{"id":55014,"date":"2013-06-25T17:26:50","date_gmt":"2013-06-25T21:26:50","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=55014"},"modified":"2013-06-27T11:22:20","modified_gmt":"2013-06-27T15:22:20","slug":"meet-me-on-the-bridge","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/06\/25\/meet-me-on-the-bridge\/","title":{"rendered":"Meet Me on the Bridge"},"content":{"rendered":"

\"OLYMPUS<\/a><\/p>\n

One afternoon I decided to read Groucho Marx in French, because, well, why not? I had temporarily switched Boston for New York on the larkiest of larks, had accidentally been charged $9,000 for a pulled pork sandwich (where my saying \u201cIt\u2019s that much because it comes with a little waiter who grows when you pour water on him, right?\u201d fell unbelievably<\/i> flat), and\u2014with nothing in the immediate particular to do on that May afternoon\u2014felt the moment was right for a book.<\/p>\n

Groucho and Me <\/i>was translated into French in 1981 as M\u00e9moire capitales<\/i>, and it begins so: \u201cL\u2019ennui avec une autobiographie, c\u2019est que l\u2019on ne peut pas s\u2019ecarter de la verite. Quand on ecrit sur un autre, on peut se permettre des retouches, voire carrement de la broderie anglaise.\u201d (The trouble with an autobiography is that we cannot depart from the truth. When one writes of another, one is permitted alterations, even downright English embroidery.)<\/p>\n

Groucho wrote it like this: \u201cThe trouble with writing a book about yourself is that you can\u2019t fool around. If you write about someone else, you can stretch the truth from here to Finland.\u201d <\/p>\n

Just as Uriel Weinreich suggested George Barker\u2019s linguistic taxonomy of code-switching between Mexican Americans in Arizona in 1947 was insufficient, so, too, can we say that the taxonomy of code switching in humor seems insufficient here, largely because there are times when code-switching and comedy seem to be one and the same, and that presents a problem: if you explain the context of an act of code-switching, you defeat the purpose of code-switching in the first place. But if \u201cEnglish embroidery\u201d reads like a translator\u2019s retreat\u2014and I think it is (and even though we can imagine the Mighty Boosh and others riffing off of that, let\u2019s stick to the text)\u2014what\u2019s the equivalent of going all in? How do you keep an act of code-switching relatively the same in two languages at once?<\/p>\n

Because it\u2019s ultimately rewarding, is the thing. If you watch enough of Al Bernameg, you begin to get a miasmic sense of how tetchy some in the Egyptian media landscape really are\u2014the lightest satirical breeze knocks them over\u2014and it throws the legal threats against Bassem Youssef into sharper relief. (It also makes you say to yourself, Where on earth did the revolution go<\/i>?)<\/p>\n

Eddie Izzard has been remarkable to watch in this regard. Whereas I have a book in which it took two<\/i> people to render Groucho into French\u2014and there you can read about the grandfather of Julius Henry Marx taking a job to repair umbrellas ( \u201c \u2026il ne fait aucun doute que cette ann\u00e9e-l\u00e0 fut la plus s\u00e8che de toute l\u2019histoire des services m\u00e9t\u00e9o de New York\u201d), how Groucho got the middle name Henry (his mother owed five dollars to an uncle named Henry), or what kind of send-off Groucho got when he left to do shows in Grand Rapids and Denver (\u201c\u2026 mais les autres demeur\u00e8rent sto\u00efques, apparemment sans trop se forcer. Pour faire bonne mesure, le chien me mordit au moment o\u00f9 je partais\u201d), Izzard actually went out and did his show in<\/i> French, and it\u2019s fascinating to watch him process both languages in real time, whether in saying \u201cTa gueule\u201d after an audience member shouted something and\u2014for a moment\u2014you weren\u2019t sure how he\u2019d respond, whether he\u2019d mangle a word or not and whether it would come out sounding like a rabbit that had just escaped the clutches of Joseph Beuys or what<\/i>, or in watching him crack a joke that hinges on translation, i.e., \u201cMein Kampf<\/i>\u2014en fran\u00e7ais, c\u2019est, Je Veux Tuer Tout Le Monde (Sauf Les Nazis [Et Probablement Les Nazis Aussi])<\/i>.\u201d\u00a0<\/p>\n

