J. Carpenter Article + Interview Comments

    With each text we read about translators and their experiences, I feel like I discover something to new to consider. Reading through the textbook article first, Carpenter echoes some of the same sentiments as other translators in previous readings, but each time I end up focusing on something different. This time, I noticed she talks about how some words are not easily translated over, notably expressions or phrases that might carry a deeper meaning in one language and make no sense in another. The example she gives is the distinction between waku waku and doki doki. Carpenter mentions how they could both be translated as “excited” but have subtle differences between them such that it might not be a perfect translation. Sometimes a translator has to find the closest substitute, but as a consequence, it might not convey the same feeling as the original word’s meaning.

    I particularly liked the analogy of translating being like coloring in a coloring book. It gives off a charming, whimsical feel, and is surprisingly fitting. Like coloring, in the process of translation, you have guidelines to follow, but you’re free to fill in the space with whatever you want. And for some translators, they even go outside the borders and add to the picture. However, despite all the liberties you can take, you can’t take away from what is already there.

    The section about the poet translating his own work intrigued me. We have yet to cover an author who translates their own works, so I wonder what the experience is like. The most prominent aspect is that you have control over how people see your works in different languages. However, a translator who translates their own work still faces the same challenges that other translators do, such as cultural divides.

    Another point that Carpenter brings up is with the murder mystery novel. I agree with her view that a translator should first understand the content they’re working with. Part of the translating process should be spent on reading through the work and understanding the context of the work and the author’s thought process before they even write the first sentence. If a translator doesn’t understand where the author is going with the work, the translation will not convey the same meaning, and a lot of nuances and symbolism will be lost.

    As for the interview, I thought it was a good supplement to the textbook article. It was surprising but fun to see our own professor in an article engaging with the translator and asking questions. I found it interesting to read about western influences in Japanese literature, especially since we are translating for a western audience. Furthermore, the examples given in the article helped me visualize the translation process. I noticed it starts rather vague and short, but then slowly becomes more detailed and nuanced as the meaning comes into focus. The number of drafts just one sentence goes through really shows the thought and care that gets put into translating.

    The translator discussing with the author in the process of translating is an important aspect that Seidensticker touched upon as well. It makes sense for them to work together closely so that the translation is as accurate as possible, and no part of the original work is misinterpreted, or its meaning glossed over. Personally, I think it is a good idea to keep in regular contact with the author, because it means the translation can tell the story the author meant to tell.

Alex