Have you ever wondered about the field of human rights translation? There is no shortage of human-rights issues in the post-Soviet space, but breaking into this specialization may feel too daunting. Fortunately, with research, you can become confident in your translations. But where should you look?
SLD Podcast: Episode 22 with Paula Arturo
The latest episode of the SLD podcast, Slovo, is now available! In this episode, host Maria Guzenko speaks with Paula Arturo, a lawyer-linguist and Associate Professor of Law. Paula talks about the challenges of legal translation and shares tips for translators who would like to specialize in it. In the second half of the interview, Maria and Paula discuss how language professionals can negotiate a fair contract with their clients.
Listen here, or anywhere you get your podcasts – Slovo is available on Apple Podcasts, Google Play, and Spotify. Don’t forget to subscribe so you never miss an episode!
CEU Watch: Clinical Trials and Medical Documentation: Resources and Translation Strategies for New Translators by Carmen Cross

Although the COVID-19 pandemic has brought upheaval and uncertainty to our profession, it has also been an opportunity to catch up on continuing education. However, I will not be reviewing any recent webinars on weathering the crisis or pivoting to remote interpreting. Today, I’d like to turn to an unexpectedly topical video from the ProZ.com video library—a repository that features webinars previously broadcast on the website. Disclaimer: Other than being a paying member, I have no business relationship with ProZ.com.
The video I watched was Clinical Trials and Medical Documentation: Resources and Translation Strategies for New Translators presented by German- and Arabic-to-English medical translator Carmen Cross. The live session took place back in 2016, but I found the presentation relevant to anyone getting started in the field of clinical trials.
Trial Background, Standards, and Terminology
In the first section of the webinar, the instructor gave an overview of the types of documentation produced in a clinical trial. Documents that may need translation include informed consent forms, patient information sheets, and serious adverse event reports. In addition, the speaker shared what areas clinical trials focus on. Even though our first thought may be drugs, Ms. Cross pointed out that other things may also be studied, such as medical devices or diagnostic procedures. She then went over some commonly studies drugs and drug targets (molecular entities the drug binds to). Next, the webinar focused on some common types of studies, including diagnostic, epidemiological, pharmacokinetic, and pharmacodynamic, among others. Finally, we looked at the phases of a trial, examining the objectives, number of participants, and length of each phase.
The following part concerned international standards that govern clinical trials, such as the International Conference on Harmonisation’s Good Clinical Practice (ICH GCP) addendum or the World Medical Association’s (WMA) Declaration of Helsinki. Ms. Cross named a few regulatory authorities overseeing clinical trials, such as the Food and Drug Administration (FDA) in the US, the Medicines and Healthcare Products Regulatory Agency in the UK, or the Public Health Institute in Russia, and emphasized that study sponsors apply to these bodies for approval. The documents involved in the application process, for example an investigational new drug application (IND), may require translation. The presenter pointed out that the actual research gets outsourced to the contract research organizations (CROs), who are responsible for trial data, and they may be the entity that needs translation services.
Finally, the speaker drew our attention to some tricky terms in this field and shared several resources we might want to turn to in our research. To name a few, she discussed the difference between efficacy and effectiveness; clinical trial and clinical study; and subject and patient. Ms. Cross recommended PubMed, which allows you to search in a particular language, and ClinicalTrials.gov, which lets you search for the full official title of the study by its ID.
Takeaways
I appreciated that the speaker not only provided an overview of clinical trials but also pointed out what organizations may be looking for translations, what documents may require translation, and where to look for terminology. She also listed the top countries where clinical trials are conducted—Russia, Turkey, China, Brazil, India, South Korea, and Mexico. Her advice was actionable and tailored to translators.
An obvious drawback of this webinar is that it was recorded in 2016, so some of the standards and processes might have changed since. In fact, the speaker mentioned that a new clinical trial regulation (EU No 536/2014) had been adopted, supplanting an earlier European Union directive, but its implementation was going to be gradual. I would still recommend this webinar to anyone interested in clinical trials, with the caveat that the viewer will need to do their own research to find up-to-date information.