Tim Parks argued in \u201cThe Dull New Global Novel<\/a>\u201d a few years back that when \u201can author perceives his ultimate audience as international rather than national, the nature of his writing is bound to change. In particular one notes a tendency to remove obstacles to international comprehension.\u201d And I don\u2019t know if that\u2019s entirely true.\u00a0<\/p>\n

When confronted with lexical gaps and untranslatability, we could look at the act to come\u2014that is, translation\u2014as having two \u201cdeep structures\u201d speak to each other (where Chomsky argued that similar sentences come from a single source, meaning that the only \u201creal\u201d issue at hand is a kind of mutantis mutdandis<\/i>). We could look at it as a matter of simply applying Skopos theory (where the act and delivery of translation is more about targeting a specific audience and not so much about the original text). We could pillage Mikhail Bakhtin saying that \u201cAn utterance, from its very inception, is developed according to its possible reaction-response\u201d and suggest that translators having trouble translating a joke should play into<\/i> the fact that they\u2019re translating a joke (which would\u2019ve come in helpful when Why General Lee Blew the Duke at Gettysburg<\/i>\u2014a fake book Groucho proposes\u2014ends up being translated as Les Sonneries de Gettysburg<\/i>, as in, \u201cThe Ringing Tones\u201d). Or\u2014if you\u2019d like\u2014we can pursue what Sergio Viaggio pursues in A General Theory of Interlanguage Mediation<\/i>, which breaks translation down into what was said and the meta-representation of what was said, the latter being the thing that\u2019s continually worked on, clarified, and added to with the benefit of age, wisdom, a loud person shouting in a caf\u00e9, etc., a quasi-Kantian rehashing of the thing that is and the thing that should be, mixed\u2014of course\u2014with a bit of neuroscience: that if someone\u2019s speech can be damaged by aphasia, then there must exist a neurological compulsion to understand speech in the first place.<\/p>\n

So\u2014if I\u2019m Groucho\u2014would I be inclined to remove obstacles to international comprehension? Would I understand how to pivot a joke from English to French, or\u2014if I were Bassem\u2014from Egyptian Arabic to English? Would I have to worry about the English equivalent of Emad Eldeen Adeeb instructing me to buy tiger-themed bed sheets, too? (And seriously? Tiger<\/i> themed?) I know I\u2019d be tempted to take the Bakhtinian route and lean into the fact that an act of translation would be taking place\u2014that someone could achieve English as She Is Spoke<\/i> by intention rather than by accident (and that\u2019s not the only way to lean into this, but it\u2019s the first example that came to mind)\u2014but I\u2019m not so sure if that\u2019s the best, most fruitful way to do it.<\/p>\n

Looking to the book again, I came across this passage\u2014<\/p>\n

\n

Il s\u2019appellait Shean, et, avec un partenaire du nom de Gallagher, il chantait une chanson qui fait maintenant partie du patrimonie am\u00e9ricain, au m\u00eame titre que le base-ball ou le chewing-gum. Si vous ne rappelez pas le fameux refrain \u201cAbsolutement, Monsieur Gallagher; mais parfaitement, Monsieur Shean,\u201d envoyez-moi dix dollars en timbres. Vous ne recevrez rien en \u00e9change. Mais envoyez-moi quand m\u00eame les timbres. [Hover your mouse here for English translation.<\/small>]<\/span><\/p>\n<\/blockquote>\n

\u2014and tried to imagine a Frenchman or a Frenchwoman translating it back into English. O\u00f9 seraient-ils commencer?<\/p>\n

Evan Fleischer<\/a> lives in Boston, Massachusetts. His work has appeared in <\/em>The Awl,<\/em> McSweeney\u2019s, and elsewhere.<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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