Principle of Decision

Principle of Decision: Translation from Italian

July 11, 2024  |  in Principle of Decision, Translations  |  by Antonella Lettieri, Candice Whitney, Catherine Xinxin Yu, Elena Pala, and Julia Conrad

How does one evaluate the works of a writer who paradoxically championed women’s rights and supported an ultra-patriarchal regime?

Principle of Decision takes a close look at the manifold, careful decisions made by translators in their interpretations. Each participating translator is given the same excerpt of a text to render into English, revealing the various incarnations that can stem from even a single word. In this edition, Catherine Xinxin Yu presents a piece from the Italian writer Ada Negri.

When I was casually browsing at a book fair in 2023, my eyes were caught by two descriptors on the back of a tiny claret booklet featuring Ada Negri’s works: ‘feminist literature ante litteram’ and ‘twice nominated for the Nobel Prize for Literature’. I had to find out who this Ada Negri was.

Ada Negri (1870-1945), born in the northern Italian city of Lodi, grew up in a working-class milieu and began earning a living as a schoolteacher from the age of seventeen. She published her first poem La nenia materna (Mother’s Lullaby) in 1888, her first poetry collection Fatalità (Fatality) in 1892, and continued to garner literary acclaim through the 1910s. Her gaze was directed outwards, encompassing the struggles of the Italian working class of which she was a part, but also turned inwards, voicing her intense emotional turmoil as a woman, a lover, and a mother. At the same time, she actively participated in socialist projects like the Lega Femminile di Milano and co-founded the Asilo Mariuccia in 1902 for at-risk women and minors.

In 1917, Negri published her immensely successful short story collection, Le solitarie (Solitary Women), from which the excerpt below is drawn. Eighteen grayscale character studies provide ‘humble glimpses into the lives of women who fight alone: alone despite family, alone despite love, alone due to faults of their own, of men, or of destiny’, as the author wrote in the book’s preface (translated from the Italian). This collection was groundbreaking in its focus on the tribulations of lower-class women and unflinchingly tackles taboo subjects from female sexuality and abortion, to marital unhappiness and the lack of care for the elderly.

So far, so good, right? But Negri was also a controversial figure who achieved her status partly due to her staunch support of Mussolini’s fascist regime. In the 1890s, she befriended socialists active in Milan, such as Filippo Turati, the Russian-born feminist Anna Kuliscioff, Nobel peace prize winner Teodoro Moneta—and Benito Mussolini, who identified as a socialist at the time. But by the outbreak of WWI, as Mussolini’s break with socialism gave way to his avowed fascism, Negri definitively sided with Mussolini’s bellicose patriotism and distanced herself from the antimilitarist democratic socialism of Turati and Kuliscioff. She would go on to win the Premio Mussolini in 1930, become the first and only woman to be admitted into the Accademia d’Italia in 1940 (a short-lived hall of fame for intellectuals in fascist Italy, if you will), and follow government directives in her long-standing collaborations with major newspapers until her death in 1945. READ MORE…

Principle of Decision: Translation from Swahili

October 5, 2023  |  in Principle of Decision, Translations  |  by Albert Mwamburi, Hassan Kassim, Idza Luhumyo, Jay Boss Rubin, and Wambua Muindi

. . . the auditory and visual imagery that gather as you read the Swahili version . . . How [to] transfer the same to the English version?

This edition of Principle of Decision—our column that highlights the decision-making processes of translators by asking several contributors to offer their own versions of the same passage—provides a look at how translators render the subtleties of a poem with multiple layers of meaning in a new language. This round, Asymptote contributor Wambua Muindi leads our Swahili edition of the column.

Ken Walibora’s Kufa Kuzikana was originally published in 2003 and just clocked two decades since publication. For this edition of Principle of Decision, I chose the first two paragraphs of Walibora’s novel partly to celebrate it but also to appreciate the story it follows in the context of what occupied the first half of 2023 in Kenya—the cycle of anti-government and cost-of-living protests, the ensuing police brutality, and the ethnic targeting and profiling.

I also found these paragraphs appropriate here given that introductions are always novel and always set the tone for a story. In this case not only do the two paragraphs borrow the geography of Kiwachema, the fictional country the novel is set in, they also illustrate the constant movement and consequent contact that is the backdrop against which Walibora animates post-colonial Kenya. The friendship between Akida and Tim—the novel’s main characters—becomes a fable for the nation and demonstrates the exclusionary logic of national politics despite the promise of nation-building. 