Author Bio
Maria Guzenko is an ATA-certified English<>Russian translator and a certified medical interpreter (CMI-Russian). She holds an MA in translation from Kent State University and specializes in healthcare translation. Maria is a co-founder of the SLD exam practice group and the host of the SLD podcast, now rebranded as Slovo. More information can be found on her website at https://intorussian.net.
Spring 2020: A Very Literary SlavFile
By sheer coincidence, this year’s spring issue of SlavFile turned out to be focused almost entirely on literary translation. The issue starts with Isaac Wheeler’s insightful “Hierarchy of Conflicting Demands,” in which he prioritizes seven stipulations a literary translation must meet, ranging from (No. 1) “Does it produce the same effect on the reader as the original?” to (No. 7) “Does it use the same metaphorical mechanism as the original?” He talks about various efforts to figure out what goes on “under the hood” during literary translation. The examples he draws from his own work demonstrate a keen attentiveness to what’s happening under his own. His article is followed by Part II of Steven McGrath’s excellent interview with literary translator Carol Apollonio, which centers on her experiences translating Chekhov. The issue also features a lengthy interview with Olga Bukhina, who has spent decades translating Anglophone children’s literature into Russian (and who oversees a Russian-into-English translation contest for bilingual children). Two reviews of sessions presented at ATA60 in Palm Springs are also literary: Julia LaVilla-Nossova’s review of Martha Kosir’s “On Understanding and Translating Humor: The Spirits of Heinrich Boll’s House” and my own review of Shelley Fairweather-Vega’s “Decolonizing Central Asia through Translation.” The issue concludes with Part IV of Lydia Razran Stone’s contemplation of Krylov, commenced in commemoration of last year’s 250th anniversary of his birth.
Even our administrators’ “Notes from the Administrative Underground,” which ponders the isolation that is, at times, a part of our profession and how our SLD community can help ease it (we’ve all become even more isolated since it was originally written in early March!), features Zinaida Gippius’s poem “Цепь,” evocatively translated by Maria Jacqueline Evans. We hope our readers will enjoy and learn from this superb (if we may say so ourselves) issue.
Nora Seligman Favorov
Associate Editor
ATA Law Seminar in Jersey City
Happy New Year! If one of your professional New Year’s resolutions was to do more continuing education in the coming year and you are a legal translator or interpreter, the ATA has just the opportunity for you. It will be hosting a full-day law seminar in Jersey City on February 16, with morning and afternoon sessions divided between translation and interpreting. ATA-certified attendees can earn 7 CEPs!
The schedule, session descriptions, and hotel and registration information can be found here: https://www.atanet.org/events/law_jerseycity.php.
ATA59 Review: Publishing Literature in Translation
Photo by Sharon McCutcheon on Unsplash
Review by Evgeny Terekhin
Topic: Literary, T&I Industry
Speaker: Gabriella Page-Fort
As a literary translator, I couldn’t help but gravitate towards literary sessions. When I read the title of this one, “Publishing Literature in Translation: How Translators Help AmazonCrossing Bring Stories to New Readers by Page-Fort Gabriella,” I scratched by head – what is AmazonCrossing? I didn’t bother to look it up but went straight to the room.
It took me a while to start making sense of Gabriella’s multiple references to book sales statistics, but after a while I got the hang of it. AmazonCrossing is actively searching for great international reads for a global English-speaking audience.
Basically, if you know of a book in a language other than English and feel it would really appeal to the English-speaking world, you go to the AmazonCrossing website, https://translation.amazon.com/submissions, and propose it. They are constantly looking for interesting titles, and their list of translated books is very diverse.
Gabriella shared several intriguing stories of how they hunted for books to translate, including an example of how they got connected with an elderly Uzbek author who wrote a wonderful story but couldn’t even use email. She emphasized that as an editorial director she can never tell which story will grab her attention. They are looking for stories regardless of the source language and genre – the main idea is for it to be appealing.
Turns out AmazonCrossing is the biggest producer of translated literature in the US market. Gabriella’s talk was very inspiring, so I immediately had several titles pop up in my head, and I proposed one. We’ll see.
