Why does anyone translate?
Why does anyone translate? The question is not mine, but comes from a typically bracing comment by Thomas Bernhard: "Translators are ghastly: poor devils who get nothing for a translation, only the lowliest fee – shamefully low, as they are wont to say – and they accomplish a ghastly job. In other words: the balance is restored. If a person does something that is worth nothing, then they should get nothing for it. Why does anyone translate? Why don't they write their own stuff instead?"
Literary perspectives: Hungary
Carl Henrik Fredriksson
Literary perspectives: An introduction. The re-transnationalization of literary criticism
Literary perspectives: Hungary. Mastering history through narrative?
The body of the text. Corporeal writing in Péter Nádas's "Parallel Stories"
Eve-Marie Kallen, László Krasznahorkai
The space of nature, the space of culture. An interview with Lázló Krasznahorkai
"Resting" by Attila Bartis. An introduction
Resting. An excerpt
Erika Csontos, György Spiró
A witness of the first century. An interview with György Spiró
Commission for European Standards: Literary (Draft 1)
Why does anyone translate?
Imre Kertész and his time
Imre Kertész. The stranger
Kaddish for a Stillborn Child? in the Hungarian Quarterly.
A Quiet Revolution: Hungarian Fiction since 1975 in the Center for Book Culture.
According to the Guardian Review (14 January 2006), "There has never been such a boom in book buying and reading. Overall, books cost less than ever, and there has never been such a wonderful variety of new titles from smaller publishers." True, but it happens not to cover fiction in translation, which is in decline. In the UK (population 60 million) an astonishing 120 000 book titles of every possible category are published annually, including 5000 that one might class as adult fiction titles, but no more than 100 to 200 of those (2-4 per cent) are translations (the figures for the US are not very different). The usual contrast is with Germany (population 80 million). There, some 75 000 book titles are published annually, including approximately 3500 new fiction titles, of which as many as 1400 (approximately 40 per cent) are translations. If one looks specifically at works translated from Hungarian: not only did more of these appear in German during 1999 alone than in English during the entire 16 years since 1989, but on average, ten times more titles are published annually in Germany than in the UK.
As a result, a huge range of works by Hungarian authors, and a body of informed criticism of contemporary Hungarian literature, is now available in German. Corresponding guidance simply does not exist in English, and with the run-down of the public library system, one would have trouble locating even what little published work has been translated. The Hungarian Book Foundation ( www.hunlit.hu) tries to help, in part by also supporting the website Hungarian Literature Online. For 40 years, the Hungarian Quarterly has admirably sought to bring choice delicacies to English readers, and is now available online. This magazine has a regular literary column that reviews ten to twelve new books a year, though it often presumes an intimacy with Hungarian authors and works that a non-Hungarian readership cannot possibly have. A "The Best of the Hungarian Quarterly" was published by the Harvill Press in 2004 (An Island of Sound: Hungarian Poetry and Fiction before and beyond the Iron Curtain, eds. George Szirtes and Miklós Vajda); a laudable project, though the book tries to cover too much and is rather uneven, while failing to be very informative on the literary justification for the selection. Better on that score, though obviously narrower in focus, is Contemporary Jewish Writing in Hungary: an Anthology, eds. Susan Rubin Suleiman and Eva Forgács (Univ. of Nebraska Press, 2003). But that is more or less the extent of it.
So what needs to be tackled? At the request of Context, an occasional American literary magazine associated with the Dalkey Archive Press that devotes particular attention to literature in translation, I wrote a short article on Hungarian fiction since 1975 which mentioned 77 works by a "Top 20" list of authors. As only 19 of the titles mentioned there have been published in English translation, that leaves a lot to go for (30 years' worth at current rates of translation), and nearly half the authors have brought out newer work since then. Quite apart from hopes for the remaining four to five volumes by Imre Kertész that have yet to make it to English, if pressed on personal favourites, they would be László Márton's The True History of Jacob Wunschwitz or anything after it (especially A Shady High Street); Endre Kukorelly's Fairy-Vale, or Riddles of the Heart of a Man; Zsolt Láng's Transylvanian Bestiary (2 volumes); with Gábor Németh's Jewish, Are You? (2004) as a wild card. László Krasznahorkai also merits wider recognition, and his soon-to-be-published War and War (New Directions, 2006) may or may not achieve that. While the fęting of Sandor Márai is all very well, it would be gratifying to see acknowledgement for more original writers of the recent past, such as Géza Ottlik or Miklós Mészöly.
Still, the question remains: Why does anyone translate? The above authors share the feature that, besides writing marvellously distinctive Hungarian prose, they offer fresh and highly individual approaches to how one thinks about the world – above all, about history and personal identity. That, surely, is the whole point of serious literature. By contrast, most UK writers are, in my view, terminally derivative and boring, and an infusion of new thinking would not come amiss there or in the US. The bottom line was well expressed by Ezra Pound in The ABC of Reading: "The sum of human wisdom is not contained in any one language, and no single language is CAPABLE of expressing all forms and degrees of human comprehension." Moreover, noted Pound, "If a nation's literature declines, the nation atrophies and decays."
Original in English
© Tim Wilkinson