Edith Grossman on the Problems of Translation in the English Language Market

Publishing Perspectives has a profile of Edith Grossman discussing the problems of publish translations in the English speaking world. She lays it out quite accurately and you might say depressingly. I find it amazing any time I open a Spanish language literary magazine, book review, or go into a bookstore in Spain and see the mounds of translations, often of books I can’t believe they would be interested in. It is very timely article for me as I’m about to start a review essay on Spanish short story writers who are unpublished in English (if translations get little respect, translations of short stories get even less).

In her book, Grossman mentions the well-known fact that only three percent of the books published in the United States, Great Britain and Australia are translations, while in Europe and Latin America this percentage number fluctuates between 25% and 40%. “We English-speakers are not interested in translations,” says Grossman. (An interviewer infected with translators’ jargon would have commented that Grossman said this “with a sigh”, or “shaking her head.“) “I don’t believe that this will change soon, since almost all publishers are part of large corporations and make their decisions under enormous pressure to be profitable.”

I mention then that a few small and medium US publishers have recently published translations of books by César Aria, Alejandro Zambra and Juan José Saer. “I love these publishers, and they have good people working there,” she says. “But they are too small, they have a lot of trouble getting adequate distribution and good publicity or reviews in the media.”

In spite of everything, in the English-language world new translations of classical works sometimes get the same attention given to new novels. Grossman’s Quixote was a major event in the world of letters, just like Lydia Davis’s new translation of Madame Bovary was last year. A few months ago, Julian Barnes wrote a long review of Davis’s version, comparing it with half a dozen earlier translations. In Barnes’ view, translations in the last few decades have become more accurate but also more cumbersome and less fluid. Barnes said that new translators, wanting to reflect in more detail the author’s original intention, had forgotten how to write well in their own language.

The ever interesting Three Percent has thoughts from a small press publisher which puts her comments in greater context.

Well, OK. I was going to complain here about how difficult it is getting books into bookstores where the buyers won’t even take a call because “that sort of stuff doesn’t sell here on Manhattan’s Upper East Side.” (Or in Nebraska, the Mountain & Plains states, or wherever.) And I was going to point out that Juan Jose Saer’s Sixty-Five Years of Washington sold out its first print run and was reviewed in the New York Times and The Nation among other places. But whatever. She’s right.1 Even at our best, the lousiest piece from crap from Corporate Publisher X will get more penetration into the marketplace, which is the slow sick sucking part of the business, and I’m not sure it will ever really change.

Obviously, Internet retailers have leveled the field a bit—all of our books are just as available through Amazon as anyone else’s—but in that case, when a reader is faced with an overwhelming number of choices (approx. 3 million new ones each year, including tons and tons of $.99 entertainments), it’s tricky for an unknown author from Peru to make it through. Ideally, when everything’s available, people would try new things and find some niche tastes, but in reality, we search for what we already know we want to find, and bust the Bieber while reading Twilight. But that’s a subject for another post and/or book . . .


Interview with Edith Grossman at The Boston Globe

A brief interview with Edith Grossman about her approach to translation. Interesting, if brief.

IDEAS: Do you read much work by other translators?

GROSSMAN: It’s difficult, but that’s part of the trick of translating – to be able to leave your ear neutral enough so you can hear the first language, and know your own language well enough so you can echo it.

GROSSMAN: When I’m working I prefer to read contemporary American and English fiction. It gives me an idea of what’s possible. Aside from the fact that I’m addicted to novels, reading great fiction broadens my own repertoire of responses to a text. Gregory Rabassa said that when he was working on “One Hundred Years of Solitude,” some ninny asked him if he knew enough Spanish to translate it, and his answer was that the real question was whether or not he knew enough English. He hit it right on the head.

IDEAS: As you translate a book into a different language, how do you separate your own voice from the author’s?

The other author of ‘Don Quixote’ – The Boston Globe.