This Little Art, p. 207-211: I appreciate Briggs's recognition of the power a translator has , particularly when translating into English -- how it's possible to do violence to the original writing. And how it's possible to learn nothing from translation work, to remain unchanged and unmoved. But also, that translation is a chance of "being taught by the other's writing," to become a different reader. I like her parenthetical question, "is it useful to think of these activities in terms of progress?" I DO tend to think in terms of progress, but what goal am I working toward? As she says, the phrase "thorough-going mastery" is unrecognizable. How do you measure that? And I LOVE her question, "when could anyone, any reader or writer, consider themselves adequately pre-qualified to undertake the translation of, say, a 730-page novel set in a sanatorium?" At some point, we have to just begin? So why not begin now, where we are?
I was also moved by all of this, Rebecca! Particularly by Briggs' talking back to the idea of "thorough-going mastery" in translation. Yes, the only place to begin is where we are right now. And (as always) her inclusive, generous stance is such a model for me in terms of how to approach things in my life—not translation specifically, but certainly writing and even reading. I've felt hesitant for years about reading Barthes, for example: wanting to but feeling some vague sense of "I'm not ______ enough" (fill in the blank with pretty much whatever: smart, academic, serious, etc.). I'm so glad this group has helped me to begin right here where I am (and as I've shared before, I'm loving the Barthes! And it's totally OK to not understand every single thing he writes!).
Hi there, sorry that I won’t be able to join tonight as inconveniently we have some friends coming for dinner! I am deep in The Preparation at present and getting quite worried about my notebooks and how I decide what to write in them. Photos may follow. Enjoy your discussion. I hope to join you next time
TLA, p. 240-247: I really love this discussion of time and value and why people translate and what they get out of it. Because it really makes no sense, from a capitalist perspective, to be a translator, and I do a lot of things that make no sense from that perspective as well -- writing reviews, making podcasts, researching books, doing reading projects like this one. I love the line, "which suggests to me there's something resistant in this: about undertaking a project - a great life-structuring and long-time-consuming collaborative project - whose returns are precisely so unimmediate, so precarious and so indirect." Something resistant indeed! I get great pleasure out of the extremely low-paid or entirely volunteer bookish projects I do, and it suits my nature perfectly that there's an element of resistance to this (as well as privilege -- I am comfortable enough financially to be able to spend time on volunteer pursuits).
I really did not expect the second half of Preparation of the Novel to be so ... practical. The first half felt very theoretical, and while the second half has theoretical sections as well, it's also very concrete. Some of it is oddly like Twitter conversations about how people do their writing, or makes me think of people who look for advice on how to be productive. Barthes has some thoughts for you! I love how very seriously he takes questions such as writing in bed versus at a desk, or how to find time to write, how to balance one's social life and writing life. What food writers eat! Whether it's possible to read seriously while working on one's book! The trials of a writer's life! It's all so great.
This Little Art, p. 207-211: I appreciate Briggs's recognition of the power a translator has , particularly when translating into English -- how it's possible to do violence to the original writing. And how it's possible to learn nothing from translation work, to remain unchanged and unmoved. But also, that translation is a chance of "being taught by the other's writing," to become a different reader. I like her parenthetical question, "is it useful to think of these activities in terms of progress?" I DO tend to think in terms of progress, but what goal am I working toward? As she says, the phrase "thorough-going mastery" is unrecognizable. How do you measure that? And I LOVE her question, "when could anyone, any reader or writer, consider themselves adequately pre-qualified to undertake the translation of, say, a 730-page novel set in a sanatorium?" At some point, we have to just begin? So why not begin now, where we are?
I was also moved by all of this, Rebecca! Particularly by Briggs' talking back to the idea of "thorough-going mastery" in translation. Yes, the only place to begin is where we are right now. And (as always) her inclusive, generous stance is such a model for me in terms of how to approach things in my life—not translation specifically, but certainly writing and even reading. I've felt hesitant for years about reading Barthes, for example: wanting to but feeling some vague sense of "I'm not ______ enough" (fill in the blank with pretty much whatever: smart, academic, serious, etc.). I'm so glad this group has helped me to begin right here where I am (and as I've shared before, I'm loving the Barthes! And it's totally OK to not understand every single thing he writes!).
Hi there, sorry that I won’t be able to join tonight as inconveniently we have some friends coming for dinner! I am deep in The Preparation at present and getting quite worried about my notebooks and how I decide what to write in them. Photos may follow. Enjoy your discussion. I hope to join you next time
I would love to see photos! We'll catch you next time -- hope you had a fabulous dinner!
We missed you, Rachel! I hope you had fun with your guests. I would love it if you shared photos of your notebooks when you are ready! :)
TLA, p. 240-247: I really love this discussion of time and value and why people translate and what they get out of it. Because it really makes no sense, from a capitalist perspective, to be a translator, and I do a lot of things that make no sense from that perspective as well -- writing reviews, making podcasts, researching books, doing reading projects like this one. I love the line, "which suggests to me there's something resistant in this: about undertaking a project - a great life-structuring and long-time-consuming collaborative project - whose returns are precisely so unimmediate, so precarious and so indirect." Something resistant indeed! I get great pleasure out of the extremely low-paid or entirely volunteer bookish projects I do, and it suits my nature perfectly that there's an element of resistance to this (as well as privilege -- I am comfortable enough financially to be able to spend time on volunteer pursuits).
I really did not expect the second half of Preparation of the Novel to be so ... practical. The first half felt very theoretical, and while the second half has theoretical sections as well, it's also very concrete. Some of it is oddly like Twitter conversations about how people do their writing, or makes me think of people who look for advice on how to be productive. Barthes has some thoughts for you! I love how very seriously he takes questions such as writing in bed versus at a desk, or how to find time to write, how to balance one's social life and writing life. What food writers eat! Whether it's possible to read seriously while working on one's book! The trials of a writer's life! It's all so great.