I didn’t realize you could actually go to their website and register as a literary translator. You could also upload your resume, and if they have a matching job, they will contact you. If you are interested in the field, it’s a great opportunity to get your foot in the door.
Much of the session was devoted to the discussion of what makes for a good story. One may find a story fascinating, but when it’s published it doesn’t necessarily get traction. In Gabriella’s words, you don’t really know. You pick a book based on your gut instinct, but who knows if the readers’ gut will have the same instinct? Though it’s often hit and miss, the success of the endeavor is obvious, with 62 new titles translated just in 2017.
Even though, according to Gabriella, Americans don’t read translations very much – for whatever reason – AmazonCrossing stands out from among the other 13 imprints of Amazon Publishing, translating into English from a wide variety of languages: Danish, Hebrew, Norwegian, Polish, Portuguese, Russian, Turkish, Indonesian, Italian, Swedish, Finnish, French, Chinese, Spanish, and German.
After the session, I had lots of questions for Gabriella, but, unfortunately, there was a line of people vying for her attention. The main question I had was: what are some of the characteristics of the kind of literature that would be equally appealing across cultures? For instance, “The Karamazov Brothers” is appealing to all cultures, but I know other great Russian titles which do not have the same international appeal.
It would be an engaging project in itself to analyze what kind of books have found their way into the hearts of the global community while retaining features of their home culture. Obviously, the Lord of the Rings is a distinctly British book, but it captivates audiences all around the world. Why? Having those essential characteristics down would greatly facilitate the process of finding potential “winners.”
Well, maybe I will ask my question next year. As it is, Gabriella focuses on “a good story” over a specific category, like “fantasy,” or “romance.” They are looking for the stories that make people feel more similar than different. “Things that make it so you can connect and see directly into the eyes of whatever today’s ‘other’ looks like.”
So, do you know a title that you think would be interesting for the English readership? Let Gabriella know.
Evgeny Terekhin is an En-Ru and Ru-En translator with a master’s degree in English and German. Born and raised in Omsk, Russia, he and his family moved to the US in 2016. In the course of his 25-year career, he’s translated and edited over 150 books, brochures and tracts across a wide range of subjects like children’s literature, marketing, psychology, spirituality, health-care, business, and legal. He lives in Friendswood, TX and can be reached at terekhin11@gmail.com Website: www.russiantranslators.org
6 Anti-Love Poems on the Occasion of Valentine’s Day
Photo by Annie Spratt on Unsplash
Do you find the Valentine’s Day celebration of romantic love a bit much? Do you cast about in search of refuge from the onslaught of bliss? Look no further! Lydia Razran Stone—the indefatigable editor of SlavFile and a specialist in translating Russian poetry—has put together a few of her translated of Russian poems focusing on the negatives of love to serve as your antidote to an excess of Valentine’s Day positivity. If you would like more poems in this vein, you can contact her at lydiastone@verizon.net for more of her translations.
A: THE MALE PERSPECTIVE
- FYODOR TYUTCHEV: LOVE AS COMBAT
Предопределение Федор Тютчев 1851
Любовь, любовь – гласит преданье – И чем одно из них нежнее |
Predestination Fedor Tyutchev 1851
Through love, through loves, as legends state it And in this combat one soul’s fires |
Original is in the public domain and may be found online at: https://www.ruthenia.ru/tiutcheviana/stihi/bp/172.html
- SASHA CHERNYY THE SAD CONSEQUENCES OF INFIDELITY: THE LONG SUFFERING HUSBAND
Колыбельная Саша Черный 1910
Мать уехала в Париж… |
Lullaby Sasha Cherny
Hush, my little sleepy-head. |
Original is in the public domain and may be found online at: https://45parallel.net/sasha_chernyy/kolybelnaya_mat_uekhala.html
- THE WOMAN’S PERSPECTIVE
- Zinaida Gippius- EVEN IF IT IS GROTESQUE, MIGHT IT STILL BE LOVE?
