“that shock of recognition” – more on poetry as liturgy

Saturday was the 5th anniversary of Fringes, the feminist havurah I co-lead. We use contemporary poetry as the words we pray, which works so beautifully. I’ve learned a lot about how to choose poems that work as liturgy, such as using poems with more direct syntax, or ones that more visual imagery and less literary references.

Last week, as I was creating the liturgy for our service, I read an amazing essay by Sarah Maguire, mainly about translating, called “‘Singing About the Dark Times’: Poetry and Conflict.” In addition to the astounding (and true) observation that “translating poetry is the opposite of war,” she had some clearly described insights into how poetry works in general, which helped me understand more about how and why poetry functions as liturgy for my group. Two sections on this, from the end of her essay:

A poem needs to be taken up and examined very carefully, many times, from a variety of perspectives. Its foregrounding of its music, its strange, self-conscious devices — like rhyme, rhythm and complex verse forms – draw attention to itself, separate it from quotidian language. As Plato said, reduce a poem to plain prose and it’s gone. Paraphrase its metaphors, sum up its ‘content’, and the magic vanishes as swiftly as a magician whose hat is missing its rabbit. Metaphor – which, as you know, in Greek means ‘to transfer, to carry, to bear’ – is the defining methodology of poetry. Using metaphor, the poet can bring together elements which, in ordinary life, are kept apart, juxtaposing incidents and details from radically different discourses and facets of life, ignoring the logic of metonymical progression, of one damned thing after another, which is the logic of separation.

The key to powerful lyric poetry, of course, is its intimacy: the way it allows us to apprehend and experience the most elusive, the most ephemeral of subjective experiences. That shock of recognition when something we know about, intimately, but have never been able to name, suddenly appears before us in charged and potent language. A good poem draws us back, again and again, in an attempt to tease out its power, to discover how something made only of words can exist, simultaneously, on so many planes at once. Can make connections between things hitherto we thought had lived in disparate realms.

Translating from a Language You Don’t Know

A wonderful interview with sister-poet Rebecca Howell about her translation “Hagar Before the Occupation / Hagar After the Occupation”, by Amal al-Jubouri, posted originally at Arabic Literature (In English):
Translating From a Language You Don’t Know

from “Arabic Literature (in English)”

The folks at Arab Lit have gathered some very thoughtful advice about translating from a broad range of translators. Find them here: Rules for Translating.

My favorites so far are:

1. translate something you love

2. Don’t just read the text, listen to the voice in your head.

3. Be faithful in the first draft. Reproduce the surface. Don’t be an editor.

4. Don’t always translate every last word: leaving some untranslatable words or expressions that can add to the “local colour” of the piece but are comprehensible in context can actually enhance the text.

5. Always respect the author’s intention, even if you don’t always respect the vocabulary, syntax, rhythm, etc.

And these great questions from Elliott Colla:

1. Do you really have time to donate weeks or months of unremunerated labor, even if the cause is a good one?

2. Does this particular book really deserve a second life in another language? Why?

3. How would you compare the work to five other similar works in other languages?

4. Who is the English audience for the translation, and why would they be interested now? Do you have any evidence for believing this?

5. Are you doing this because of your love of Arabic literary culture, or your love of English?

6. Do you have a fool-proof system for knowing when you’ve gotten something wrong and when you’ve gotten it right? Would you share it with me?

Translating – another version of paradox

from Edwin Honig’s introduction to his collection of interviews The Poet’s Other Voice: Conversations on Literary Translations:

Is translation as self-transcendence still another version of the paradox: to know yourself, lose yourself in the other other? If voice is the instrument making it possible for poets to continue writing by giving immediacy and validity to whatever gifts they possess, it also exists in the constant collaboration between the language of the living and the language of the dead. Poets come to know that voice is both one’s own and not one’s own. As Antonio Machado observes, the poet, perceiving all the unbidden echoes in his personal language, realizes that his voice is not “mine” but “ours.” He senses that it resounds, as a collaborative instrument, and that the collaborators are the literary masters of many human languages, including many he does not know, as well as the special languages of trees, waters, and illiterate grandmothers.

