The Art of Translation

The Art of Translation

Jerry Piasecki

Let me begin this paper by complimenting Gao Minna, Du Lixia and Liu Dangling for their wonderful work in translating Greenwood Riverside. This was indeed a difficult assignment, and a job very well done. Allow me to also sincerely thank Mr. An-Wei for bringing it all together, and making this project possible. Let me offer special thanks to the author, Ye Guangquin for writing such a marvelous and captivating story. I know all of us who have worked on Greenwood Riverside will remember it always and are thankful for her artistic vision, magnificent imagination and perfected writing skills. I also want to thank you for the opportunity to work together. It has been a truly exciting journey and an amazing learning and growing experience.

Introduction

The globalization of technology, economies, scientific advancements and commerce has set the stage for what could be seen as an even more significant advancement in raising the consciousness and touching the conscience of all humankind, in other words; the globalization of thought, emotions, literature and art. As translators, you are at the vanguard of this new wave of enlightenment and understanding. Through your work, you give a large part of the world a glimpse into the soul of China, which can be seen in the lives, loves, spirits and history of its people. Your work is both noble and needed. By providing non-Chinese readers with a gateway into Chinese literature, you are advancing understanding, respect, compassion, acceptance and appreciation; qualities that, on occasion, can be in short supply as the more economic, technical and political wheels of globalization roll ever onward.

Clearly, I view your work with the utmost respect and admiration, but it is important to note that this paper is written from my view point and mine alone. I am not a translator, but I am an author whose work has been translated into a dozen languages. I have collaborated and consulted on the English text from writers around the world. Also, it’s significant to note that Greenwood Riverside is a literary work, not a technical document. In no way is this brief offering meant to serve as a manual on translation. You know

much more about this area than I do. What I hope to convey is that while your title might be “translator”, you are also an “artist”. You are story tellers, writers, craftspeople and messengers. It is through your efforts that an author’s vision can come alive in places where it would never otherwise be possible. I applaud your dedication and your art.

The Nature of Translation

To do your work, you need to have knowledge, creativity and vision. When a carpenter cuts wood and grabs a hammer to build a chair, that person is already envisioning what the chair will look like. If not, then the carpenter might end up with a two legged stool, with each leg a different length. A surgeon must see the end result of an operation in his or her mind before making the first incision. Otherwise, I feel very sorry for the patient. A farmer plowing a field envisions it filled of grain. A military leader visualizes victory, otherwise all is lost. The same basic principle holds true in translation.

Translation is part of the creative process, not some technical exercise that might just as easily be done by a computer. A computer can translate words, but not emotions. It can be technically correct, but creatively wrong. As translators, it is important to visualize the complete story being told, from beginning to end, if that story is to be told with any sense of continuity, urgency and consistency. If I translate pages 100 to 150, but have not read pages 1 to 100, or 150 to 600, how can I know that the story line holds true and is progressing toward its climax, or the voices being heard are the same from chapter to chapter?

It is my view that the characters must become alive to the translator, as much as they are alive to the author. It is critical that the translator becomes one with the characters and the story. The key here is not to look at each word, but to listen to the meaning and the message being delivered by the characters and story. An author doesn’t write looking at the definition of each word, but how the flow of the language, descriptions and dialogue relate to the plot or subject matter. Listen, and translate what you hear. This holds true when you are translating an entire manuscript or selective chapters as was the case with the wonderful translators working on Greenwood Riverside. When more than one translator is involved, the group needs to work together, and with the author, to make sure the voices of the characters and the sound of the story are

consistent throughout the text. This is part of both the art and the craft of writing. When multiple translators are involved, one can often end up with characters having multiple voices and a story with a disjointed focus. Here, the work of a single editor to work on a translated manuscript becomes quite important.

The work of a translator is to make sure a new audience is informed, entertained and engaged by a story. These goals can not be reached word for word, but through the spirit and the soul of the story itself.. Characters breathe. They have lives, hopes, dreams, fears and loves. They are good. They are bad. They are both. Translation can touch the surface, or reach the soul.

Cultural Differences

Every culture has its own unique focus, strength and foibles; its own manner and mannerisms. As an author, I feel a translator’s goal is to portray, in this case the Chinese character, mindset, point of view and foundation in ways that others can understand and relate to. Certain universal concepts; love, death, hunger, sex, thirst, pain, pleasure, humor exist in all corners of the world, but all are viewed from slightly different angles. What is funny to a Chinese audience might not make sense to an American one; and vice versa. For example the red haired young man in Greenwood Riverside said; “A boss went whoring. He asked the whore if she was a virgin. The whore felt it hard to formulate an answer, thinking that if she answered ‘No,’ the fact was she was not yet married; but if she said ‘Yes,’ the fact was she had served thousands of whoremongers. So she answered ambiguously, saying ‘I can hardly be considered a virgin, but you can think of me as a vice virgin.’”

