s apology rang hollow. Speaking to the Guardian, she said the removal of her translations felt “retaliatory” and has demanded the British Museum explain its protocol for seeking copyright permissions and outline what had gone wrong.

“It’s really important to respect the labour of translators, who are often erased in publishing and academia,” Wang said. “Publishers neglect to put the name of translators on covers, book reviewers forget to name translators, and now, this happens.

She added: “Translation is an art, and it takes me just as long to translate a poem as it takes for me to write an original one in English. I have to work hard to research the poet, the times they’re living in, and the literary forms they’re working in, then find creative ways to convey the spirit of their work in English. Classic Chinese poetry has many cultural idioms, archaic diction, and completely different grammar and syntactical structures to English.”

This battle for recognition of translators has been raging for a long time, with the Booker-winning translator Jennifer Croft even saying she won’t translate any more books unless her name is on the cover. “Not only is it disrespectful to me, but it is also a disservice to the reader, who should know who chose the words they are going to read,” she said.

The sentiment has grown into a campaign, which led to Pan Macmillan vowing to name the translator on book covers.

“But there’s still a long way to go,” Mansell said. “Of course, translators share many traits with other writers, but there are other skills translators bring to the task, too.”

Shaun Whiteside, the former president of the European Council of Literary Translators Associations , said the incident with the British Museum was “a terrible example of the translator being passed over, or treated as a kind of afterthought”, which was made worse by the removal of Wang’s work from the exhibition.

“As we know, even today translators still often go unmentioned in reviews and even in publishers’ catalogues. Translations don’t just happen on their own, and translators, like any authors, deserve copyright, royalties, and proper credit and remuneration.”

Rebecca DeWald, the co-chair of the Translators Association, said they advocated for translator’s visibility because “you cannot understand what you cannot see”.

“If you don’t know that a book has been translated by a human being, you won’t even begin to think about what thought processes and how much work went into producing the translated text,” she said.

According to DeWald, the debate around AI in translation was emblematic of this misunderstanding. “Languages do not relate to one another in straightforward, one-to-one equivalences, not even the most cognate ones, so they cannot simply be plotted in a table of x in this language equals y in the other.”

Which means the translator always needs to activate their skill in crafting texts the reader wants to read. “It is a different kind of creativity to coming up with the plot for a novel or short story, which involves the imagination of inventing worlds that didn’t exist before. Translation is more closely related to crafting poetry, in that sense, as it is predominantly concerned with language itself.”

Sara Crofts, the chief executive of the Institute of Translation and Interpreting, emphasised that translators played a vital role in building bridges between nations and cultures.

“Yet very often their work is undervalued and invisible. The sign of a good translation is that the reader isn’t aware that it is even a translation, making the translators’ work, by definition, unseen.”

Adblock test (Why?)

Sunday, July 2, 2023

The Disappearing Act of Literary Translation in Full View - The New York Times - Translation

Translators used to be secondary characters in the publishing industry. An issue of The New York Times Book Review aims to put their craft in the spotlight.

Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.

The art of translation was on Gregory Cowles’s mind.

It was the beginning of 2023, and Mr. Cowles, a senior editor on The New York Times Book Review, noticed the section was assigning more reviews of translated books than usual. He had also just finished “Catching Fire: A Translation Diary,” in which the literary translator Daniel Hahn details the challenges and pleasures of rendering a work of art in another language. Mr. Cowles was fascinated by the nuances; it seemed that a thousand translators working with the same passage would most likely yield a thousand different translations.

He approached Juliana Barbassa, the deputy editor for news and features on the Books desk. “There’s this whole question: What is translated? Who decides that? Are we getting a full picture of what’s out there?” Mr. Cowles said.

Both editors saw the potential for a project that would bring attention to the craft in a new way. The first part of their monthslong effort appears as a special issue of The New York Times Book Review this weekend. In it, readers get a glimpse of the world of literary translation. The translator emerges as part expert, part curator and part magician, poring over a book and transforming it into new sentences without leaving fingerprints.

“For a very long time, translators were very much secondary characters. Their names weren’t on the cover, there was little recognition, they had few rights over the work. The pay was, and remains, not great,” Ms. Barbassa said.

