ABOVE ALL, TRANSLATION
Paweł Hertz wrote in Przeciw Komiwojażerom that it’s only the best and most beautiful literary works that are not consigned to oblivion in the course of time and these are, sadly, just a few. When I look at “Nowe Książki” (2/2008) from this perspective, I feel that well translated works should be among those likely to survive as well. Not for nothing do I start by introducing the words of this outstanding translator, since plenty of texts run in “Nowe Książki”, such as an interview with Adam Pomorski (O diabłach i ludziach / About devils and humans), the reviews published in “From the cover” section devoted to his new translation of T.S. Eliot’s W moim początku jest mój kres (reviewed by Adam Komorowski) and A. Achmatowa’s Drogą wszystkiej ziemi (reviewed by Anna Piwkowska), and also the review of the latest edition of the anthology Pisarze polscy o sztuce przekładu 1440-2005 (reviewed by Wojciech Kaliszewski) – these texts reveal how vitally important is the role of a well-made translation in reviving a literary work and ensuring its long existence for centuries to come. This time, for such well-made translations and commitment to his work Adam Pomorski reaps rewards – most notably for the latest translation of T.S. Eliot and also for his previous work on Rilke’s poetry (1994) and Goethe’s Faust (1999).
A good translator knows their trade and that accounts for the fact that Pomorski so aptly explains the basics of his workshop. Arduous work on the text and seeing it within various contexts which are created not by the trends prevailing in the epoch contemporary to the translator, but by the text itself, a thorough knowledge of distinct literary traditions that allows the translator to move smoothly within the tangle of references and sensitivity to semantic differences between the language of the original and the language of translation – the whole of a good translation expressed in such a way seems to be almost ideal, simple and functional. So the question arises: how come there are so many dreadful translations? After reading the text on the anthology Pisarze polscy o sztuce przekładu 1440-2005 by Wojciech Kaliszewski I got the impression that, basically, there is only one reason for this and I’d say it’s difficult to ignore it. Namely, whatever the role of a translator is – as a critic, reader, linguist or literature scholar – it won’t cure them from the human inclination to express something, even in the tiniest part, with their own words, from interpreting instead of translating mechanically, from addressing the reader not only from the position of someone speaking on behalf of the author, but also of a guide who modifies author’s voice by making its tone and timbre more pleasant to reader’s ear. Unfortunately, it often happens that, despite all the advantages of peculiarly rediscovering the values of the original in its translation, such attempts end in nothing but some scrawl produced by a right-handed man with his left hand on the noble texture of the original. How is it possible then to recognize the real values of the original? To this I have no answer.
Thus, it’s worth casting a glance on “Nowe Książki” only to keep in mind the complex role of the translator. It could be that the reader, as myself, will find the reason for why they got the impression that their personal interpretation of Faust missed the interpretations of those who read it in other languages?
Sometimes we forget – sometimes we learn too late…
When reading the text by Przemysław Pietrzak on the latest translation of A. de Saint-Exupery’s works entitled O sens życia (Piękny naiwny) or that by Beata Pieńkowska on Daniel Katz’s Kobieta Pułkownika (Rwący nurt rzeki i historii), I’ve come to realise one thing. The optimism of Adam Pomorski over how much do Polish people know about the contemporary Russian literature can’t be equally great as far as the literature of other languages goes. For a long time crying out for Polish edition Saint-Exupery’s reports and correspondence that have just been translated or merely the first Polish translation of a prolific Finnish writer, already acclaimed abroad show that in Poland keeping up to date with the most recent cultural events happening worldwide is still in its infancy and every attempt to catch up with the rest requires a great deal of effort. It’s not because there’s too much to make up for, rather it’s that there’s no well-prepared plan how to do it. Therefore, some voices from behind the Ocean reach Poland – it shows in the reviews: of Joyce Carol Oates’ Córka Grabaża by Agata Szwedowicz, of Paul Auster’s Podróż po skryptorium by Sława Krasińska or of Sara Gruen’s Woda dla Słoni by Milena Schefs. From Austria we get a fresh but how profoundly moving volume of memoirs Isle Aichinger (reviewed by Helena Zaworska). All this happens incidentally and, rather than follow the rules established for the series, follows the rules of the market imposed by the concrete publishing houses.
Not so extreme…
But, since I neither want to fall into unduly pessimism nor create an impression that “Nowe Książki” are this time devoted entirely to translation, I promptly report that there’s no shortage of reviews bringing to reader’s attention the texts particularly worth being noticed. These are the texts written by Jan Gondowicz on the latest volume of I. Witkiewicz’s series Dzieła Zebrane, where the uniqueness of the letters he wrote to his wife between 1928-1931 is faithfully reflected; the text by Kinga Waniok on Stanisław Stabra’s Złote jabłka Afrodyty proving me right in my belief that the theme of mythical world can still be expressed in a fresh way; the article written by Henryk Waniek on Umberto Eco’s Historia brzydoty where the author reminds the readers of the still effective, though classic method of how to read literary works written in the form of anthologies; or, finally, Piotr Wróblewski’s Summa fotograficzna, a synthetic presentation of the main ideas of Francois Soulages’ book Estetyka fotografii. Strata i zysk – the latest volume of the series Nowe Horyzonty (this review has whetted my already great appetite for devouring this book).
And one more thing
Ultimately, I want to share with you the impression I got after analysing the selection of subjects in some of the discussed books: photography – history of China – cookery. It gave me food for thought and perhaps you will also wonder:
• What about the future of photography, as in the era of digital technology we begin to perceive the latter it terms of art?
• What is the real China, the host of the 2008 Olympics, current number one in the public eye all over the world?
• And, finally, a bit of nostalgia – which sweet flavour of my childhood I’d call my favourite – the subtle cakes from Zielone Wzgórze or those filled with love fine mixtures from 5 Roosevelt Street in Poznań?
It all seem to come from entirely different and by no means adjacent semantic worlds. But isn’t it exactly how are our books today? Some detective story on the bus, an illustrated album after dinner, a quick look through newspapers while visiting our friends. I’m not going to account for that – everyone knows best what and how they read.
Lidia Koszkało
Translated by Anna Balcerek
Discussed journals: Nowe Książki