Apparently this is, according to the book an “out-of-date”and “vulgar”joke in China. As an English reader, I didn’t get it.

Idioms are another strong case in point. While all cultures have them, few can be translated directly. I am certain that to a Chinese reader the meaning of a “monkey carrying a lantern,” and oil in a mother’s milk would be crystal. That does not hold true for an English reader.Some reverse examples might highlight this point as well. What do American idioms such as “go fly a kite,”“hill of beans,”“hell bent for leather,” or

“shit faced” mean to you? How would you translate them? To do so effectively, you need to know the meaning of the idiom, not the exact translation of the words. The same holds true when translating Chinese idioms into English. When possible, perhaps it would be best to translate an idiom into an idiom with the same meaning.

While this is a very broad generalization, with many exceptions, writing techniques and style seem to vary from Chinese to English. The work in Greenwood Riverside is highly descriptive in both settings and character development. Currently, I feel many American novels are more action-based and lack detailed descriptions.

For example, violence in Greenwood Riverside is often part of character development, as opposed to just part of the action. A clear example can be found in Chapter 2 when the author describes the eating habits of Wang Third Spring as follows. “Wang Third Spring drank alcohol. He insisted on having it with food. If he didn’t have a dish to go with his liquor, he would order that one of the kidnap victims of the Iron blood battalion be brought before. He would then cut open the victim’s chest and kick him the back. By doing this, the person’s heart would fall out of his chest. Wang Third Spring had acquired this extraordinary skill as a result of having practiced on numerous victims. The heart kicked out in this way would be sliced raw to go with his alcohol. But if the heart was too fatty, it would be pan-fried.” From that passage you have a pretty good idea of what Mr. Wang Third Spring was like. The significance in pointing out this literary difference is that a translator needs to be aware that overly descriptive text might be cumbersome to an American reader. Again, this is general observation to which I am certain there many exceptions. I simply felt it was worth noting.

In translating, it is critical to be aware and careful of things that might be normal and totally recognizable in one culture, but a complete mystery in another. I had no idea what a Sichuan land boat was. Actually, I still don’t because nothing came up on Google. As a reader, this stopped the flow of the story as I tried to figure out what such a boat looked like. Also things like “National Second Rate Guard Service,”and “Civic Detention Channel,”made me leave the story to research a thing. Examples in reverse might include common American phrases like “blue grass,”“Louisville Slugger” and “Petoskey stone.” If you were reading a compelling story in English, you might have to stop to look

up these references, thereby breaking the flow of your imagination and lessoning the reading experience. I in no way mean to simplify a story, just to keep the creative pulse beating without unnecessary hurtles and roadblocks.

While always noting time constraints and life’s normal and abnormal difficulties, it is imperative for a translator to know and feel a culture, not just understand the words in a language. Try to understand the soul of English readers, something that can be accomplished through the arts. Books like Studs Terkel’s “Working,”which features everyday American working people discussing their hopes, dreams and fears are invaluable in this regard. Watch and listen to English films and even TV. Both will offer great insight into the cadence of the language.

Think in English

Another key, I feel, to successful translation is to be able to actually “think”in English. By so doing, you’re thinking and therefore writing pattern in English becomes natural and flowing. Having worked for many years with the United Nations, people from many different countries have told me that “thinking”in English is key to their communicating in a conversational and consistent manner. These people work in English, therefore they must think and write in English.

One of the secrets to thinking in English is to speak English as much as possible. I believe the written word is all about sound. It is my opinion that when we read a word, we hear it in our minds. Many authors have told me that they write for “sound.”A translation reaches the mind of a reader who might think in a very different pattern than your countrymen and women. If the pattern of the written word runs contrary to the readers normal thought pattern, then the reader could be confused and not responsive to the story being told.

Several examples of direct translation can be found in signs seen by friends traveling in China. While each English word might be correct, the impression is very wrong. For example on one sign, the English translation written beneath the Chinese words reads “Under the River to Play Safety.” (See photo 1) On another the English translation reads “Please Enter Pool Urine.” (See photo 2) I am sure the words are right, but the message is a mystery. I would be interested to know how you would translate the signs.

By thinking in Chinese and writing in English, the result is generally what in the U.S. is called Chin-glish. If one thought in English and wrote in Chinese, I suppose the result would be Eng-nese. In either case, the flow of the writing is broken, and the vision of the author clouded over, possibly to the point of being obscured, compromised or entirely destroyed. The responsibility of translators is enormous; responsibility to the author; responsibility to the reader; responsibility to the art.

