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Dissidence 185party whatsoever, and you agree to indemnify and hold us and anylicensee or seller of the Work harmless against any damagessustained in any claim, action, proceeding or recovery based on analleged violation of any of the foregoing warranties.The Author warrants that he has full power to make this agreement;that the Work has not previously been published in book form in theEnglish language; that all rights conveyed to the Publisherhereunder are free of encumbrances or prior agreements; that theWork does not violate any copyright in any way. The Author willhold harmless and defend the Publisher and its licensees against allclaims, demands or suits related to these warranties. The Authorwill compensate the Publisher […]Author warrants that he is the sole author of the Work; that he isthe sole owner of all the rights granted to the Publisher […] Authorshall hold harmless Publisher, any seller of the Work, and anylicensee subsidiary right in the Work, against any damages finallysustained.The shrewdness and sheer audacity of Tarchetti’s plagiarism maymake it attractive to dissidents in Anglo-American literary culture—especially dissident translators interested in upsetting current practicesin the publishing industry. Yet the fact remains that to publish anunauthorized translation of a copyrighted foreign text is to invite legalproceedings whose cost will far exceed the translator’s income fromeven a bestselling translation.What the contemporary English-language translator can learn fromTarchetti is not how to plagiarize a foreign text, but how to choose oneto translate. Tarchetti shows that foreignizing translation takes theform, not just of deviant translation strategies, but also of foreign textsthat deviate from dominant literary canons in the target-languageculture. Tarchetti’s choice to translate Shelley’s Gothic tale wasforeignizing in its introduction of a fictional discourse that challengedthe dominant realism, and his translation, along with the few otherItalian translations of foreign fantasies that had already beenpublished, initiated a change in literary taste that culminated in asignificant canon reformation. Other members of the scapigliatura,notably Arrigo and Camillo Boito and Emilio Praga, published Gothictales in the 1860s, and Italian translations of foreign writers like Poe,Gautier, and Erckmann-Chatrian increased rapidly during the