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Link to our thread on the Nobel Prize for Literature, where Mo Yan comes up.

 

With the semester winding down, I'm starting to think that some pleasure reading might not be a bad thing. And, since I was at the CEA conference in Indianapolis this weekend, I was lucky enough to pick up a copy of Mo Yan's Frog (I have Big Breasts and Wide Hips on my Kindle, but haven't read it yet). Then I came across this piece at The Millions, which doesn't do the translation any favors--but which does have some stuff to say about the problems of translating from Chinese into English:

 

The characters in Frog suffer not just from sounding overly formal, but also from the translation of key phrases that makes them sound like literary constructs, not human beings. Take this sentence, “Money is nothing; it’s as transient as floating clouds.” Undoubtedly beautiful and poetic, it nonetheless sounds bizarre coming from a peasant farmer in response to his friend. It’s a direct translation of the word 浮云 (fuyun), which does mean floating clouds and is often used metaphorically in the context of aspirational desires such as money and fame. But was Goldblatt right to not dilute the translation in this context? It’s far more likely that the character, were his native language English, would respond something along the lines of “Don’t worry about money; it comes and goes.” This construction is undoubtedly less interesting, but it’s also more authentic. Chinese often has multiple levels of translation. A surface level translation retains the original form and the metaphor intact, while a deeper level gives the meaning straight and without the flowery symbolism of the original. 浮云 (fuyun) thus goes from “transient as floating clouds” to “temporary” or “ephemeral.” What’s crucial is the context. Were 浮云 (fuyun) not directly reported speech, then the surface level translation is beautiful and worth retaining. As speech between farmers, a deeper level would have been more appropriate.

[snip]

Both Mo Yan and Marquez have received the Nobel Prize for literature, while Kundera and Murakami are regularly tapped as potential winners (Murakami was odds on favorite to win the 2014 prize according to the British bookmaker Ladbrokes). What is important to note is that unlike the other denizens of magical realism, we only ever see Mo Yan’s work through the prism of Howard Goldblatt. In that case, it seems unfair to make a comparison and to evaluate his oeuvre. As Goldblatt himself noted in an interview with The LA Review of Books, “What the reader has in her hands is a facsimile of the original work.” We should therefore see multiple facsimiles, and then we can decide on Mo Yan’s true place within literature.

 

--any input or argument from the linguists on this board would be interesting here.

Edited by NBooth

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