Newly Released: Code of Good Practice for fair-play in literary translation

The European Council of Literary Translators’ Associations (CEATL) has just published six basic rules for fair-play in all business relations with literary translators, asserting that we ARE a creative force, we HAVE produced an original literary work and we SHOULD be paid a decent living for what we do. Imagine.

Hexalogue or Code of Good Practice

The Six Commandments of ‘fair-play’ in literary translation, adopted by CEATL’s General Assembly on 14 May, 2011. [pdf download]

1. Licensing of rights
The licensing of rights for the use of the translation shall be limited in time to a maximum of five years. It shall be subject to the restrictions and duration of the licensed rights of the original work. Each licensed right shall be mentioned in the contract.

2. Fees
The fee for the commissioned work shall be equitable, enabling the translator to make a decent living and to produce a translation of good literary quality.

3. Payment terms
On signature of the contract, the translator shall receive an advance payment of at least one third of the fee. The remainder shall be paid on delivery of the translation at the latest.

4. Obligation to publish
The publisher shall publish the translation within the period stipulated in the contract, and no later than two years after the delivery of the manuscript.

5. Share in profit
The translator shall receive a fair share of the profits from the exploitation of his/her work, in whatsoever form it may take, starting from the first copy.

6. Translator’s name
As author of the translation, the translator shall be named wherever the original author is named.

A few thoughts on dictionaries

A few thoughts on dictionaries
Elliott batTzedek

     Translating, and reading about translation, has made me hyper-aware of dictionaries. There are, in turns out, many different kinds, each with its own purpose and usefulness.

     The “dictionary” most of us know is a book that is a collection of words with information about those words. It is monolingual (or intralingual), and it exists to explain words to people who already understand the language. While most pretend to be neutral, they are not – to explore the editorial policy of a dictionary, look up any controversial cultural term – lesbian, abortion, sex, or any racial or sexual insults. Does the definition satisfy you or just make you angry? One linguist I know, the radical lesbian feminist writer Julia Penelope, once had a job as the “offensive usage” editor for a dictionary, deciding and marking which words were sexist, racist, age-ist, etc. Imagine using THAT dictionary, what values it would express! I only wish I could remember what dictionary it was….

     And, of course, we all know how dictionary definitions can be infuriatingly obtuse or self-referential. Look up a word like “afraid,” for example, and you might find “the state of being in fear.” All fine and well, IF you know what “fear” means. If you don’t, you’ve learned nothing. There is an amazing dictionary for adults learning English, the Oxford American Dictionary for learners of English, which defines words clearly and simply, and never uses a word in the definition of itself. It has photos, illustrations, and guides to types of language, such as which kinds of words are used in a resume vs a casual email. I had one, once, and spent hours leafing through, delighted with what I was learning about my own language, but gave it away to someone trying to refine his English enough to look for a better job. (I really wish I could find a similar dictionary for modern Hebrew, for I need the information about the qualities and contexts of words, not just their “definitions.”)

     Dictionaries also define only one word at a time, or at most a short phrase that carries a single unit of meaning. They are, in this way, like looking through a microscope, trying to get a sense of an animal by searching a single cell at a time.

     Bilingual (interlingual) dictionaries are a beast of a completely different nature. They are actually more a lexicon than a dictionary, in that they exist to map one word to another and not really to define words. They are based, in the words of Jorge Luis Borges, “on the hypothesis – obviously an unproven one – that languages are made of equivalent synonyms.” And of course languages aren’t, which is why using a bilingual dictionary is only barely related to understanding or translating a language. If I look up the word “run,” for example, it will list several Hebrew words, nouns and verbs. If I look up each of those, it may say only “run.” (With a pronunciation guide, and, for Hebrew words, the gender of the nouns and class of the verbs.) But what do I then know? Does the word mean to run, to jog, to sprint, to flee for one’s life, to give someone the run around, to run for cover?

