Any writer or translator interested in stretching their brain and their practice in new and fascinating ways!
Do students need to speak a second language?
No, they don’t need to have a second language. Having one is, of course, advantageous, but it’s not strictly necessary. There are all kinds of interesting translation experiments that can be done without fluency in a second language.
What if I’ve never done this before?
No problem! Find a text you’d like to work on and let’s give it a shot together!
Chances are at least a few of you favorite authors is translated.
So the question becomes, do you really love Jorge Louis Borges, or is it Anthony Kerrigan’svoice that moves to you? Haruki Murakami or Jay Rubin? Gabriel Garcia Marquez or Edith Grossmann?
Are you sure?
After all, translation is transformation,
One has to make decisions.
Want answers, or likeminded writers grappling with the same quandaries?
Join us in Sufficient Compensation: A one day, multi genera studio translation studio
-no experience or second language necessary- just a fascination with words.
“Nothing has moved my personal writing further than considering the kinds of decisions made by translators. Do I stay true to the style, the tone, the rhythm, the content, the humor, irony or plot? How can I capture all of these things–all of these parts of myself–and pour them into a single line?”
INSTRUCTOR: Josh Edwin
DATE: Sunday May 3, 2015
WHERE: 186 Carpenter Street
Indescribable. Do you need a better reason? Do you need any reason at all? According to a recent study, our brain invents 83% of reasons after the fact. (I made that up). I’m a writer. It’s what I do. (A good reason to be unreasonable).
FW: How does translation function in your own creative practice?
JE: Translation gives me a chance to focus on technical aspects of writing without having to invent my own ‘material.’ The plot, characters, form, etc are all already there to work with, so I can focus on choosing the perfect word, phrase, or sentence and on creating the right voice, music, and literary effect.
Translation helps me expand my horizons by working on pieces I wouldn’t write myself. It exposes me to ways of writing that I might not find otherwise, or might find but not engage with so deeply. It helps read and write new things in new ways.
Translation helps me see language newly. It opens me up to new resonances and possibilities in English that I am able to see against the background of the other language.
FW: Who should take this class?
JE: Any writer or translator interested in stretching their brain and their practice in new and fascinating ways!
FW: Do students need to speak a second language?
JE: No, they don’t need to have a second language. Having one is, of course, advantageous, but it’s not strictly necessary. There are all kinds of interesting translation experiments that can be done without fluency in a second language.
FW: What if I’ve never done this before?
JE: No problem! Find a text you’d like to work on and let’s give it a shot together!
1) Think back to a person who helped you — that you were never able to thank.
2) In your story or pome, cast that person as the villain (omitting backstory or explanation for their “negative” actions).
3) Recall a person who harmed you, and never received their just punishment.
4) Cast that person as the hero or sympathetic protagonist.
5) Here’s the hard part. We know change, or the potential for change, must occur for there to be a sense of movement, purpose or meaning in our writing. Throughout your short piece, give these two characters the chance for change, but conclude with each remaining essentially positive or negative. Can you do it?
Collaborations: A multi-disciplinary, six-week writing course
This is a course for writers of all genres and levels of experience who are interested in collaborating with other artistic mediums. Visiting local artists will lead collaborations with writers in the course in different artistic fields. In-class and out-of-class exercises will guide writers in an interdisciplinary conversation with each other, with existing works, and with new ways of generating work outside of their primary form. The class will conclude in celebration with a public performance of created work.