Зинаида Гиппиус ДЬЯВОЛЕНОК 1906
Мне повстречался дьяволенок, Шел дождь… Дрожит, темнеет тело, Твердят: любовь, любовь! Не знаю. Пойдем, детеныш! Хочешь греться? А он вдруг эдак сочно, зычно, Пророкотал: “Что сахар? Глупо. Он разозлил меня бахвальством… Но он заморщился и тонко Смотрю при лампе: дохлый, гадкий, И даже как-то с дьяволенком То ходит гоголем-мужчиной, Я прежде всем себя тревожил: Такой смешной он, мягкий, хлипкий, И оба стали мы – едины. |
Zinaida Gippius THE LITTLE DEVIL 1906
One night I met, to my surprise, He shivered in the icy rain, They talk of love! What do I know? “You’ll surely freeze here on the street. He spoke—his voice a booming bass “Am I a babe, seduced by sweets? At his brash words I took offense, He gave a squeal so thin and shrill; In lamplight he looked nasty, seedy So I got used to all his ways; At times his walk’s a manly stride; I used to worry, fret and strive; He is so funny, soft and flimsy, Now he and I have grown together. |
Original is in the public domain and may be found online at: https://pishi-stihi.ru/dyavolenok-gippius.html
- Marina Tsvetayeva: BETTER OFF WITHOUT IT, OR MAYBE NOT
Марина Цветаева 1915
Мне нравится, что вы больны не мной, Мне нравится, что можно быть смешной – Мне нравится еще, что вы при мне Спасибо вам и сердцем и рукой |
Marina Tsvetayeva 1915
How nicе to know what ails me is not you, How nice that you can calmly, though I’m near, I’m grateful to you, more than I can tell, |
Original is in the public domain and may be found online at: https://www.stihi-rus.ru/1/Cvetaeva/74.htm
- SOME CONSOLATION
- BULAT OKUDZHAVA: IF YOU’RE LUCKY AN UNHEALTHY LOVE TRANSFORMS INTO A BETTER KIND
Булат Окуджава 1959
Мне нужно на кого-нибудь молиться. И муравья тогда покой покинул, И в день седьмой, в какое-то мгновенье, Все позабыв — и радости и муки, И тени их качались на пороге. |
Bulat Okudzhava-1959
I feel the need for someone I can pray to. At peace no more, dispirited, frustrated For when his days of prayer had numbered seven, Forgetting all the past – both pain and pleasure, Two shadows moved like dancers in the entry. |
Original is in the public domain and may be found online at: https://www.stihi-rus.ru/1/okud/32.htm
- Nikolay Gumilyov: EVEN IF LOVE DOES NOT BRIDGE THE GENDER GAP, ONE CAN TRY
Николай Гумилев Жираф 1907
Сегодня, я вижу, особенно грустен твой взгляд Ему грациозная стройность и нега дана, Вдали он подобен цветным парусам корабля, Я знаю веселые сказки таинственных стран И как я тебе расскажу про тропический сад, |
Nikolay Gumilyov The Giraffe 1907
I see that this morning your eyes are especially sad; To him have been given harmonious figure and grace, He seems at a distance a luminous sail on the waves I’d cheer you with tales of this land full of legend and song, No lighthearted tales of the tropics can make your heart glad |
Original is in the public domain and may be found online at: https://gumilev.ru/verses/375/
All translations by Lydia Razran Stone, published with permission.
ATA58 Review: Search Engine Optimization (T-5)
Review by Anna Livermore
Photo by Benjamin Dada on Unsplash
The session titled “Search Engine Optimization: Website and Social Media Localization,” presented by Laura Ramírez, a lecturer at the department of translation studies at the University of Illinois, was one of the highlights of my visit to this year’s ATA conference. The content of the session was exactly as promised in the title (with one small exception), the subject matter was very relevant, the delivery was professional, and the examples were on point. I came away wishing the slot for the presentation had been twice as long.
First of all, Ms. Ramírez drew a distinction between SEO (Search Engine Optimization) & SEA (Search Engine Advertising), which together make up SEM (Search Engine Marketing). She explained why different approaches are required when dealing with the 2 parts of SEM, both in terms of strategy as a website owner and impact on the translation. The better a translator understands the workings of SEM, the better they will be able to serve their clients’ needs and add value with their service.