     And, within those limitations, bilingual dictionaries, like monolingual dictionaries, have editorial policies. My Hebrew/English dictionary doesn’t have the word “fuck” in English or Hebrew, and that’s a word my poet uses, as well as related concepts also missing. I probably need a Hebrew slang dictionary, if such a thing exists, as well as a Hebrew for speakers of other languages dictionary. Online interlingual translation sites help fill some of those gaps for me, although I’ve not yet found a Hebrew equivalent of an “urban” dictionary with all the pop culture references and slang terms and usages.

     Contemplating all of this is only the background to actually translating! Some days, staring at a word that ought to make sense and doesn’t, and being unable to figure out why, I do wonder what I’ve gotten myself into. Translating is incredibly hard. It is also incredibly rewarding, the same “ahhh” as dropping the right piece of a jigsaw puzzle into place and having a whole section become clear. Well, it’s like that if what you have is a pile of puzzle pieces but no picture of  what you are building, only a title that gives you a general sense and lots of shapes that look familiar.

A few more thoughts on dictionaries, from the translator’s best friend, Willis Barnstone, in his The Poetics of Translation:

A dictionary is monolingual or bilingual in format and intralingual or interlingual in purpose. With it one confronts the unknown.

An interlingual dictionary is a bible for the translator, containing official law for transferring meaning between languages. Laws, however, even holy ones, are not always perfect. An interlingual dictionary enlightens and deceives.

An interlingual dictionary provides a mirror image of the unknown in a known language, but for there to be a meaning, to be semiosis, the translator must intervene with her interpreting mind, actively choosing what amid the new data provides equivalence.

A monolingual (or intralingual) dictionary defines by explanation and synonymity. A bilingual (or interlingual) dictionary seeks equivalence and does not primarily define. It tries to translate. It tries to do so faithfully and literally, but leaves the decision of the right choice to the translator.

A bilingual dictionary is not prepared to handle sentences, since it has no memory of syntax and cares nothing about grammar. A dictionary has a multitude of cyclopses looking out from its pages. When a lexical cyclops takes on a second or third eye right in the middle of its brow, the hybrid monster is so cross-eyed it cannot see or be seen unless one focuses in one eye alone.

God as Translator

two quotations from Willis Barnstone The Poetics of Translation, pp 130-131

God created through the word. And what did God do with that word? With its utterance God translated divine sound into matter and being, thereby bringing the cosmos, the earth, and the earth’s inhabitants, great and small, into temporal existence. Since clock time did not exist before this act of cosmic creation, of transforming significant noise into time and space, clearly the first act of translation in the history of the profession occurred with those sacred Hebrew words y’hi or: “Let there be light.” And just as the pious know that ultimately our souls will, on the day of judgment, be translated back into heaven, so on that first day of creation God initiated and spoke the first sentence for the history of translation.

Willis Barnstone

In the beginning was the word and the word was translation, and with it God translated the heaven and the earth. But the earth was without form, and void, and darkness was upon the face of the deep, and the word moved upon the face of the waters, translating the light from the darkness.

Pierre Grange, “God the Eternal Translator,” Dream Time and Other Earthly Signs

The tools of a translator

I’m taking a “catch up on school work” day off from my job, and sitting at Bucks County Community College and studying while Sue is in her new grad course for the day. The backpack I hauled in to do this is incredibly heavy, and my Stuff spread out takes an entire table. What the heck IS all this?

Curious you should ask. Or that I should ask a question and then claim you have asked it. But just in case inquiring minds want to know, here’s the list of what a translator brings to a day’s work:

1. the original poems, in this case a PDF of a book stored on a jump drive. Most important part of the process, but essentially invisible

2. my translations, also stored on the jump drive. Also, files with lists of suffixes, prefixes, and a sheet of “tricky words” – those that are spelled the same but, depending on the vowels, are very different words.

