A Quote by Michael Cunningham
I encourage the translators of my books to take as much license as they feel that they need. This is not quite the heroic gesture it might seem, because I've learned, from working with translators over the years, that the original novel is, in a way, a translation itself.
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I have a deep love for the art of translation, and I couldn't find a novel that captured the fascinating, reckless adventure of it as I'd experienced it, or portrayed translators as the passionate risk-takers that so many of the translators I know are. So I wrote the book I couldn't find.
Common European thought is the fruit of the immense toil of translators. Without translators, Europe would not exist; translators are more important than members of the European Parliament.
There is an old Italian proverb about the nature of translation: "Traddutore, traditore!" This means simply, "Translators-traitors!" Of course, as you can see, something is lost in the translation of this pithy expression: there is great similarity in both the spelling and the pronunciation of the original saying, but these get diluted once they are put in English dress. Even the translation of this proverb illustrates its truth!
I write my novels in English first; then they are translated into Turkish by professional translators. Then I take their translation and rewrite. So basically, I write the same novel twice.
I am not one of those translators who think that working closely with the writer will yield the best translation.
I've never translated more than one book by any author. But I'm fascinated by translators who have, like Richard Zenith, who's translated so much of Fernando Pessoa's work. I get restless for a new kind of influence. The books I've translated are books I want to learn from as a writer, to be intoxicated by. And translation is an act of writing in itself. It's an act of recreation - of a writer's cadence and tone and everything that distinguishes the voice in the book.
It is useless to read Greek in translation; translators can but offer us a vague equivalent.
Translators have to prove to themselves as to others that they are in control of what they do; that they do not just translate well because they have a "flair" for translation, but rather because, like other professionals, they have made a conscious effort to understand various aspects of their work.
Usually the German translators do something terrible, especially with Tom Wolfe, which is that they make it local. So if the characters are from Harlem, the translators put all this Berlin slang into their mouths, and that's just terrible. You cringe when you read that. But there really is no good solution to the problem, except learning English.
I teach Korean translation at the British Centre for Literary Translation summer school, so I see an emerging generation too, who are around my age. I'm hoping to find time to mentor, and to help emerging translators to a first contract through Tilted Axis.
I was in the second year of my PhD when I first had the idea - I'd recently started working as a translator, which meant firstly that I was hearing about amazing-sounding books from other translators, and also that I was getting enough of an insider's view of the publishing industry to be aware of all the implicit biases that made it so difficult for these books to ever get published, especially if they weren't from European languages (harder to discover, editors can't read the original, lack of funding programmes, authors who don't speak English).
The vices and the virtues are written in a language the world cannot construe; it reads them in a vile translation, and the translators are Failure and Success.
The biggest markets for my books outside the UK are France and Italy, and those are the two countries where I also have the closest personal relationships with my translators - I don't know whether that's a coincidence, or if there's something to be learned from it.
Men talk of "the mistakes of Scripture." I thank God that I have never met with any. Mistakes of translation there may be, for translators are men. But mistakes of the original word there never can be, for the God who spoke it is infallible, and so is every word he speaks, and in that confidence we find delightful rest.
Even though I believe a superlative translation can achieve timelessness, that doesn't mean I think other translators shouldn't attempt other versions. The more the better, in the end.
Translators can be considered as busy matchmakers who praise as extremely desirable a half-veiled beauty. They arouse an irresistible yearning for the original.
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