Babel

by R.F. Kuang

Language was always the companion of empire, and as such, together they begin, grow, and flourish. And later, together, they fall.

A lie was not a lie if it was never uttered; questions that were never asked did not need answers.

Auferre trucidare rapere falsis nominibus imperium atque ubi solitudinem faciunt pacem appellant.

see footnote for definition

Travel sounds fun until you realize what you really want is to stay at home with a cup of tea and a stack of books by a warm fire.’

No, the power of the bar lies in words. More specifically, the stuff of language that words are incapable of expressing – the stuff that gets lost when we move between one language and another. The silver catches what’s lost and manifests it into being.’

What’s happening to my country is nothing short of robbery. It’s not open trade; it’s financial bleeding, it’s looting, and sacking. We’ve never needed their help, and they’ve only constructed that narrative out of a misplaced sense of superiority.’

‘You wouldn’t know,’ said Pendennis. ‘You’re not a poet.’ ‘Actually—’ Robin fidgeted with the stem of his glass for a moment, then decided to keep talking. ‘I think translation can be much harder than original composition in many ways. The poet is free to say whatever he likes, you see – he can choose from any number of linguistic tricks in the language he’s composing in. Word choice, word order, sound – they all matter, and without any one of them the whole thing falls apart. That’s why Shelley writes that translating poetry is about as wise as casting a violet into a crucible.* So the translator needs to be translator, literary critic, and poet all at once – he must read the original well enough to understand all the machinery at play, to convey its meaning with as much accuracy as possible, then rearrange the translated meaning into an aesthetically pleasing structure in the target language that, by his judgment, matches the original. The poet runs untrammelled across the meadow. The translator dances in shackles.’

‘Which seems right to you? Do we try our hardest, as translators, to render ourselves invisible? Or do we remind our reader that what they are reading was not written in their native language?’

Humboldt,* for instance, argues that words are connected to the concepts they describe by something invisible, intangible – a mystical realm of meaning and ideas, emanating from a pure mental energy which only takes form when we ascribe it an imperfect signifier.’

You inscribe a word or phrase in one language on one side, and a corresponding word or phrase in a different language on the other. Because translation can never be perfect, the necessary distortions – the meanings lost or warped in the journey – are caught, and then manifested by the silver.

We capture what is lost in translation – for there is always something lost in translation – and the bar manifests it into being.

English did not just borrow words from other languages; it was stuffed to the brim with foreign influences, a Frankenstein vernacular. And Robin found it incredible, how this country, whose citizens prided themselves so much on being better than the rest of the world, could not make it through an afternoon tea without borrowed goods.

He had become so good at holding two truths in his head at once.

Double think!

The origins of the word anger were tied closely to physical suffering. Anger was first an ‘affliction’, as meant by the Old Icelandic angr, and then a ‘painful, cruel, narrow’ state, as meant by the Old English enge, which in turn came from the Latin angor, which meant ‘strangling, anguish, distress’. Anger was a chokehold. Anger did not empower you. It sat on your chest; it squeezed your ribs until you felt trapped, suffocated, out of options. Anger simmered, then exploded. Anger was constriction, and the consequent rage a desperate attempt to breathe. And rage, of course, came from madness.*

Still, something did not seem right, and Robin could tell from Victoire’s and Ramy’s faces that they thought so too. It took him a moment to realize what it was that grated on him, and when he did, it would bother him constantly, now and thereafter; it would seem a great paradox, the fact that after everything they had told Letty, all the pain they had shared, she was the one who needed comfort.

‘Nice comes from the Latin word for “stupid”,’*

My point being, abolition happened because white people found reasons to care – whether those be economic or religious. You just have to make them think they came up with the idea themselves. You can’t appeal to their inner goodness. I have never met an Englishman I trusted to do the right thing out of sympathy.’

Robin wondered then how much of Anthony’s life had been spent carefully translating himself to white people, how much of his genial, affable polish was an artful construction to fit a particular idea of a Black man in white England and to afford himself maximum access within an institution like Babel. And he wondered if there would ever be a day that came when all this was unnecessary, when white people would look at him and Anthony and simply listen, when their words would have worth and value because they were uttered, when they would not have to hide who they were, when they wouldn’t have to go through endless distortions just to be understood.

Why, he wondered, did white people get so very upset when anyone disagreed with them?

‘Did you ever read that poem the abolitionists love? That one by Bicknell and Day. It’s called The Dying Negro.’ Robin had read it, in fact, in an abolitionist pamphlet he’d picked up in London. He’d found it striking; he still remembered it in detail. It described the story of an African man who, facing the prospects of capture and return to slavery, killed himself instead.* Robin had found it romantic and moving at the time, but now, seeing Victoire’s expression, he realized it was anything but.

‘That’s just what translation is, I think. That’s all speaking is. Listening to the other and trying to see past your own biases to glimpse what they’re trying to say. Showing yourself to the world, and hoping someone else understands.’

‘Mande mwen yon ti kou ankò ma di ou,’