The issue aims to show the wealth and diversity of translation work. It includes 13 reviews of translated books from across the globe, including a collection of translations by the famed Irish poet Seamus Heaney, who left an indelible imprint on the works he interpreted. There is an essay on Constance Garnett, who translated more than 70 Russian texts into English and believed deeply in the political ideals she was bringing to English-speaking readers.

The Book Review’s children’s editor, Jennifer Krauss, reached out to Mr. Hahn, whose translation diary had inspired the issue in the first place, to write an essay on the intricacies of translating children’s picture books. For the Book Review’s roundtable discussion, Ms. Barbassa led a conversation with five recognized translators who spoke about their craft in a 21st-century context, tackling thorny questions of funding, access and diversity.

Ms. Barbassa thinks of translation often; she has lived in several countries and speaks English, Portuguese, Spanish and French. “I’ve always lived between languages,” she said. “I think the act of literary translation is this incredibly creative, deeply layered craft and art. But I think that many people, even people who read books in translation, won’t have the opportunity to think about it.”

A feature from the Book Review explores the variety of interpretations that are held in a text. The classicist Emily Wilson, who published a new translation of the “Odyssey” in 2017 and will release one of the “Iliad” later this year, presents a passage from the “Iliad” translated five ways. In renditions from 1611, 1715, 1898, 1990 and 2023 (Ms. Wilson’s), each is marked by a distinct time period, translator bias and style.

The next phase of the project will be published in the coming weeks. Two digital interactive features will give readers an opportunity to follow translators as they work out the puzzles inherent in their work.

The first analyzes passages from two Spanish-language novels, one from Fernanda Melchor’s “Hurricane Season” and another from Alia Trabucco Zerán’s “Clean.” Sophie Hughes, the translator for both books, writes out what the original text intends to convey, and then takes a stab at converting it into recognizable English. The reader follows along as Ms. Hughes goes back, starts again, pauses and reworks the words until each line resembles what feels to her like the most faithful interpretation.

“Quite often we resort, with good reason, to metaphor: Translators are bridges, translators are spies, translators are like musicians. They’re all really helpful,” Ms. Hughes said. “But this was the first opportunity that I have ever had where a visual, illustrative, supplementary hive mind was able to extrapolate what I do when I translate,” she said of the project.

The second interactive feature focuses on the visual history of translating Japanese manga into English. Pitched by Gabriel Gianordoli, a design editor who worked on the project and reader of the Japanese comics, the article demonstrates how initial manga adaptations in the 1980s catered to English readers with extreme modifications and how, over time, modern manga translators have learned to extract more faithful renderings.

Throughout the issue and the digital components, the translators step into the spotlight, shining new light on the thousands of decisions they make that go into the works we read. Mr. Cowles said he hoped readers could begin “thinking a little bit like translators themselves: to be aware of what’s in the world beyond English.”

Adblock test (Why?)

Saturday, July 1, 2023

Rocket Panda Games On Using Machine Translation In Games - Noisy Pixel - Translation

During The Art of Localization and Interpretation panel at Anime Expo 2023, Rocket Panda Games shared their workflow and approach to translating games. Aside from being developers, they also localize games and anime such as Guilt Gear Strive, Phantom Breaker: Omnia, and Belle.

One of the topics that came up during the discussion was the use of machine and AI translation. More and more developers from Eastern regions have been utilizing these tools to release their games in other areas in recent years. However, the final product often comes off as plain and unreadable due to the direct translation style of these tools. This hurts the consumer experience and causes a disconnect if the creator is trying to deliver a specific emotion to players.

During the panel, Senior Localization Coordinator Yuji Moriya addressed how their team uses AI when approaching localization. To be clear, the team seems to know where the industry is heading when it comes to using AI more in the future, but right now, he finds it easier to do it himself over using an AI tool that requires him to re-edit most of the text because it got so much wrong.

Still, it was mentioned that using the tool for terms works surprisingly well, but machine translation is not where it should be to correctly convey creative writing.

Localization and Interpretation Manager Kana Hotta shared that the job requires them to stare at spreadsheets all day. When it comes to Computer Assist Translation (CAT), the tool can be helpful for translating contracts, emails, or legal documents because the words are already straightforward without specific tone and nuance, but this isn’t currently used in their everyday workflow when approaching projects. Still, she likes how there are options to store terms, but this would get in the way of translation because of all the menus you have to go through.

Rocket Panda Games
A look at a typical localization spreadsheet.

