June 8, 2026 On Translation The Summer of Lion Meat By Tere Dávila and Rebecca Hanssens-Reed Robinet Testard, via Wikimedia Commons. Public domain. Translator’s Note: This piece uses the medieval-period translation technique of inserting metacommentary directly into the text when a detail is dubious or has no verifiably accurate translation. The technique is used here to highlight, play with, and contribute to Dávila’s own footnotes regarding unreliable facts within the autofictional narrative. This version adds another layer to the communally constructed story, first published in Spanish in 2019. That was the summer I had to choose, in a matter of seconds, how I wanted to die; I recommend avoiding as best you can the sort of ill-advised predicament I found myself in thanks to a heat wave that had descended on Boston. I’d just finished my third year of college and had decided to finally take the programming course I’d put off all those semesters, but instead of staying in a dorm, where I’d have to cram into a tiny room with a complete stranger, I joined three classmates who were looking for a fourth person to split the rent for a house. The pluses: I’d have my own room, and, though I didn’t know my new housemates well, I’d chatted a handful of times with one of them, Tom,1 who was not only friendly but also pretty cute. The minus: the house wasn’t in Cambridge, where the campus is, but in Somerville, a nearby neighborhood that had fallen into decline and was, therefore, where my roommates could afford to live. I no longer remember why I was so hell-bent on sticking to this meager budget—my parents would have helped me out if I’d wanted to find a nicer place—but I suppose I wanted to assert my independence by making my own decisions, even if they were stupid. My room in the attic seemed romantic at first, with a gable roof and a large picture window that let in lots of light, but by sundown I understood why no one else had claimed it (I was last to join the group). As the highest point in the house—like most old buildings in the Northeast, it was built for the cold, thus offering neither the perks of air conditioning nor a ceiling fan—that was where the heat accumulated from each protracted summer day. I quickly realized it was best to go up there only to sleep (or to attempt an uneasy approximation of sleep) and so I spent most afternoons languishing on the first floor, reading with a sheet thrown over the faux-leather sofa so my skin wouldn’t stick. But sometimes even this was unbearable. Then any excuse to escape the house was a good one—return a library book, make photocopies at Kinko’s,2 or, in one instance, go on an excursion that would take a very strange turn. I went out in search of a grocery store to satisfy a craving for cold, green, crisp grapes. “There’s a Foodmaster3 ten minutes from here,” Tom said, without offering to join. I wanted him to come with me. During that pre-GPS summer, in the prehistoric era before cell phones, if I made it anywhere based on the directions someone explained to me it was an act of God. My destination this time was somewhere within the uncharted territory of Somerville. I should have asked, but I didn’t dare. Twenty minutes later I had no idea where I was. Tom’s directions were shitty. I was nowhere near a supermarket and couldn’t even find anyone to ask for help. Houses were boarded up, the front yards overgrown; a sullen quiet occupied what had once been a neighborhood full of families dreaming of upward mobility, most of them workers for Ford Motor Company, who had left when the factories did. The houses had been split into apartments for cheap, short-term rentals, for people who didn’t have an interest in—rather, who didn’t have the means of—maintaining them. We could say they were transitory people, or people forced into transitory circumstances. I was delirious from the heat. Night was falling, but not the temperature. I was weighing whether to abort Misión Uvas (Mission Grape) and turn back when I saw a store that was open, not my Foodmaster but a small butcher shop. The sign read SAVENOR’S MEATS. Read More
June 24, 2025 On Translation What Goes Wrong When We Write Ghazals in English By Anthony Madrid Bradford Johnson, Auto Arborescent (Blue). From the portfolio Photographs of Past Paintings, which appeared in issue no. 168 of The Paris Review (Winter 2003). Everybody likes ghazals. Or they do when they learn what they are: A ghazal is a poetic form originating in and strongly associated with the Islamic cultural sphere. It is a medieval thing—or what Westerners would call medieval. Many famous Persian poets are famous for their ghazals. Likewise, Arabic poets, Turkish, Urdu … The ready-to-hand comparison is with the Italian sonnet. Ghazals are a lot like that: song length, rhyme heavy, lots of lovey-doveyness, lots of over-the-top cosmic reasoning. It took forever for modern English-language poets to pick up on the existence of the ghazal, but once the word got out, plenty of smart people started trying to write original ghazals in English, with differing commitments to the formal rules. I’m one of these poets. This piece is about translation, but it’s also about writing original poetry in one’s own language while following the rules developed for a different language. I want to talk about English ghazals, but (for lots of good reasons) I’m going to start in left field … with haiku. Read More
