Manual Drathers Story: an Expired Reality novella

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Get it by Friday, Nov Black Earth: End of the Innocence Aug Of Dreams and Faith Apr Lost Birth: an Expired Reality novel Jan Endangered Memories: an Expired Reality novel Jun Drather's Story: an Expired Reality novella Feb Black Earth: Exodus: Volume 4 Nov Alderman , Michal C.

Expired Reality Endangered Memories Jul Expired Reality Lost Birth Sep Currently unavailable. I bought the book. And so far, it is the only novel I have read translated from Spanish. For my honor and pleasure, years later, Edith turned out to be my translator. And I have learned from her a few lessons about literature that I would like to share here:. Good work comes from a humble attitude: Edith makes questions. She respects an author and wants to know how he understands his own work. That is not as common as it should be.

Translators know they must make a readable text in their own languages. Many times, they fear to let authors participate in—and probably disagree with—that work. I need a translator with sense of humor. Mainly black humor. For Peruvians—and most of Latin Americans—humor has always been a weapon against the painful aspects of reality.

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And that is clear in my books. But the richer a country gets, the more politically correct its humor becomes. Unfortunately, there is no handbook for that. I am happy to declare that Edith understands all the double senses, the nuances and subtleties as an experienced Peruvian. It is important to work with lovely persons. We do this for pleasure, because money means not so much for us as creating beauty, exchanging interesting ideas or discovering new realities.

Edith is a great professional and an amazing reader. But the most important for me, each time I go to New York, is going for lunch with her, always to the same restaurant because Edith has never left her neighborhood in the XXIst century.

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There we sit and talk about Miguel de Cervantes, gossip about Nobel Prizes, discuss machismo, flirt with each other, analyze the Palestinian conflict, comment on the latest books and, most of all, have lots of fun. After dining with Edie Grossman on many occasions and learning what she was truly passionate about, I commissioned her to translate the works of eight major Spanish poets, whose canonical poems, while familiar to Spanish readers, were largely unknown in English.

The book that resulted, The Golden Age or Siglo de Oro, became a transformational work that helped to define for English readers the lyrical, and essentially tragic, beauty of this golden age, one that spanned over three centuries, from the late s, the age of Columbus, right through the late s. There were just some of the poets she chose to translate in a book we worked on, which then came out in Watching her give contemporary English voice to a seventeenth-century Mexican poet was witnessing artistry.

Drather's Story: an Expired Reality novella

No news there. What surprised me was how much fun it turned out to be to work with this legendary lady! Here is to more good conversations about parenthood, plants, novels, and complex weather systems. Most of all, my dear friend, here is to you today. Happy Birthday! You can see it in the vividness and fidelity of her work. Edie is not a professional, though she is consummately serious about what she does.

She is an amateur in the original sense: she loves what she does, and we are all the beneficiaries of her no-holds-barred commitment to her calling. Our association developed more professionally when I invited her to participate in public literature programs at the Society—including as moderator and translator for a Chilean literature event in ; in presentations that included Colombian author Alvaro Mutis—whose Maqroll novellas she translated so poetically; and in other events over the years, among them a Mexican writers series in which she delivered a fiery reading with poet David Huerta; and a Cuban literature series at the Kaye Playhouse at Hunter College.

Most recently, she delivered eloquent and personal eulogies to late author Carlos Fuentes and translator Alastair Reid in memorial events for those two giants of Latin American writing. When Edie published her book Why Translation Matters with Yale, I remember talking with her about why, of all the interpretive arts, translation had to defend itself against the insensitive and damaging charges of whether it was even possible.

Or not traitorous. No one asks a pianist or a dancer or an actor such a question. We depend on them to illuminate a work and enjoy bringing it to us. We depend on the rigorous work that was done to prepare the interpretation and the delight in performing it. We appreciate the love that is expressed throughout. Edie mastered the temperature of that book. The fact that this classic text has not seen a complete translation in over a century makes me think that others were intimidated, knowing that Edie had to get around to it someday.

With Cervantes, Edie manages a trick of time: we recognize an antique formality that winks at itself without appearing anachronistic. I experienced no ambivalence enjoying these books in English, even while appreciating that the experience in Spanish had to be different.

I know in reading an Edith Grossman translation that the text had been cared for with an almost maternal ferocity and an adventurous intelligence: the kind that knows how to find meaning in fidelity and create mischief in managing it. That, I think, is the masterwork of literary translators as well.

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It is probably inevitable that the literal would doubt the gift of translation: it is work that has to be trusted without clinical proof. Theologians and translators are, ultimately, masters of parallel dilemmas. In the spring of my second year at Columbia, I ended up taking what turned out to be a transformational course on Comparative Translation with Edie Grossman. The energy in that seminar is one I keep in mind and always try to approximate in the classes I am teaching now. She was open to that; her openness to finding new possibilities in a text was infectious. On good to great days, I still feel that way when I am working through the texts I am co-translating now.

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In the space of only a few weeks, my sense of how I wanted to spend the next year of my life or the next several had changed pretty dramatically. I opened my statement of purpose for the grant with an excerpt from Why Translation Matters:. Translation not only plays its important traditional role as the means that allows us access to literature originally written in one of the countless languages we cannot read, but it also represents a concrete literary presence with the crucial capacity to ease and make more meaningful our relationships to those with whom we may not have had a connection before.

Translation always helps us to know, to see from a different angle.

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As nations and as individuals, we have a critical need for that kind of understanding and insight. The alternative is unthinkable. Her example, her kindnesses and encouragement, her generosity and warmth mean more to me than she could possibly know. The Institute was created to enhance awareness in the United States of the cultural and intellectual life of Spain and Latin America. To succeed, we had to rely on individuals with a unique awareness of both worlds.

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