Lost in Translation Quotes

“Sometimes I long to forget… It is painful to be conscious of two worlds.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“A woman should love with her mind. Let men love with their hearts.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“The more words I have, the more distinct, precise my perceptions become--and such lucidity is a form of joy.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“Anger can be borne - it can even be satisfying - if it can gather into words and explode in a storm, or a rapier-sharp attack. But without these means of ventilation, it only turns back inward, building and swirling like a head of stream - building to an impotent, murderous rage.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“No, I’m no patriot, nor was I ever allowed to be. And yet, the
country of my childhood lives within me with a primacy that is
a form of love. It lives within me despite my knowledge of our
marginality, and its primitive, unpretty emotions. Is it blind
and self-deceptive of me to hold on to its memory? I think it
would be blind and self-deceptive not to. All it has given me is
the world, but that is enough. It has fed me language, percep-
tions, sounds, the human kind .... no geometry of landscape,
no haze in the air, will live in us as intensely as the landscapes
that we saw as the fi rst, and to which we gave ourselves wholly,
without reservation.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“To be an adult is to be close to death.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“I want to tell A Story, Every Story, everything all at once, not anything in particular that might be said through the words I know, and I try to roll all sounds into one, to accumulate more and more syllables, as if they might make a Möbius strip of language in which everything, everything is contained. There is a hidden rule even in this game, though - that the sounds have to resemble real syllables, that they can't disintegrate into brute noise, for then I wouldn't be talking at all. I want articulation - but articulation that says the whole world at once.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“When my turn on the program comes, I am not nervous at all—because all this is happening out of time, out of space. I am, for a moment, a figure of my own fantasy, and I play my appointed role as if I were in the movies.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“This language is beginning to invent another me.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“For me, therapy is partly translation therapy, the talking cure a second-language cure. My going to a shrink is, among other things, a rite of initiation: initiation into the language of the subculture within which I happen to live, into a way of explaining myself to myself. But gradually, it becomes a project of translating backward.
The way to jump over my Great Divine is to crawl backward over it in English. It's only when I retell my whole story, back to the beginning, and from the beginning onward, in one language, that I can reconcile the voices within me with each other; it is only then that the person who judges the voices and tells the stories begins to emerge.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“Pleasure exists in middle time, in time that is neither too accelerated or too slowed down.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“I've become immune to desire; I snip the danger of wanting in the bud.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“I wish I could breathe a Nabokovian air. I wish I could have the Olympian freedom of sensibility that disdains, in his autobiography, to give the Russian Revolution more than a passing mention, as if such common events did not have the power to wreak fundamental changes in his own life, or as if it were vulgar, tactless, to dwell on something so brutishly, so crudely collective. I wish I could define myself -a s Nabokov defines both himself and his characters - by the telling detail, as preference for months over lozenges, an awkwardness at cricket, a tendency to lose floes or umbrellas. I wish I could live in a world of prismatic reflections, carefully distinguished colours of sunsets and English scarves, synthetic repetitions and reiterative surprises - a world in which even a reddened nostril can be rendered as a delicious hue rather than a symptom of a discomfiting common cold. I wish I could attain such a world because in part that is our most real, and most loved world - the world of utterly individual sensibility, untrampled by history, or horrid intrusions of social circumstance. Oh ye, I think the Nabokovian world is lighted, lightened, and enlightened by the most precise affection. Such affection is unsentimental because it is free and because it attaches to free objects. It can notice what is adorable (or odious, for that matter), rather than what is formed and deformed by larger forces. Characters, in Nabokov's fiction, being perfectly themselves, attain the graced amorality of aesthetic objects.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“I know that language will be a crucial instrument, that I can overcome the stigma of my marginality, the weight of presumption against me, only if the reassuringly right sounds come out of my mouth.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“No, I'm no patriot, nor was I ever allowed to be. And yet, the country of my childhood lives within me with a primacy that is a form of love. It lives within me despite my knowledge of our marginality, and its primitive, unpretty emotions. Is it blind and self-deceptive of me to hold on to its memory? I think it would be blind and self-deceptive not to. All it has given me is the world, but that is enough. It has fed me language, perceptions, sounds, the human kind. It has given me the colors and the furrows of reality, my first loves. The absoluteness of those loves can never be recaptured: no geometry of the landscape, no haze in the air, will live in us as intensely as the landscapes that we saw as the first, and to which we gave ourselves wholly, without reservations. Later, of course, we learn how to be more parsimonious; how to parse ourselves into constituent elements, how to be less indiscriminate and foolish in our enthusiasms. But if we're not to risk falling into that other absurd, in which we come unpeeled from all the objects of the world, and they all seem equally two-dimensional and stale, we must somehow preserve the memory and possibility of our childish, absurd affections. Insofar as we retain the capacity for our attachment, the energy of desire that draws us toward the world and makes us want to live within it, we're always returning. All we have to draw on is that first potent furnace, the uncomparing, ignorant love, the original heat and hunger for the forms of the world, for the here and now.