A Quote by Etgar Keret

I write in a slangy colloquial speech that has not been common in the Israeli tradition of writing, and that is one of the things that gets lost a little in translation. — © Etgar Keret
I write in a slangy colloquial speech that has not been common in the Israeli tradition of writing, and that is one of the things that gets lost a little in translation.
When my works are being translated, I always get this question from my translators: Up or down? Which means, should it sound biblical and highbrow, or should we take it all down to sound colloquial? In Hebrew, it's both all the time. People in Israel would write in a high register, they wouldn't write colloquial speech. I do a special take on colloquial speech.
People in Israel would write in a high register, they wouldn't write colloquial speech. I do a special take on colloquial speech. When I started writing, I thought [the language] was telling the story of this country: old people in a young nation, very religious, very conservative, very tight-assed, but also very anarchistic, very open-minded. It's all in the language, and that's one thing that doesn't translate.
There's something, I think, that gets lost when we write something - something gets lost in the translation. So I speak everything out, and it's more important how it sounds. And applying that to more formal aspects of writing.
Translation is the paradigm, the exemplar of all writing.... It is translation that demonstrates most vividly the yearning for transformation that underlies every act involving speech, that supremely human gift.
I began to write in the first place because I expected everything to change, and I wanted to have things in writing the way they had been. Just a little things, of course. A little of my little.
If anything is scary about my writing, it's that it's the product of a very particular vision and doesn't reference common speech that heavily. By 'common speech,' I don't mean language as much as an agreed-on way of seeing, or a shorthand.
Songwriters I've always been drawn to are people who deal with something of depth in the lyric writing. ...I've always been influenced by the folk song, the storytelling tradition in folk music. And so for years I wrote mostly story songs. I still do that, but as I've gone on, it's gotten a little more personal. I used to write mostly in the third person. I write a little more in the first person now.
The magic gets lost in translation.
Poetry is what gets lost in translation.
Having been borne across the world, we are translated men. It is normally supposed that something always gets lost in translation; I cling, obstinately, to the notion that something can also be gained.
The oldest cliché in the world is about "what's lost in translation," but you don't very often read much intelligent about what's gained by translation, and the answer is everything. Our language is a compendium of translation.
I'm more interested in moving toward writing stories - thinking about the graphic novel form, and just something more long-form. I did a lot of literary translation in college. Translation is an art. But for sure writing has always been a part of how I think through my ideas.
Many great writers have been extraordinarily awkward in daily exchange, but the greatest give the impression that their style was nursed by the closest attention to colloquial speech.
The pen will never be able to move fast enough to write down every word discovered in the space of memory. Some things have been lost forever, other things will perhaps be remembered again, and still other things have been lost and found and lost again. There is no way to be sure of any this.
The world is full of CEOs that think that just because they write a memo or they write a letter inside an annual report or they give a little video speech that gets sent around the company, they think that's what's really going to affect employees.
What gets lost in the textbook is the overall narrative. It gets lost in all the boxes and all the photos and all the little stuff that's stuck in all the time.
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