Julia Lovell, Sophie Lewis, Arunava Sinha, Marcia Lynx Qualey and I took part in a discussion at Asian Review of Books on the nature of translation and the role of translators in bringing Asian literature to the English-speaking world. Here is an excerpt from the conversation:
Peter Gordon, editor: A work in translation is, obviously, not the same as a work in the original language. But what is it exactly that readers are actually reading when they read a translation?
Lucas Klein: First, what a translation is not: a genetic clone of some original. Many criticisms of translation—such as that translation is “impossible”—are based on impossibly narrow definitions of translation.
Peter Gordon, editor: When setting up the Man Asian Literary Prize, I included an additional award for the translator (if there was one) of the winning novel. This was not just a matter of acknowledging the translators’ contribution: the Prize was initially for as yet unpublished works, and I figured if anyone would know what interesting works were in the pipeline, it would be translators … Where do translators and translations fit in this “eco-system”?
Lucas Klein: The role of translators in that ecosystem can seem both very large and very small. If Faulkner was influenced by the Bible and the great nineteenth century Russian novelists, say, and in turn influenced Gabriel García Márquez and Mo Yan, then not only was Faulkner influenced by the King James translators, but also by Constance Garnett, who translated Tolstoy and Dostoevsky in the early twentieth century, as García Márquez and Mo Yan are influenced by the translators of Faulkner into Spanish and Chinese, while Howard Goldblatt is in turn influenced not only by Faulkner but by Gregory Rabassa and Edith Grossman—García Márquez’s main translators into English—in the formation of the literary style he has used to represent and recreate Mo Yan’s voice in English.
Click the image above for the full discussion.