July 10, 2024 On Translation Five Mixed Metaphors for Translation By Daisy Rockwell Drawing by Daisy Rockwell. The Lego Metaphor, Part One I once saw a Lego metaphor for translation. On some online forum somewhere. I liked it, but it was slightly off, and then I forgot it. So I had to make up a new one. I’ve thought of a few versions. I’m still trying to get it right. Here is one version: Imagine (if you will) that you have purchased the Hogwarts Castle Lego set. You have given up the dining room table for this project. You get about three-quarters of the way through. Then a dog, or a cat, or maybe just A lurching adult Bumps into it. Broken! Read More
April 12, 2019 On Translation Ms. Difficult: Translating Emily Dickinson By Ana Luísa Amaral Emily Dickinson, ca. 1848. Photo: public domain, courtesy of Yale University Manuscripts and Archives Digital Images Database, via Wikimedia Commons. When she was translating Rilke into Russian, the poet Marina Tsvetaeva wrote in a letter to Boris Pasternak: And today I want Rilke to speak—through me. In the vernacular, this is known as translation. (How much better the Germans put it—nachdichten!—following the poet’s path, paving anew the entire road which he paved. For let nach be—(to follow after), but—dichten!, is that which is always anew. Nachdichten—to pave anew over instantaneously vanishing traces. But translation has another meaning. To translate not just into (the Russian language, for example), but across (a river). I translate Rilke into the Russian tongue, as he will someday translate me to the other world. To speak through another always sets us down in a place of no return, a place of exile, translation’s natural habitat. However, precisely because it is a place of exile, translation allows for the confluence of several voices. And suddenly, sometimes, the almost-miracle occurs, as Rilke writes in the fifth of his Duino Elegies: In this troublesome nowhere, suddenly, the unsayable point here the pure too-little is changed incomprehensibly—, altered into that empty too-much. Translating poetry requires both a deep knowledge of the original language and of the poem’s historical, cultural, and literary context; more than anything, though, it requires a still deeper knowledge of the language into which it’s being translated, the translator’s own language. Added to this must be a love of that language, the language of the person receiving and then transforming the poem into a new poem—creating a new path. Read More
August 10, 2018 On Translation Translation, in Sickness and in Health By Lara Vergnaud Ramon Casas, Decadent Woman, 1899. Translation is a curious craft. You must capture the voice of an author writing in one language and bear it into another, yet leave faint trace that the transfer ever took place. (The translator extraordinaire Charlotte Mandell calls this transformation “Something Else but Still the Same.”) Though spared the anguish of writer’s block, the translator nonetheless has to confront the white page and fill it. The fear: being so immersed in the source text, adhering so closely to the source language, that the resulting prose is affected and awkward—or worse, unreadable. Yet immersion is inevitable. In fact, it’s required. Like the ghostwriter, the translator must slip on a second skin. Sometimes this transition is gentle, unobtrusive, without violence. But sometimes the settling in is abrupt, loud, and even disagreeable. For me, “plunge deep” tactics that go beyond the mechanics of translation help: coaxing out references to reconstruct the author’s cultural touchstones (books, film, music); reading passages aloud, first in the original and then in translation, until hoarseness sets in; animating the author’s story through my senses, using my nose, my ears, my eyes, and my fingers; devouring every clue to imprint the range of the author’s voice (humor, anger, grief, detachment) on my translation. Read More
July 25, 2017 On Translation Straightening out Ulysses By Bernard Hœpffner A translator’s notes. Samuel Frederick Brocas, The Ha’Penny Bridge, Dublin, 1818. The indefatigable Bernard Hœpffner, who translated many English masterpieces into French—among them Huckleberry Finn, The Anatomy of Melancholy, and John Keene’s Counternarratives—drowned off the northern coast of Wales this past May. Many obituaries in the French press highlighted Hœpffner’s involvement in an eight-person retranslation of James Joyce’s Ulysses. In homage to an extraordinary figure, The Paris Review Daily presents a translated selection from his Ulysses “logbook.” —Jeffrey Zuckerman, translator Summer 2000 – Phone call from Jacques Aubert, asking if I might be interested in retranslating James Joyce’s Ulysses. Immediate disappointment upon learning this would be a team effort. Each episode having been written in a different style, he asks me which one I like best, and, without any hesitation, I name Ithaca, in the question-and-answer style of the Catholic catechism. October 30, 2000 – First meeting at Éditions Gallimard with several staff members, Stephen Joyce and his wife, Jacques Aubert (the general editor), and nine of the other preliminary translators. I am the sole professional translator. Antoine Gallimard appears briefly. Stephen Joyce promises not to interfere in the translation. Homage is paid to the “complete French translation of M. Auguste Morel, with the help of M. Stuart Gilbert, fully revised by M. Valery Larbaud and the author” (1929), which we decide to stow out of sight, at the expense of using the edition’s critical apparatus. We agree, as our guiding principle, on the credo in Stephen Hero: “He put his lines together not word by word but letter by letter.” We also decide not to Gallicize everything, as Larbaud had done with the preceding translation. Contract terms are discussed. The new translation will be published on June 16, 2004, the one hundredth anniversary of Bloomsday, with no notes. Read More