A Quote by Mona Baker

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.
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.
I motivate what I see in young people because we employ about forty thousand young people in our various Chick-fil-A units. Some of them come to work because they need to work; others just work because they just like to work. There's nothing wrong with that.
I can understand pathways to enlightenment where people shun certain aspects of the sensual world because they feel that these aspects are very powerful; they're not in a position to control their appetites.
What is difficult to understand is that without conscious effort, nothing is possible. Conscious effort is related to higher nature. My lower nature alone cannot lead me to consciousness. It is blind. But when I wake up and I feel that I belong to a higher world, this is only part of conscious effort. I become truly conscious only when I open to all my possibilities, higher and lower. There is value only in conscious effort.
Some couples divorce because of a misunderstandin g; others, because they understand each other too well.
There are five of us. We've all played in various bands together, in different combinations. I know that Todd [Cook] and Tony [Bailey] are my favorite rhythm section - they're just like a unit. I guess we've all just played together in various capacities, so when the band was coming together, it was sort of like we just chose members because they had similar sensibilities and also because they're just cool. We all got along real well.
You'll never see me in any of the tabloids because I've made a conscious effort to stay out of that. I'm not interested in fame. I'm interested in hard work and letting my work speak for what I do. I've been in high-profile shows but you don't see stories on me because I don't go out and court them.
I had to prove that I could understand other aspects of human beings and not just little fat girls.
I know playwrights who like to kid themselves into saying that their characters are so well formed that they just take over. They determine the structure of the play. By which is meant, I suspect, only that the unconscious mind has done its work so thoroughly that the play just has to be filtered through the conscious mind. But there's work to be done - and discovery to be made.
In my experience, the most effective professionals in business and government have the ability to get things done. They're trained to work with multiple stakeholders, to understand how to identify a problem, devise solutions, to compromise and work well with others.
My publication, 'The Post,' has taken the initiative to translate many of my pieces and publish them in Arabic. For that, I am grateful. Arabs need to read in their own language so they can understand and discuss the various aspects and complications of democracy in the United States and the West.
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.
I wanted to just be a filmmaker, and I thought I wanted to do all the aspects, and it seemed like as a producer was the best way to do it, because I could have... You never have control on a movie, but you have as much control as you can.
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.
I had done a couple TV pilots, and a friend of mine wanted to leave comics and come work in Hollywood, and I said, "Well, you've got to understand that when you sell a TV pilot, imagine if you turned in the best issue of Batman ever, and DC was like, 'Well we love this, but we can't publish it because we have to publish this other thing by this other person." The odds are really long on getting anything made, so if you come from comics and you're still making a living in comics, that really helps because you're not desperate for someone's permission to write for a living.
I need to find avenues to express all of my creativity. There's always polarizing forces. Sometimes I feel like my work is going in different directions, but hopefully it's just expanding. And I think as much as possible to just let ourselves be in all the various aspects. I feel more inspired by people who just will let themselves be as creators, and I don't think it has to be contradictory.
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