3. Bilingual dictionary. I really need a single-language dictionary, too, but I’m not ready for that yet.

4. All-Important Verb Table Book, the single most useful tool I’ve ever purchased.

5. Google Translate. Vital to me, as I am nothing like fluent in Hebrew. Nothing Like. Google translate is amazing – not to actually translate a poem, but to give me a way in, to help me think outside of every place I get stuck trying to make plain sense of a line. As a way to help me edit, I’ve been taking my English version of a poem and using Google to translate it into Hebrew. I then compare that Hebrew to the original. This helps me see where I might be using more words in English than I need, or see if a word I’ve used has a corresponding word in Hebrew that ISN’T in the poem, such that I might not have chosen the right sense of the original word. This has also helped me find typos in my Hebrew (since I have to retype every poem from the original into Davka. Trying to make sense of the wrong word, or off something that isn’t a word, greatly increases the frustration level of this process!

Then I take Google’s Hebrew version and have it translated back into English, and then compare that to my English. What’s remarkable about this whole process is how close the versions can be! The machine will never replace the grunt work and inspiration of translating literature, but wow does it help. I can’t imagine trying to do this even a few years ago when such a tool didn’t exist. I don’t think I could have, not with my level of Hebrew knowledge.

6. Lexilogos.com

7. Davka, a Hebrew word processing program, which allows me to type right to left and to use my English keyboard to produce Hebrew letters. I’ve been using it for years, originally to do Passover hagaddahs, and only this summer realized it has a “translate” button that will do one word at a time. Again, not perfect, especially for the images and abstractions of poetry, but it can help me identify word roots and which binyan (type) of verb a word might be so I know where to go looking.

8. The thick packet of translations with notes from my mentor, Ellen Doré Watson.

9. book of essays on poems by contemporary Hebrew poets

10. Dell laptop

11. eyeglasses

12. Zebra F-301 pen, without which I cannot write.

13. Patience. Again, mainly invisible, but it has never been a forte of mine so I have to pack a lot of extra with me whenever I sit down to do this.

Shez – every night I will pour out

from The Dance of the Lunatic, page 12


כָּל לַיְלָה אֲנְי אַבְּיעַ לָךְ אֶת אַהֲבָתִי
אַתְּ תַּבְטִיחִי לִי שֶׁלֹּא תַּעַזְבִינִי לנֶצַח
אֲנִי אֲהַרְהֵר מְעַט עַל מַשְׁמָעוּת הַדְּבָרִים
וּבֵינְתַיִם אַחֲלִיק אֶת לֶחְיִי בִּכָרִית בִּטְנֵךְ הָרַכָּה

Shez, The Dance of the Lunatic, page 12
(untitled: every night I will pour out)
translated by Elliott batTzedek

Every night I’ll pour out my love to you
You’ll promise to not ever leave me
I’ll meditate a little on the meaning of these words
and meanwhile slide my cheek across the the pillow of your soft belly

Dahlia Ravikovitch – “Pride”

from Hovering at a Low Altitude: The Collected Poems of Dahlia Ravikovitch, translated by Chana Bloch and Chana Kronfeld. I’ve been reading Ravikovitch because she is essential to reading other contemporary Israeli women poets, like, I guess, knowing Adrienne Rich is here. Everyone knows her work, everyone refers to it in some way, or has it in the background, constant commentary on or counterpoint to their own work. And some of her poems are just breathtaking! I only wish the book had the Hebrew originals so I could learn more about how these two masterful translators dealt with language issues as they went along.

Pride
Dahlia Ravikovitch

Even rocks crack, I tell you,
and not on account of age.
For years they lie on their backs in the cold and the heat,
so many years,
it almost creates the impression of calm.
They don’t move, so the cracks can hide.
A kind of pride.
Years pass over them as they wait.
Whoever is going to shatter them
hasn’t come yet.
And so the moss flourishes, the seaweed is cast about,
the sea bursts out and slides back,
and it seems the rocks are perfectly still.
Till a little seal comes to rub against them,
comes and goes.
And suddenly the stone has an open wound.
I told you, when rocks crack, it happens by surprise.
Not to mention people.