At
the beginning of the year I asked one of the PhD students about the reputations
of the various creative writing courses. He had something to say about the
prose students, the poetry students and then stopped. ‘What about the
translation students?’ I asked – ‘Oh, we’re invisible’.
I did not realize at the time how deep his comment went. From
neglect in the publishing world to second class literary status in the narrow
minds of few, translation has a tough living all around. But while I could not
do much in a global sense, I made every attempt to bring literary translation
to the public. As part of my internship with the British Centre for Literary
Translation (BCLT) I led an international literature reading group at the
Norwich Forum public library. The meetings to talking about world literature in
translation were an opportune time to share what I learned in translation
courses with the general public. And in return I received insight into actual
readers of translated literature. What a translation should sound like, look
like, read like was challenged on both sides of me—on the one side theory from
academia, on the other side an appreciation for unobstructed literature written
in English. Even now I try to keep the two sides in mind when I translate.
Of equal but very different value to me was the MA reading series
I founded and hosted at two venues in Norwich. The free events were an excuse
to get people together from different UEA MA creative writing courses: prose,
poetry, nonfiction, literary translation and scriptwriting (though no
scriptwriters participated this year). At these events the five or six readers,
who would consist of writers from the various MA courses, would read about ten
minutes of their work, followed by mingling. People seemed to enjoy the
readings, which included joke means of introducing the readers such as
horoscopes and fake biographies. In the spirit of keeping the final reading
lively and anything but a reading, I staged a ‘performance piece’ in the style
of American comedian, Eric Andre, wherein I destroyed the setting of the show
to jazz music (https://www.youtube.com/watch?v=ls_8G1CE0Bs).
While some of this may indeed have chipped the status of literary
translators in the community, it was all meant in good fun and aimed at making
literary translators and literary translation memorable to others. For that
reason I also aimed to include literary translators, my course-mates, in as
many of the readings as possible, despite being the smallest group in numbers.
The motivation behind these things, but in no way responsible for them, was
Daniel Hahn’s differentiation between translating—doing the work of
translation—and being a translator, spreading the word about translation as
well as translating. It means promoting the work of translators and translation
as a whole concept in the community here and abroad. While I could only work in
Norwich, I think I did something right. After my antics, I read a poem I am
currently translating for my dissertation; and despite my heavy breathing,
bleeding and general disorientation after the introduction, two people
contacted me about seeing the poem again with the originals. Not only did my
translation piques peoples’ interest, but it put more translations in more
hands (or ears), which is the goal of every translator.
Cole Konopka was born in 1988. He is a freelance English-German
translator, writer and painter (www.bluecanvas.com/knpk).
You can contact him at: colekonopka@gmail.com.
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