Regarding their approach to a project, there’s back and forth between the translator and editor because the text isn’t always finalized when it hits their desks. Sometimes they have to deal with hundreds of files. In a perfect world, Yuji mentions that he would get to play the game or watch the anime first to understand the characters and world better. Further, meeting the creator is also helpful, but most of the time, that’s just not possible, and he has to do that while he’s working on the project. This is primarily due to contracts and expectations from the client.

It seems like machine translation will eventually make its way into larger projects, but as of right now, teams like Rocket Panda Games feel like a human touch is still needed. Although the thought of a tool to make these jobs easier is excellent in concept, the end product is not where it needs to be for consumers.

Adblock test (Why?)

In a word: W3 was definition of 'controversy' - Lewiston Sun Journal - Dictionary

At the time it was called “literary anarchy” by some experts in the field, while some of its supporters found it to be a refreshing change. It was the third edition of Webster’s New International Dictionary, the unabridged tome that was published by the C & G Merriam Company in 1961.

The 13-pound, 2,662-page lexicon contained 475,000 entries (100,000 of which were new) as well as 140,000 etymologies, 200,000 example sentences and 3,000 illustrations. It is said to have taken 757 editor years and cost $3.5 million to produce under the leadership of New Hampshire-born Philip B. Gove, Ph.D, a former Navy man.

Webster’s Third (or just W3) as it became known, replaced Webster’s Second, which had been in print since 1934 and consisted of 3,350 pages and a claimed 600,000 entries, 250,000 of which were the names of people, places and outdated words that Gove thought to be “nonlexical” and were better off in an encyclopedia. They were all given the heave-ho to make room for all the new words included in Webster’s Third.

A famous mistake in the second edition was that it had included the word “Dord,” which isn’t a word (it was supposed to have been “D or d,” a scientific abbreviation for density). But that typo was no big deal compared to the fact that Dr. Gove and his lexicographers had seen fit to include in the third edition the word “ain’t” (which it defined as “are not, is not,” and “am not”).

The New York Times lamented that “Webster’s has, it is apparent, surrendered to the permissive school . . . (and) reinforced the notion that good English is whatever is popular.” The New Yorker even ran a cartoon by Alan Dunn that showed a receptionist at Webster’s telling a visitor, “Sorry, Dr. Gove ain’t in.”

Gove countered the criticism by pointing out that he agreed with Noah Webster that “The basic responsibility of a dictionary is to record language, not set its style.”

The Times conceded in Gove’s 1972 obituary that “He maintained, with other scholars, that the ‘spoken language is the language,’ and that ‘correctness rests upon usage.’ He edited the dictionary from that viewpoint.”

But the furor over putting “ain’t” in the dictionary was just the beginning. Among the other things the book’s critics found fault with was the fact that it was allowing in its pages other words they considered to be colloquialisms. Words like: astronaut, beatnik, drip-dry, litterbug, radiocarbon, schlemiel, solar house, wise up, and zip gun.

A  dictionary, the tome’s detractors objected, was supposed to be prescriptive (telling people how they should talk), not descriptive of how they actually talk. And if that ain’t enough, there was more fault finding to be had.

For one thing, Gove saved space by not capitalizing any word except God, at least until the folks at Kleenex threatened to sue over their brand name being used as a generic term for facial tissue. He also kicked out all the commas except when separating the words in a series (a move he claimed saved about 80 pages). Besides that, he increased the size of the book’s pages and shrunk the size of its type from 6 point down to a squint-worthy agate (5.5 point).

Webster’s third also included in its pages illustrations for some of its definitions with quotes from “down-market authorities” such as actresses Ethel Merman and Bette Grable and mystery writer Mickey Spillane.

For more on Webster’s Third New International Dictionary, check out “The Story of Webster’s Third: Philip Gove’s Controversial Dictionary and Its Critics” by Hebert C. Morton.

And if you’re wondering whether there will be a Webster’s Fourth, it’s evidently been in the works since 2008 but “it is unlikely that Merriam-Webster will ever publish a print version of it due to its unprecedented length.”

Jim Witherell of Lewiston is a writer and lover of words whose work includes “L.L. Bean: The Man and His Company” and “Ed Muskie: Made in Maine.” He can be reached at [email protected]


Use the form below to reset your password. When you've submitted your account email, we will send an email with a reset code.

filed under:

Adblock test (Why?)