Art of Translation

Translation is one of the rare occupations that is both a craft and an art. Translators are artists in that they tell a story, and actually write a story in a language other than the author’s native tongue. While it is the author’s story, a translator retells it in a way that is relevant to a new audience. No, a translator is not the author, the translator is a story teller, which is an art form in and of itself.

The “art” of translation is indeed the art of story telling. The goal is to enthrall the reader with the plot, touch their emotions with the characters, and captivate their intellect with the saga unfolding with each page. By getting into the minds of the characters and the spirit of the author, translators weave an almost magical tapestry of literature that transcends cultures and political divides. Greenwood Riverside is an intricately designed and complex work of Chinese literature. . . Chinese art. It portrays different times, attitudes, beliefs and perspectives. Is Wei Futang a drug running bandit, or a community leader fitting the traditions of his time. Is he one who rapes and murders, or builds bridges and schools. Is Feng Ming a revolutionary, a visionary, or a mourning lover who first seeks revenge and then, years later, closure? Who are the real Xie Miaozi, Cheng Lixue and Xie Jingyi? Why is this work, above all, a love story?

English readers need to know that this is a Chinese story, but they also need to be told the story in a way that captures their imaginations and allows them to travel to China past and present. While it is vital to think in English, it is equally important to keep in mind that the writer is Chinese, the characters are Chinese and the story is Chinese. This is what you are sharing with the world. You shouldn’t try to make the writer sound like Stephen King or Dean Koontz. In making the language readable to the English audience, you don’t have to try to copy American or English writers. In Greenwood Riverside Ye

Guangqin has her own voice and style. It is a style that should be shared, and a voice that deserves to be heard. That is the art of translation. That is why those who worked on this novel are indeed artists.

Technical Rules of Translation

In this short statement, I have focused on what is, in the view of this author, the foundation, soul and importance of translation. Let me for just a brief moment touch on a few small technical details and thoughts. Here again, I am not a translator, but I have edited many translations. I am also a reader, a writer and an author.

The first “technical rule”I would like to discuss is that story-telling must always come first, with “technicalities” second. Don’t let grammar get in the way of the story, either in plot, description or character development. Translate the meaning and true spirit of the piece without worrying about grammar and spelling. Actually, if you translate the storyline by phrases, paragraphs, thoughts and ideas, most often the grammar will be correct. On the other hand, translating word for word virtually guarantees incorrect grammar and a stilted story line. In any event grammar and spelling can be checked after you make sure you have told the story as it needs to be told.

Continuity is critical in any translation. This holds true for maintaining a character’s voice and following a storyline to dates, places and names. In GR, is the place we are talking about GR or Guangping? It might be obvious to the Chinese reader that they are the same place, but not to an English reader. This is why in the edit I attempted to make sure the reader would understand that the names are interchangeable. This issue can be significant. For example, you might know that New York City is known as the Big Apple, but do you know which American cities are referred to as the “City of Brotherly Love,”“The Big Easy,”“Bean Town,” or “Motown.” To Americans the answers are instantly clear, to a Chinese reader they might not be. However, if I wrote; “The highjacked truck rolled slowing through the hot Detroit night. So, this is Motown, the driver thought with a smile. Not what I expected it to be,” then it is clear that Detroit and Motown are the same place and the names can be used interchangeable throughout the rest of the manuscript.

The names of people must also be consistent. Is it Wei-Futang or Wei Futang? Li Shumin or Li Shu-min? What about nicknames, or other ways of identifying the same

person? For example, who is the “Third Old Man?” This was explained many pages after it was first used. At one point Li Shumin is referred to as Li Wu. While to a Chinese reader this might not be at all confusing, to an English reader it sounds like a different character. Consistency in names is important to keeping the reader focused. In English, would you know who I meant if I suddenly refereed to a character named “Jonathan” as “Jack”, or a man named “Robert” as “Dick?” How about “Dolores” as “Lola?”“Laura”as “Lolly?”A single name should be used, or a nickname established in the book. Otherwise, readers might not know which character is doing what.

I might also suggest that all footnotes be translated and included in the body copy. In Greenwood Riverside, most footnotes were left blank. For an English editor, it would have been helpful to know the footnotes in order to properly edit the copy.

Finally, I want to again emphasize the need for multiple translators to work together to decide on names, places, character development and storyline. Always remember, when in doubt, ask the author. Now that’s really from an author’s point of view.

Conclusion

Again, I want to thank you for your interest, partnership and professional dedication. It has been a pleasure working on Greenwood Riverside. Let me conclude by repeating my main point regarding your work. You are artists who play a critical role in the creative process. You are story-tellers and messengers. By bringing new literature to the world, you are part of the globalization of art, ideas, thought and the like-nature of all human kind. It is quite a responsibility and a joy.

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