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Family names were not things to be dropped and replaced at whim, he thought. They marked lineage; they marked belonging.
Only he could determine the truth, because only he could communicate it to all parties.
The word loss was inadequate. Loss just meant a lack, meant something was missing, but it did not encompass the totality of this severance, this terrifying un-anchoring from all that he’d ever known.
Hussy was a compound of house and wife. Holiday was a compound of holy and day. Bedlam came, implausibly, from Bethlehem. Goodbye was, incredibly, a shortened version of God be with you.
‘The first lesson any good translator internalizes is that there exists no one-to-one correlation between words or even concepts from one language to another.
‘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
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‘Betrayal. Translation means doing violence upon the original, means warping and distorting it for foreign, unintended eyes. So then where does that leave us? How can we conclude, except by acknowledging that an act of translation is then necessarily always an act of betrayal?’
The hour of departure has arrived, and we go our ways – I to die, and you to live. Which is better God only knows.
‘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.’