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HOMENAJE DE AMOR DE LAS CORDILLERAS Queridas cordilleras Todas las cosas viven y se aman. Las grandes montañas y las nieves que se levantan azules y se miran Como ustedes se miran te miran Como ustedes se esperan te esperan Te he esperado tanto, se van diciendo unas a otras las preñadas montañas, arriba, besándose Toda la nieve te he esperado, responden al unísono los desbordados horizontes de los Andes abriéndose igual que todas las cosas, igual que tú a quien ahora saludan estas cumbres y a quien yo saludo largando la nota más alta de las cordilleras 12 Translation Review A TRIBUTE OF LOVE FROM THE MOUNTAIN RANGES Dear mountain ranges All things live and love. The great mountains and snows rise blue and look at themselves How they look at each other while they look at you How they wait for each other while they wait for you For you, I have waited so long; the mountains go on saying something to other pregnant mountains, even higher, kissing each other All the snow I have kept waiting for you the overflowing horizons of the Andes answer in unison opening themselves, just like all things just like you to whom now these summits salute and to whom I salute releasing the note much higher than these peaks.
ON TRANSLATING BADLY: SACRIFICING AUTHENTICITY OF LANGUAGE IN THE INTEREST OF STORY AND CHARACTER By Clare Sullivan I believe it is fair to say that translators are, by and large, meticulous people. Fastidious. Exacting. Fussy. But then in fairness we bear a heavy responsibility: that of absorbing the full intent of an author and rendering that intent, as faithfully and authentically as possibly, in another language. It is a task of broad assimilation; in the case of a work like a novel, the assimilation of philosophy, theme, plot, and character as well as of language. Successful translation is therefore a holistic act, one that demands a total grasp of subject, from overarching concept to the most minuscule detail. Yet for many of us, the multidimensionality of the translating task becomes obscured by the particulars of the languages we work in. We obsess over individual words and phrases, poring over dictionaries and thesauri in search of the combination of syllables that conveys just the right nuances of meaning, context, rhythm, and sound. This is of course understandable, and arguably the job description of a translator. Yet in that obsession lies risk: of losing sight of the larger elements of the story in a single-minded pursuit of linguistic accuracy. It is the kind of mistake I very nearly made in the course of a recent project, the translation of the novel Un martes como hoy (2004) by Cecilia Urbina, whereby I failed to take into account the background, intentions, and limitations of one of the novel’s central characters. The initial mistake, which was rooted primarily in the dialogue, was an honest one, springing from a translator’s instinct to authentically render period language. Yet had I not ultimately perceived the error, much of the playfulness and feel of the original novel, to say nothing of some of the larger thematic elements, might well have been lost. The following essay is the story of the error that nearly was. Un martes como hoy Un martes como hoy is a short novel, a modern-day rendering of a Chaucerian frame story. Just as in The Canterbury Tales, the central characters are travelers: two sisters, Márgara and Camila, and a man by the name of David whom they meet one evening in a hotel bar. All are Mexican, and in their own way, story tellers. Stranded at various points in the novel with very little to do, they pass long and uneventful evenings imaginatively reconstructing the history of one of the sisters’ long-lost ancestors: a mysterious greatgrandfather by the name of Francisco Videgaray. These portions of the novel, in which the primary characters take turns adding to a group fiction, are set in modern-day Cambodia. The tale they tell takes place primarily in the American Old West. Both plot lines are romances, though of distinctly different kinds: one an intellectual and semi-realistic love triangle, the other a wild, cinematic fantasy. The primary teller of the Old West storywithin-a-story is David, who begins his narrative with this interesting rhetorical appeal: Francisco Videgaray lived the myth of the Old West before it even existed. My source (and he’s completely trustworthy) told me that the idea we have of the West is a myth, created in our collective imagination by books and especially movies. Thus at the end of the 19th century the Old West was still a real place, with all the familiar figures, but it hadn’t taken its place in the geography of fantasy. Heroes abounded, and their deeds, astonishing as they were, were remembered. But the legend was still in the making. The cowboys, the pioneers, the gold-miners, the gunslingers, bad guys maybe, if it isn’t too politically incorrect to say so, the homesteaders and their mad races to stake out the best plot of land, the Indians Translation Review 13
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Page 8 and 9: ad. I was living in Jerusalem, doin
Page 10 and 11: RS: There are quite a few very inte
Page 12 and 13: means to repeat, more typically use
Page 14 and 15: HOMENAJE DE LOS TEMPANOS, ICEBERGS
Page 18 and 19: (who’ve since been transformed by
Page 20 and 21: As mentioned, the hero of the Old W
Page 22 and 23: impossible tasks. He told me a stor
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Page 26 and 27: to burn. And what about the structu
Page 28 and 29: Cunninghams translate “amor, vér
Page 30 and 31: Gálvez Lira, Gloria. María Luisa
Page 37 and 38: patriarchy where women have had a h
Page 39 and 40: Evans, Mary (ed). (2001). Feminism:
Page 41 and 42: ADONIS: “TWELVE CANDLES FOR GRANA
Page 43 and 44: This evening, no longer a fantasy,
Page 45 and 46: MOURNING A POETIC VISIONARY: SANDY
Page 47 and 48: works by Central American writers
Page 49 and 50: Mueller, “from then on my publish
Page 51 and 52: IS POUND A TRANSLATOR OF CHINESE PO
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characteristic effects, such as his
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