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Translation Review - The University of Texas at Dallas

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frantic dancing is going on. Terram springs its surprise asthe last word <strong>of</strong> the poem. I think I did spring some <strong>of</strong>th<strong>at</strong> surprise by holding <strong>of</strong>f “enemy,” or, as I might havesaid it, “h<strong>at</strong>ed,” until the penultim<strong>at</strong>e word, but I lostsome <strong>of</strong> the force <strong>of</strong> its adjective, invisam, as Horaceintroduces it in the preceding line, in there like the wolfin the context <strong>of</strong> th<strong>at</strong> rejoicing and th<strong>at</strong> dancing, makingus wait for its <strong>at</strong>tachment to its noun. I had to spring thesurprise more bluntly, less insidiously, by coupling adjectiveand noun, “enemy earth,” as the last two words, sosome <strong>of</strong> th<strong>at</strong> complex activity <strong>of</strong> the last two lines wasirretrievably lost. Here again, I don’t see how I couldhave done it differently, because English syntax can’t dosome <strong>of</strong> the things L<strong>at</strong>in syntax can do. I couldn’t get itright, but my point is th<strong>at</strong> this failure isn’t simply anexperience <strong>of</strong> disappointment, it’s also an experience <strong>of</strong>vivid close reading. <strong>The</strong> work <strong>of</strong> the transl<strong>at</strong>or (I’m sureyou feel th<strong>at</strong> too, as fellow-transl<strong>at</strong>ors), when dealingwith a wonderful text, is the most intense and vivid kind<strong>of</strong> reading th<strong>at</strong> there is, and there’s joy in this th<strong>at</strong> thenecessary failure makes even more vivid. Of course thiscompens<strong>at</strong>ory joy in the reading occurs only when youcan feel th<strong>at</strong> you’ve after all done your best and broughtyour transl<strong>at</strong>ion to the point <strong>of</strong> its inevitable helplessness.I’m no good <strong>at</strong> big generaliz<strong>at</strong>ions, so I can onlyhave tried to show by several examples this experience<strong>of</strong> thrilled readings, <strong>of</strong> the <strong>at</strong>tempt by transl<strong>at</strong>ion to showsome qual the many things it misses.100 books: $5 eachQ: Wh<strong>at</strong> is the aesthetic <strong>of</strong> Dalkey Archive Press? Avant-garde? Experimental? Innov<strong>at</strong>ive?A: <strong>The</strong> “aesthetic” <strong>of</strong> the Press has been identified with all <strong>of</strong> those adjectives, but I have never agreed with any <strong>of</strong> them.<strong>The</strong>re is certainlyanSpecialaesthetic on whichSale:bothSelectthe <strong>Review</strong> andanythe Press100areBooksbased, but I may not be in the best position to say wh<strong>at</strong> it is because for me thereis no set agenda. I respond to the writers and books I like, r<strong>at</strong>her than trying to fit both <strong>of</strong> these into a formula. <strong>The</strong>re are many so-calledexperimental works I don’t like, ones th<strong>at</strong> basically go through the motions, ones th<strong>at</strong> almost defy a reader to find anything engaging infrom the Dalkey Archive c<strong>at</strong>alog for $5 eachthem.Several years ago someone in an interview tried to get from me a one-word description for the kinds <strong>of</strong> books we publish, and she suggestedthe words th<strong>at</strong> you have. I finally said th<strong>at</strong> the correct word was “subversive,” which is still the word I would use, though I know it’sr<strong>at</strong>her useless in terms <strong>of</strong> trying to pigeonhole wh<strong>at</strong> it is we publish. My point was th<strong>at</strong> the books, in some way or another, upset the applecart, STEIN th<strong>at</strong> they - MATHEWS work against - wh<strong>at</strong> SHKLOVSKY is expected, - th<strong>at</strong> HIGGINS they in - some CELA way - challenge DUCORNET received - GASS notions, - ELKIN whether - those GREEN are literary, - LOEWINSOHNsocial or political.And this is precisely the kind <strong>of</strong> fiction th<strong>at</strong> I find interesting: it does things I haven’t seen before, or it requires me to be figuring outhow WOOLF in the hell - CÉLINE the writer - is QUIN doing wh<strong>at</strong> - MOSLEY he or she - is CREELEY doing. This - is BARNES <strong>of</strong> course - quite O’BRIEN removed - BARTH from the - idea REED <strong>of</strong> being - ROUBAUD a passive reader, - YOUNG th<strong>at</strong> youare in the backse<strong>at</strong> <strong>of</strong> the car and the writer is taking you on a tour.COOVER - WHITE - SORRENTINO - HUXLEY - DAITCH - MOTTE - MARKSONfor more inform<strong>at</strong>ion and details aboutfree shipping or additional free books, visit:www.dalkeyarchive.comDalkey Archive Press<strong>Transl<strong>at</strong>ion</strong> <strong>Review</strong> 13

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