I wanted to see what different translators’ English renditions of the novel’s opening lines would sound and feel like. Of particular interest was the auditory and visual imagery that gather as you read the Swahili version, and the way these sentences introduce the tone of the narration. How does a translator transfer the same to the English version?  This is also a question many of the translators asked themselves. Phrases like ‘dhahiri shahiri’ and ‘miinamo ya vilima’ which embody the particularity of Swahili sounds, posed an interesting challenge. The particularity with which the translators supply the tonality of Swahili is fascinating. Take for instance the last word: It is translated differently by each of the translators below, showing the different interpretations given and techniques employed in English translation.

—Wambua Muindi

READ MORE…

Principle of Decision: Translation from Urdu

June 28, 2023  |  in Principle of Decision, Translations  |  by Farah Ali, Haider Shahbaz, Hammad Rind, Naima Rashid, and Sabyn Javeri

Each of the four translators interacts with the same, short poem through the filter of their individual personalities.

This edition of Principle of Decision—our column that highlights the decision-making processes of translators by asking several contributors to offer their own versions of the same passage—provides a look at how translators render the subtleties of a poem with multiple layers of meaning in a new language.

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I chose a poem by Iftikhar Arif, a revered Urdu poet. It was written for his son, Ali, and was published in his first volume of poetry, Mehr-e-Doneem (The Divided Sun, Daniyal Publications, 1983). This poem is a father’s sendoff; as he says a farewell to his son, he feels a lump in his throat and slips some blessings and lessons for the future into his farewell, barely masking his fear. A companion piece, the short poem “Dua” (Prayer), was written for his daughter, and published in the same volume, containing a similar wish of goodwill.

The poem is not to be read at face value. Defeat is baked into its premise, and what the poet is saying out loud, he knows to be the opposite of the truth. It is a prayer for the impossible, asking a grown man not to lose his innocence. There is rupture in the title itself: Aik tha raja chota sa—(once upon a time) there was a little prince. It’s the tone in which you speak to a child, who is uninitiated into the realities of life. It’s the tone of lullabies. There is a clinging to a make-believe world in the language, an attempt to soften the edges, to make the truth less harsh, to almost wish it away.

The first word of the first line starts with the son’s full name, Ali Iftikhar. The once-little prince is a grown man, which the poet acknowledges, but then slips back to addressing the grown man through his mother, a line repeated thrice in the poem: “I have told Ali Iftikhar’s mother not to let him…”.

Throughout the short poem, there is a push and pull. On one hand, there’s an attempt to glaze over the truth and to control the circumstances; on the other hand, there’s truth leaking through the veneer of denial. The repetition is like a broken record to convince the speaker himself. There is also a contrast between the naïveté of the language and the knowledge of truth beneath it—and bridging both, a father’s love. He tells the son to stay away from the corruption of the world by asking his mother to keep him from transgressing the different circles of protection: the garden, the neighbour’s garden, the street and the world beyond. Which grown man hasn’t transgressed these limits?

The four translators, sensitive to the central challenge posed by the poem, have found different solutions to address the tug in the original. Farah Ali is alert to the rhythm and pace in the original. Hammad Rind pays attention to calibrating the register and forms of address, important tonal considerations for the poem. Haider Shahbaz brings an experimental take to his reading, leaning into its dark undertones. Sabyn Javeri sees the poem through a feminist lens, asking questions that trouble her as a woman.

I’ve always seen translation as a conversation—a conversation between the author and the translator, the translator and the work, a translator and other translators, a translator and a reader. This folio shows how rich that conversation can be. Each of the four translators interacts with the same, short poem through the filter of their individual personalities.

—Naima Rashid READ MORE…

Principle of Decision: Translation from Chinese

March 29, 2023  |  in Principle of Decision, Translations  |  by Dave Haysom, Liuyu Ivy Chen, Mike Fu, Na Zhong, and Xiao Yue Shan

This column is an exercise in transparency, an effort to lift the curtain and show the undercurrents of the translator’s mind.

The second edition of Principle of Decision—our column that highlights the decision-making processes of translators by asking several contributors to offer their own versions of the same passage—demonstrates translation’s capacity to reveal shades of meaning in the source text. Here, Xiao Yue Shan poses to the translators a passage from Chinese writer 林棹 Lin Zhao.

