In the readings for this week discussing Polish poet Wislawa Szymborska, I was initially impressed with the idea of losing as integral to the translation process, which was proposed by Clare Cavanagh. Over the course of this class, I have come to believe that translated works are pieces of literature that deserve respect and recognition in their own right, and the idea that the loss of “fidelity” to an original work may come alongside a gain in meaning or formal interest is deeply appealing to me. That idea also resonates with some of the work we have been doing in class: many of my classmates (and I myself) have turned in multiple versions of a single translation, one which adhered to the literal definition of a piece, and one which explored the depths of meaning and the boundaries of form in a way that would not be considered altogether accurate in many cases. Translation is another form of engaging with literature, another way to express our interest and appreciation for a work of art.
This is also why I so strongly objected to the classical gender metaphors referenced in Godayol’s article—the implication that translation is merely the result of manipulation or objectification of the “feminine” text as opposed to an equal work is absolutely incorrect. However, I do agree with Godayol that despite Derrida’s respectable claim that translation and original are hierarchically equal, there is still an inherent othering performed by the use of language such as “…the gifts of her seductive power, which rules over dogmatism, and disorients and routs those credulous men, the philosophers.” While Derrida is not directly dismissing or contemptuous towards women, he nonetheless creates an atmosphere of ‘us vs. them’, a two-sidedness that can only encourage distrust for both the subject (translation) and the metaphor (women).
Finally, I wanted to note how pleased I am to read such positive things about Szymborska from her longtime collaborators—I am sick of authors that I admire being terrible people. ;)
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