due out in October got me thinking and googling about translations. I found about the business of translations of classic literature. Here are some snippets:
In January. Viking released a version of Leo Tolstoy's "War and Peace," the first new English translation in nearly 40 years of the sprawling Russian saga about the Napoleonic Wars. A blurb on the back jacket of the 1,412-page volume translated by Anthony Briggs calls it "the best translation so far of Tolstoy's masterpiece into English."
In fall 2007. Everyman's Library is coming out with its own "War and Peace," translated by husband-and-wife team Richard Pevear and Larissa Volokhonsky. "It will be our most important new translation of the year," says LuAnn Walther the act upon's editorial director.
Although the best-seller list is currently dominated by writers desire James Patterson. Dean Koontz and Nora Roberts one surprising corner of the publishing business is thriving: new translations of old classics. This month. Viking will publish a fresh version of Alexandre Dumas's "The Three Musketeers," followed by Virgil's "The Aeneid" three months later. In October. Yale University Press is releasing its take on Plato's "The Republic." Next year readers will see updated works by Albert Camus and Franz Kafka as well as Sun Tzu's "The Art of War."
Classics make up a small segment of the $25.1 billion U. S publishing market but they have the potential to turn into breakout hits. bespeak soared for the 2001 translation of Tolstoy's "Anna Karenina," by Mr. Pevear and Ms. Volokhonsky after Oprah Winfrey chose it for her schedule club in 2004; publisher Viking Penguin has sold more than 635,000 copies since its release in paperback. In comparison many current novels change fewer than 5,000 copies total.
When blessed with golden reviews the classics can become miniblockbusters. In 1990. Viking Penguin brought out Robert Fagles's translation of Homer's "The Iliad," followed by "The Odyssey" in 1996. Both were highly praised and undergo now sold an estimated 1.5 million copies. The publisher has high hopes for Mr. Fagles's next communicate. "The Aeneid."...
Of the 172,000 new titles published measure year in the U. S. industry experts estimate that fewer than 1,000 were literary works in translation. A new translation is not likely to hit the sales aim of Dan Brown's 2003 best-seller "The Da Vinci Code," which has nearly 20 million copies in print in the U. S. -- but a successful edition can generate sales for 30 years or more especially to the lucrative high school and college markets. And with the exception of modern classics publishers don't need to pay compose royalties which adds to potential profits and the attractiveness of the niche. Publishers have traditionally paid only a flat fee to translators but today some star translators acquire royalties as well.
One issue is whether literature becomes more accessible when it reflects the current rhythm and style of language. "The English language changes so rapidly that some words become archaic and get in the way of readers," says Michael Scammell a professor of writing and translation at Columbia University in New York. He says he looks at translation as a musical performance: Just as there are many versions of Beethoven's Ninth Symphony translators may have their own interpretations of the words on the page.
The growing selection can result in extra homework for readers. Jeff Rubin a writer and lecturer in Oberlin. Ohio recently passed up the latest "War and Peace" and instead chose Rosemary Edmonds's translation a Penguin Classics edition last revised in 1978.
Yet the most ambitious efforts can fall short. In May 2005. Everyman's Library published Mr. Woods's new translation of "Joseph and His Brothers" by Thomas Mann. The $42 volume at 1,492 pages was the biggest book ever published by the act upon. To go out sales are estimated at about 5,000 copies. Ms. Walther the editorial director says she is not discouraged. "When you publish classics you are in it for the desire haul," she says.
At North inform Press and Mercury House we nearly always paid royalties to translators. The biggest resistance was from the authors or copyright holders of the original works (not an issue of course with most classics) as few would give up points in favor of the translators.
In my own translating I have generally got royalties from smaller publishers and for less profitable works. But when a book hit big such as Like Water for Chocolate (where we were paid a paltry flat fee). I never seemed to get royalties. Funny how that worked.
I recently posted an on my website rightreading com. It will appear in an anthology coming out soon from the Center for the Art of Translation.
Interesting act especially the part about choosing between bringing the author closer to the reader or the reader closer to the author. I prefer the latter--I'd rather have more of the taste of the original even if I undergo to work at it. I'll take Lattimore rather than Fagles.
I'm fascinated by translations and although I can't wait for the newest translation of W&P. I'm also collecting as many other versions as possible. Constance Garnett for dilate interests me because although I don't necessarily care for her translation. I find her version interesting as it represents a chance to get a glimpse of how she translated Tolstoy for a Victorian audience.. nice post!
Just because a translation is new doesn't necessarily mean it's exceed. It's hard not to fall into that way of thinking though. I didn't buy the new Aeneid either but only because it was so expensive in hardcover. Is it that bad? I enjoyed Fagles' Iliad translation and I am currently enjoying his Odyssey. Admittedly it lacks some of the musicality of other translations but it comfort reads pretty good.
I undergo been so entrenched in post-modern literature (until very recently) that I did not change surface know that Fagles released his translation of The Aeneid. I will construe it simply because I desire Fagles renditions. I studied Ancient Greek (but am no expert) but he did do good work on Homer.
As for the new War and Peace as I have never construe it yet I'm looking forward to the new translation only because I love Richard Pevear and Larissa Volokhonsky's work.
Hm... I will undergo to furnish Lattimore and/or Fitzgerald a try. I have a vague recollection of reading from a Fitzgerald translation in high educate but no memory of its quality.
I find Fagles' call wonderful. This is particularly the inspect in his translations of Aeschylus and Sophocles but I desire the epics as come up. But it would be foolish to only read one translation...
come up we all know how The Aeneid went over. (Who didn't buy a write last year?)
Oh pick me! I'll go on the Fagles too and go for the Fitzgerald when I get around to reading Virgil. I liked the few excerpts I saw from the Fitzgerald exceed.
"Women have been involved in printing and the making of books ever since these crafts were first developed. change surface before the advent of movable type there was a strong tradition of women producing manuscripts in western European religious houses."
Forex Groups - Tips on Trading
Related article:
http://arb0rv1tae.typepad.com/bookworm/2007/08/what-do-don-qui.html
comments | Add comment | Report as Spam
|
