A Quote by Kehinde Wiley
My mother introduced to me as a child the world of language: the way in which translation can be a system by which you can understand others.
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Yet some of my friends tell me they understand 50 percent of what my mother says. Some say they understand 80 to 90 percent. Some say they understand none of it, as if she were speaking pure Chinese. But to me, my mother's English is perfectly clear, perfectly natural. It's my mother tongue. Her language, as I hear it, is vivid, direct, full of observation and imagery. That was the language that helped shape the way I saw things, expressed things, made sense of the world
You have this world of mathematics, which is very real and which contains all kinds of wonderful stuff. And then we also have the world of nature, which is real, too. And that, by some miracle, the language that nature speaks is the same language that we invented for mathematics. That's just an amazing piece of luck, which we don't understand.
You have to understand that I'm a child of the second generation, which means my mother was in Auschwitz, and the aunt of my mother was in Auschwitz with her; my grandmother and grandfather died there. So yes. All of those gestures they work for you, or for them, to fill their time or not feel their anxiety. But the child feels everything. It doesn't make the child secure. You put the child in a jail.
The world is mental in some way that we do not yet understand, but that which we're edging toward understanding. And the world is made of language. I can't say that enough. Whenever we get into these discussions about reality, or effects in space and time, we are operating outside this assumption that the world is made of language.
The continually progressive change to which the meaning of words is subject, the want of a universal language which renders translation necessary, the errors to which translations are again subject, the mistakes of copyists and printers, together with the possibility of willful alteration, are themselves evidences that human language, whether in speech or print, cannot be the vehicle of the Word of God.
I don't speak any languages well enough to make an expert assessment on writing in translation, but since I'm interested in awkwardness in prose, I find I like the way translated texts can sometimes acquire awkwardness in the process of translation. There's a discordance translation can create which I think is sometimes seen as a weakness but which I think can be a really interesting aspect of the text.
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've been a lot more into Facebook and Twitter and Instagram, which was a bit complicated for me to understand the language of each social media, because they all talk in different ways. It's a nice way for me to tell people I appreciate them, which I forget to do sometimes.
I dream for a world which is free of child labour, a world in which every child goes to school. A world in which every child gets his rights.
Music makes me forget my real situation. It transports me into a state which is not my own. Under the influence of music I really seem to feel what I do not feel, to understand what I do not understand, to have powers which I cannot have. Music seems to me to act like yawning or laughter; I have no desire to sleep, but I yawn when I see others yawn; with no reason to laugh, I laugh when I hear others laugh. And music transports me immediately into the condition of soul in which he who wrote the music found himself at that time. ~The Kreutzer Sonata
Poetry is not the language we live in. It's not the language of our day-to-day errand-running and obligation-fulfilling, not the language with which we are asked to justify ourselves to the outside world. It certainly isn't the language to which commercial value has been assigned.
A world in which others controlled the course of their own development, would be a world in which the American system would be seriously endangered.
In translation studies we talk about domestication - translation styles that make something familiar - or estrangement - translation styles that make something radically different. I use a lot of both in my translation, and modernism does both. For instance, if you look at the way James Joyce presents Ulysses, is that domesticating a classic? Think of it as an experiment in relation to a well-known text in another language.
I used to watch a lot of American and British television as a child, which helped teach me the language and accents; it was partly that which landed me the part of Roxy in a London production of 'Chicago' when I was 25.
Being a slow reader would normally be a deficiency; I found a way to make it an asset. I began to sound words and see all those qualities - in a way it made words more precious to me. Since so much of what happens in the world between human beings has to do with the inconsideration of language, with the imprecision of language, with language leaving our mouths unmediated, one thing which was sensuous and visceral led to, in the use of language, a moral gesture. It was about trying to use language to both exemplify and articulate what good is.
There was another thing I heartily disbelieved in - work. Work, it seemed to me even at the threshold of life, is an activity reserved for the dullard. It is the very opposite of creation, which is play… The part of me which was given up to work, which enabled my wife and child to live in the manner which they unthinkingly demanded, this part of me which kept the wheel turning - a completely fatuous, ego-centric notion! - was the least part of me. I gave nothing to the world in fulfilling the function of breadwinner; the world exacted its tribute of me, that was all.
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