Performing Without a Stage: The Art of Literary Translation

by Robert Wechsler

A lively and comprehensive introduction to the art of literary translation for readers of foreign fiction and poetry who wonder what it takes to translate, how the art of literary translation has changed over the centuries, what problems translators face in bringing foreign works into English, and how they go about solving these problems. It is based on extensive reading, on dozens of interviews with translators, and on the author's ten years of experience editing literary translations.

Genres: Nonfiction, Literary Criticism

293 pages, ebook

First published January 1, 1998

Reviews

[Robert Wechsler]

I'm the author of this book on literary translation, and wanted to let Goodreads people know that it is available free in three digital formats on the Catbird Press website. It's an everything you always wanted to know about sort of book, looking at what it takes to translate, how the art of literary translation has changed over the centuries, what problems translators face in bringing foreign works into English, how they go about solving these problems, and how literary translations come to be published, how they're reviewed, etc.

[Melvyn · Rating 4 out of 5]

Not too happy about the Goodreads five-star rating system, because three stars is already kinda meh IMO, whereas four stars is pretty much thumbs up, while most books I read tend to oscillate between those two extremes. Ultimately this one gets my coveted fourth star thanks to its wealth of research and pragmatic insight into most aspects of literary translation, as well as the enjoyable style… and in spite of the admitted datedness (1998) and various pronouncements that I do not go along with much.

I shall quickly dispose of the most obvious mehs:.

“Let me begin by confessing that I am not a literary translator. Like a professor who writes about literature but has himself written only a few poems or stories, most of which remain in his desk drawer, I have done only a little translation, most of which is sitting where it belongs.”
I think Mr Wechsler is being a little modest here, because his subsequent analysis of various translation issues betrays a knowledge that could not be acquired without considerable personal experience and not just as a publisher. However, this role as an enthusiastic amateur sometimes contrasts strongly IMO with his more wide-ranging and stringent criticisms:

“In 1996, I worked with a number of young translators who chose or were assigned selections from an anthology of fiction by younger Czech writers. All of them were fluent in Czech, had lived in the Czech Republic, and had studied the language and literature in universities here and abroad. Most of them were either graduate students or professors in Slavic Languages and Literature. Literature was their life. All but one of them was a native English speaker. Yet most of them had a limited grasp of writing literary prose. They had problems with English syntax and other grammatical matters, they had problems choosing a right word (not just one that best captured the original’s meaning, but one that worked in the context of the English sentence they had chosen) and, most seriously, they did not have a good ear.”

Likewise I found some of his other pronouncements to be rather categorical, e.g. “a musical composition is intended to be translated into body and throat movements, while a work of
literature is not intended to be translated into another language.” I see nothing necessarily true about that, as perhaps increasingly these days authors seem to have the global village in view as they write.

And then what a difference the internet makes:
“Translators from the same language do not tend to know each other very well, except in their role as professors in the same specialty area. Few Czech translators knew each other until I organized a conference at Columbia University a few years ago, and few of them stayed in touch afterward.”
I find this hard to believe even at the time and even in the US, in light of the responsiveness I came across among lit translators online within a year of this book’s publication.

Still, suitably forewarned against such apodictic statements, we find there is much food for thought here. Some of the insights from this book are discussed in this thread on Czechlist, a discussion group for translators and other language professionals: https://www.facebook.com/groups/18875...

The biggest pluses for me are the enjoyable, easy-going style (no translatology jargon to wade through), the personal touch, the breezy anecdotal approach to what looks like Borgesian erudition and the fairground ride through translation theory and history, and the focus on the translator as actor (mimic or parodist), a metaphor that works on various stages.

[Flávia (Fuga de Letras) · Rating 3 out of 5]

2.5*

[Lee]

This text explores the practice of literary translation and the impact of literary translators and their works. The books is not overly academic, though it does occasionally rely on some translation scholars and academics. A fun and light read for literary translators looking for some inspiration and reflection on their craft, or for those who enjoy literature in translation and want to learn more about what makes it possible.

[Claire Abs]

to-read

[Anastasia · Rating 4 out of 5]

Although I don't agree with many of Wechsler's pronouncements and he's a tad long-winded, this is a good introduction to the major issues in literary translation. His main argument, that translators interpret the source texts as performers (akin to musicians and actors), is hard not to agree with. I particularly like his pep talk in the last chapter on how translators need to take matters into their own hands and make themselves more visible. Good bibiography, even though Wechsler admits to disliking theory-based texts and favors practical applications in translation. Will probably use this to teach undergrads.

[hh · Rating 4 out of 5]

wechsler makes the case for translation as a performative, rather than a creative, art. in some ways he is convincing, but in others i find it difficult to agree. either way, this is an engaging and important translators' manifesto. well worth the read if you have any interest in how literature transcends language boundaries.

maybe thesis only for secondary sources. p.101 for Nerdua quote.
Barbara Johnson "Taking Fidelity Philosophically"
p.176 translator's questions

[Anjusa Belehar · Rating 5 out of 5]

Far the best non-fiction book so far. Full of passion for literature, words, translating, all about love.