BOOKS
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Books in Translations Elena Buccisano explores the growing popularity of books in translation.
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ooks in translation have become a literary phenomenon in the last few decades; they have become their own sub-genre of literature as more and more publishing houses recognise the value of translating literature, for both cultural and commercial reasons. It is relatively agreed on that the translation of foreign texts is necessary to spread new information, knowledge, and ideas across the world. The vast majority of authors are now being translated into multiple languages, but the task is fraught with difficulties. Producing a successful translation of a text involves translating not just the words but translating a culture. Languages don’t necessarily map onto each other which raises the question; what constitutes a successful translation? As a student of modern languages, this is a question I spend a lot of my time worrying about —and it is a concern which is at the core of the translating profession. The rise of books in translation is being noted by more and more publishing houses. New research commissioned from Nielsen Book by the Man Booker International Prize indicates that translated fiction in the UK market grew by 5.5 percent [during what period?]. The report sees sales of translated fiction for last year coming in at £20.7 million. These statistics are encouraging as it tells us that the commercial and cultural value of books in translation is being recognised. Although they still constitute a minority of books published each year, the increase in translations indicates an increased appreciation for foreign literature in the British public. Commercially, publishing houses are increasingly realising that there are worlds of foreign literature yet untapped in the British and European markets, and by commissioning translations, they are able to open up entire continents of literature to their readership. Evidently, this has financial benefits for them, but it also has significant cultural benefits for the British literary scene more widely. Indeed, right now translation is more important than ever — for suddenly, foreign literature seems finally to be finding its place in Britain, an island where it has previously struggled to attract substantial numbers of readers. The reasons for this are multiple. Firstly, globalisation is encouraging the British reading public to explore new cultures through the medium of literature. Secondly, Covid-19 has
not only encouraged reading as a pastime, but has led the reading public to search for new and foreign ideas which can be found in untranslated literature. Ann Goldstein, the acclaimed translator of Italian novelist Elena Ferrante, notes in her prefaces the importance of books in translation to writers around the world, promising them a significant increase in readership. Goldstein is best known as the translator of the Elena Ferrante’s Neapolitan quartet of novels, which have sold more than a million copies and become somewhat of phenomenon in the genre of foreign literature translation. It is arguably thanks to Goldstein that Ferrante’s books have become so popular in anglophone countries. She herself has shed light on the difficulties of translating literature, of which there are many. The most fundamental challenge is arguably, the cultural challenge. Translating foreign literature is as much about translating connotation as it is about translating language. This is why it is crucial for the translators to be as well versed in the culture as in the language of the text they are confronted with. This cultural challenge can manifest itself in the translation of even singular words. This is because the author of a text carefully chooses the words they use for a particular reason — even singular words are filled with nuance and association which can change the meaning of entire sentences. This challenge is rendered even more difficult for a translator when there are no direct translations or when several options are available and each one has a slightly different nuance. Other significant challenges
include the rendering of culturally-specific expressions, idioms and slang into another language and into a translation which the reader completely understands. These aspects all play into the wider challenge of translating cultural and linguistic contexts — which translators strive to do to the best of their ability. Translators, therefore, are constantly improving their linguistic and cultural knowledge in order to produce more successful translations. The question, what makes a successful translation, is a complex one. But can be reduced to two fundamental aspects; fidelity to the language and fidelity to the context of the foreign text. Fidelity to the language largely means fidelity to the content of the text, style and register. Indeed, a literary translator must be able to command tone, style and inventiveness in order to convey meaning. But, an excellent translation not only communicates content, but also the way in which it is expressed — it takes into account the whole cultural background of a text. In all, the importance of literary translation is immeasurable. Restricting the public readership to only works produced in their spoken language inevitably limits their horizons and their access to new ideas and varied knowledge. Books in translation enable people to understand the wider world more fully. Students are able to understand philosophy, politics and history through the translated works of Sophocles and Homer, writers who are mostly unintelligible to the public unless through a work in translation. In this way, books in translation facilitate the access to knowledge; I could not do my own degree without books in translation. In
the contemporary world, readers are able to enjoy new insights into the different ways of life through recent translations and more people are able to enjoy the creative, fertile and highly imaginative minds of modern foreign authors. Perhaps most importantly, translation is necessary to facilitate cultural familiarity; it is crucial in creating effective and empathetic communication between different cultures. Indeed, translated literature is an essential tool to teaching the new generations about authors, cultures and ideas beyond just that of their own home country. It has been argued by many that our literature curriculums are too Eurocentric, and Anglo-centric — by including more books in translating within school curriculums, students would not only be inspired to reach beyond literature in their spoken language but to learn from the literary techniques, language and concepts of other cultures. I used to be a sceptic of books in translation; I used to question how the nuance of a text in its original language can be translated accurately into a completely different one. But this is the complex challenge faced by literary translators. Although, it is arguable that something is always lost when books are translated into different languages, the importance of carrying out this task and refining the art of translation is becoming increasingly more important – the richness that books in translation are adding to the literary scene is invaluable. Image Credit: Wolf Gang via Flickr, (CC BY-SA 2.0).
Cherwell recommends... Favourite Reads
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hilst the old adage goes that you can’t judge a book by its cover, our editorial team firmly believes that you can judge someone by their favourite book. For our final edition, therefore, we’re giving you Through the Language Glass by Guy Deutscher Anna Cowan, Books Editor One of my favourite reads of all time is, perhaps surprisingly, Professor Guy Deutscher’s study of language and translation theory Through the Language Glass (2010). The subtitle of the book perhaps explains best what it’s about, reading ‘why the world looks different in other languages’. Deutscher is an Israeli linguist, holding a fellowship at the University of Manchester and a professorship at the University of Leiden, but despite his towering academic credentials Through the Language Glass is accessible and incredibly
engaging. The text leads the reader through linguistic theory, psychological experiments and close textual analysis to discuss some of the greatest questions in language: is there such a thing as linguistic equivalence between languages? Do different languages shape your perception of the world? What is ‘meaning’? I read Deutscher’s work shortly after George Steiner’s seminal After Babel, which I also considered for my recommendation this week, however Deutscher’s more recent scholarship and deeply enjoyable academic mocking of Steiner’s arguments boosts his work to my number one, not just for his fascinating subject matter, but also for his witty and approachable explanation of complex topics. Marina by Carlos Ruiz Zafón Amelia, Deputy Editor Marina is a gothic thriller written by Carlos Ruiz Zafon; the Spanish author is most famous for The Shadow of the Wind, but Marina has
become a kind of cult-classic. Set in Barcelona in 1980, the story follows teenager Oscar and the enigmatic Marina, who he meets and falls for in a dilapidated old house lost in the centre of the city’s Gothic Quarter. The two attend a macabre ritual that only takes place every fourth Sunday of the month. They begin trailing the woman at the centre of the ritual, which takes them to some of the most haunting and sinister parts of Barcelona. mysterious and aloof Hopper. It is common in who-dunnit style novels, plot-driven by nature, to spend little time on character development, but Pessl works hard to create a developed and likeable trio of protagonists. Following them as they gradually get closer to Cordova and his secrets is an unforgettable and incredibly entertaining - journey.
