On translation

James Ley dissects the carnal imagination at work in the English translations of Han Kang’s books.

In late March 2020, I sent a WhatsApp message to the Indonesian author Budi Darma asking him to be careful about the new virus spreading around the globe.

There’s this thing people do when they talk about translation that I find very frustrating – they focus on what is lost in the process, and I really think that is putting the emphasis on the wrong thing. Because just look at all that is gained. You get a whole new work. People in a new language are reading it a different way, and they’re not reading it in its original language, which some people believe automatically makes it inferior. But I don’t think that’s true. I think it adds a lot. I think it contributes to the literary culture of the language it’s translated into.

While few literary translators are truly ‘anonymous’ these days, many still move like ghosts through the world of publishing, their names omitted not only from the covers of their books but also the reviews and promotional materials that sprout around them.

What came first: the projection of women’s qualities (wiliness, treachery, dependency) onto translation, or the projection of translation’s qualities (submissiveness, restraint, inferiority) onto women?

‘It’s amazing how far your poems may reach even in a country with censorship.’ An interview with celebrated translator of Chinese literature, Bonnie S. McDougall.

‘I do commercial translations, literary translation doesn’t pay the bills and requires a lot more work. I translate insurance forms, information leaflets for medication, instructions for prostate operations… It’s a repetitive job and in general very boring. But I think about Kafka, about how his job at an insurance office may have pushed him to immerse himself more fully in his fiction, and that gives me some consolation’ – Fabian Martinez Siccardi.

Analects are gleanings, crumbs under the table, fragments of old text that, in the case of Confucius, have coalesced into a classic. Simon Leys, his latest translator and annotator, seldom misses an opportunity to remind us just how ragged and loopy this little book is — a mere one hundred pages in this edition (requiring another hundred pages of irresistible notes). The Analects consists of brief passages of partially recorded or remembered conversations between the Master and a set of often unidentified interlocuters.

The central concept of Against World Literature is the ‘Untranslatable’: a word or other semantic unit that cannot easily be rendered from one language to another, an ‘intransigent nub of meaning that triggers endless translating in response to its resistant singularity’.