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“Like so many children who read a lot, I begin to declare rather early that I want to be a writer. But this is the only way I have of articulating a different desire, a desire that I can’t yet understand. What I really want is to be transported into a space in which everything is as distinct, complete, and intelligible as in the stories I read. And, like most children, I’m a literalist through and through. I want reality to imitate books – and books to capture the essence of reality. I love words insofar as they correspond to the world, insofar as they give it to me in a heightened form. The more words I have, the more distinct, precise my perceptions become – and such lucidity is a form of joy. Sometimes, when I find a new expression, I roll it on the tongue, as if shaping it in my mouth gave birth to a new shape in the world. Nothing fully exists until it is articulated.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“It is a sunny fall afternoon and I’m engaged in one of my favorite pastimes—picking chestnuts. I’m playing alone under the spreading, leafy, protective tree. My mother is sitting on a bench nearby, rocking the buggy in which my sister is asleep. The city, beyond the lacy wall of trees, is humming with gentle noises. The sun has just passed its highest point and is warming me with intense, oblique rays. I pick up a reddish brown chestnut, and suddenly, through its warm skin, I feel the beat as if of a heart. But the beat is also in everything around me, and everything pulsates and shimmers as if it were coursing with the blood of life. Stooping under the tree, I’m holding life in my hand, and I am in the center of a harmonious, vibrating transparency. For that moment, I know everything there is to know. I have stumbled into the very center of plenitude, and I hold myself still with fulfillment, before the knowledge of my knowledge escapes me.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“I'm writing a story in my journal, and I'm searching for a true voice. I make my way through layers of acquired voices, silly voices, sententious voices, voices that are too cool and too overheated. Then they all quiet down, and I reach what I'm searching for: silence.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“The story isn't over, it isn't foreclosed, and that's the point: there's a tiny chink into the future that might be wedged open.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“There is the great ocean below, and the great sky above, and nothing between me and pure possibility.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“Mimesis, it seems, works smoothly in only one direction, and life refuses conveniently to mirror the art in which it's seemingly mirrored.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“If primness is a small recoil of distaste at things that give others simple and hearty pleasure, then prim is what I'm really becoming.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“Laughter is the lightning rod of play, the eroticism of conversation; for now, I've lost the ability to make the sparks fly.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“Telling a joke is like doing a linguistic pirouette. If you fall flat, it means not only that you don't have the wherewithal to do it well but also that you have misjudged your own skill, that you are fool enough to undertake something you can't finish -- and that lack of self-control or self-knowledge is a lack of grace.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“The soul can shrivel from am excess of critical distance, and if I don't want to remain in arid internal exile for the rest of my life, I have to find a way to lose alienation without losing my self. But how does one bend toward another culture without falling over, how does one strike an elastic balance between rigidity and self-effacement?”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“This is a society in which you are who you think you are. Nobody gives you your identity here, you have to reinvent yourself every day." He is right, I suspect, but I can't figure out how this is done. You just say what you are and everyone believes you? That seems like a confidence trick to me, and not one I think I can pull off. Still, somehow, invent myself I must. But how do I choose from identity options available all around me? I feel, once again, as I did when facing those ten brands of toothpaste - faint from excess, paralysed by choice.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“I am walking home from school slowly, playing a game in which it's forbidden to step on the cracks between the slabstone squares of the pavement. The sun is playing its game of lines and shadows. Nothing happens. There is nothing but this moment, in which I am walking toward home, walking in time. But suddenly, time pierces me with its sadness. This moment will not last. With every step I take, a sliver of time vanishes. Soon, I'll be home, and then this, this nowness will be the past, I think, and time seems to escape behind me, like an invisible current being sucked into an invisible vortex. How can this be, that this fullness, this me on the street, this moment which is perfectly abundant, will be gone? It's like that time I broke a large porcelain doll and no matter how much I wished it back to wholeness, it lay there on the floor in pieces. I can't do anything about this backward tug either. How many moments do I have in life? I hear my own breathing: with every breath, I am closer to death. I slow down my steps: I'm not home yet, but soon I will be, now I am much closer, but not yet… not yet… not yet… Remember this, I command myself, as if that way I could make some of it stay. When you're grown up, you'll remember this. And you'll remember how you told yourself to remember.”
― Eva Hoffman, Lost in Translation: A Life in a New Language

“Like so many children who read a lot, I begin to declare rather early that I want to be a writer. But this is the only way I have of articulating a different desire, a desire that I can’t yet understand. What I really want is to be transported into a space in which everything is as distinct, complete, and intelligible as in the stories I read. And, like most children, I’m a literalist through and through. I want reality to imitate books – and books to capture the essence of reality. I love words insofar as they correspond to the world, insofar as they give it to me in a heightened form. The more words I have, the more distinct, precise my perceptions become – and such lucidity is a form of joy. Sometimes, when I find a new expression, I roll it on the tongue, as if shaping it in my mouth gave birth to a new shape in the world. Nothing fully exists until it is articulated. “She grimaced ironically,” someone says, and”
― Eva Hoffman, Lost in Translation: A Life in a New Language