轻而又轻的一天。时隔多年，那轻而又轻的一天生机犹在。如果你推却一切责任，对他人的痛苦视而不见，去拥抱巨大的明亮、明亮的寂静、寂静的自我，你就能短暂地占有那种轻而又轻。

qīng ér yòu qīng        de yī tiān            
轻而又轻                     的一天。
A light and light         day.

shí gé duō nián
时隔多年
After many years,

nà qīng ér yòu qīng de yī tiān     
那轻而又轻的一天
that light and light day

shēng jī yóu zài
生机犹在。
still exists.

rú guǒ nǐ tuī què                 
如果你推却
If you push aside

yī qiē zé rèn
一切责任，
all responsibilities,

duì tā rén de tòng kǔ         
对他人的痛苦
to the pain of others

shì ér bù jiàn
视而不见，
turn a blind eye,

qù yōng bào          
去拥抱
go to embrace

jù dà de míng liàng, míng liàng de jì jìng
巨大的明亮、明亮的寂静、
the enormous and bright, bright silence,

jì jìng de zì wǒ
寂静的自我，
the self of silence

nǐ jiù néng duǎn zàn dì zhān yǒu   
你就能短暂地占有
you can also briefly possess

nà zhǒng qīng ér yòu qīng
那种轻而又轻。
that kind of light and light.

This passage is taken from the Chinese writer 林棹 Lin Zhao’s debut novel, 流溪 Liu xi, published in 2020. Its narrative takes place throughout Lingnan, a region on China’s southeast coast, weaving through dense urbanities and viridescent ruralities, the subtropical heat and myriad languages, to tell the story of a young woman whose daily life, from its very earliest days, is inextricable from violence, metamorphosis, and fantasy. A tribute to high Nabokovian style, Liu xi is a stunning, inimitable example of what is possible in the Chinese language—the music it pronounces, the visions it conjures, the delicacy and intricacy that can be excavated from its logograms.

READ MORE…

Principle of Decision: Translation from Armenian

January 2, 2023  |  in Principle of Decision, Translations  |  by Kristina Tatarian, Lusine Kharatyan, Margarit Ordukhanyan, and Nazareth Seferian

[This] will, we hope, allow for a more direct look at the choices translators make—at the principle of decision they employ in their practice.

Each translation speaks with two voices; that of the author and that of the translator. Yet, it is often when they have done their work well that the voices of translators go unrecognized. Their names are left off of covers, and their efforts mentioned only as brief asides in reviews. 

This neglect fails to give translation its due. Walter Benjamin wrote: “Reading a translation as if it were an original work in the translation’s own language is not the highest form of praise;” it is, rather, a failure to fully considering a work in translation, with its two voices and two languages. In an essay for Astra, translator and writer Lily Meyer references Susan Sontag’s definition of style when discussing translation as an art, stating that “to make art without having or consulting your own stylistic preferences strikes me as impossible . . . [Sontag] defines style, more or less, as ‘the principle of decision in a work of art, the signature of an artist’s will.’ Surely a translator’s will can also be found inside anything they translate, animating the text and powering it to full-fledged life.” 

This new column, Principle of Decision, is an effort to make the styles of translators more visible. In each installment, one translator will select a famous sentence or brief passage from the literature of a certain language, and several translators will then offer their own translations of it. The differences and similarities between the translations will, we hope, allow for a more direct look at the choices translators make—at the principle of decision they employ in their practice.

For our first edition, we are proud to feature a selection from the Armenian, chosen by Editor-at-Large Kristina Tatarian. Kristina’s word-for-word translation is accompanied by translations from three translators, whose work can also be found in the Fall 2022 issue’s Special Feature on Armenian literature. Kristina has also provided explanatory commentary on her selection, as well as on the translators’ choices.

—Meghan Racklin

 

One peaceful morning  was   one     sad      morning

Մի խաղաղ  առավոտ  էր  .  մի  տխուր  առավոտ :

Mi  haghah    aravot         er      mi   tehur  aravot
˘       ˘     ¯      ˘  ˘   ¯          ˘        ˘    ˘   ¯    ˘  ˘  ¯

This sentence is from the beginning of “Gikor” by Hovhaness Tumanian, one of the central figures in Armenian literature. Based on a real story that Tumanian had heard as a child, “Gikor” is a tale about the dreams and hardship of a twelve-year-old boy, the eponymous Gikor, as his father sends him away from his home in the village to “become a man” and earn a living in the big city. Unfortunately, the boy’s precocious aim to alleviate his family’s hardship eventually ends his life. This sentence marks the moment in the story when Gikor’s mother and siblings watch him leave; accompanied by his father, he moves further and further away from home. The story comes full circle as the father returns to the village—only this time, Gikor is not there anymore. The different translations of this sentence, which presages the early death of the young protagonist, highlight the theme of the Armenian Special Feature (half-lives) by presenting us the “half-life” of the protagonist, a life that prematurely ended. This poignant story may be seen as an emblem of cultural memory about the Armenian Genocide, as Tumanian himself was at the forefront of humanitarian efforts to save children. The contributing translators have each found their own way of translating this memorable sentence, which marks the day when this young and sensitive boy leaves his home, and never returns.

—Kristina Tatarian READ MORE…