Organic SEO is a strategy that yields better long-term results, but its ROI is notoriously hard to calculate. Essentially, by using SEO clients optimize their content for better indexability by search engines, thus affecting the rank the webpage is assigned when users search for certain keywords. In order to appear in the top search results, companies employ a combination of tactics: building good links, writing good content, using proper indexing, and integrating social media and blogs. It is time consuming for the client and, when translated into another language, it needs to retain all its parts from the obvious (content, URL name) to the subtle (meta tags and keywords). Those who offer website translation/localization services should remember that different search engines use different approaches to language tagging and educate themselves about the concepts of geo-targeting used by the search engines of their target region.
SEA, on the other hand, yields quick results and the ROI is easy to calculate, making it suitable for short, targeted campaigns. However, the conversion rates are lower (due to lack of consumer trust towards this kind of advertising) and it is an expensive option. When translating keywords for SEA, it is important to remember that repetition is good. Also, translated keywords will (or should) change depending on the target segment, audience, location etc.
As Ms. Ramírez pointed out, CAT tools are a good option for translating this kind of content: it tends to be repetitive, and consistent use of the same keywords is beneficial to a given ad’s ranking. One should also be aware of the limits set on the number of characters that can be used for ad headlines or ad descriptions, as it might become an issue when translating in certain language pairs: for instance, when translating English into Russian, the latter tends to require more characters.
Ms. Ramírez made an interesting point about translating SEA: the process can feel counterintuitive at first to translators who aim to produce a perfect translation. In this case, a functional approach serves better for creating the desired impact, which is to sell the product or service. When translating SEA text, one should always keep in mind the end user: what search term spellings are they likely to use, are there any regional variants to keep in mind, are there any synonyms that should also be included in the keywords, are there any other variants one should consider, such as calques from the source language and misspelled words (a quick Google search illustrates just how many ways there are to misspell the word pregnant).
Summarizing some of the characteristics of SEA language, Ms. Ramírez highlighted the use of calques, elliptical constructions, unusual punctuation (exclamation marks, apostrophes etc.), abbreviations, using all CAPITALS, and mixing registers when addressing the audience (using equivalents of Russian ты and вы in the same ad), which should all be reflected in some form in translation.
Drawing on her experience as a lecturer and a freelance translator, Ms. Ramírez noted another characteristic of SEA that influences the translation process: clients might ask for several equivalents for one keyword, and they will ultimately decide which one will be used.
The last notable point covered during the session is the importance of knowing how search engines other than Google work. This is significant because other markets might not use Google as their primary search engine: Yandex is the main search engine in Russia and Baidu plays that role in China. And although the essentials of the search engine functionality are largely very similar, there are some elements that differ and might impact the localization process.
Ms. Ramírez also covered practical aspects of managing ads, matches and click-through rates, as well as various tools for managing keywords and best practices for writing ads. With so much valuable information to deliver, there unfortunately was no time left to look at social media techniques and their impact on translation process, and I look forward to a future presentation where these would be covered.
Anna Livermore is an English>Russian and German>Russian translator and former marketing specialist. With a linguistics degree from the Oxford Brookes University and a Professional Diploma in marketing, she came to specialize in translating marketing materials, corporate communications, website content and various components of SEM. She is a member of the Slavic Languages Division’s Social Media team. Contact: livermore.translations@gmail.com
Audiovisual Translation: Joys and Challenges
By Julia Thornton
Photo by Anca Luchit on Unsplash
My first introduction to audiovisual translation (AVT) happened while I was growing up in the Soviet Union. I don’t remember the first foreign movie that I watched, but they were many and came from an array of countries. Premier movies and shows that were dubbed in Moscow were a work of art: I laughed at Pierre Richard and Gerard Depardieux, was enthralled with colorful scenes of India, sympathized with Michele Placido, felt at home with the Mexican and Brazilian soap operas, and was mesmerized by the enigmatic American way of life. Then came the 90s: the Iron Curtain fell, and my country was flooded with overseas movies available on video tapes. The voiceover for those movies was done by individuals whose “stage voice” was purposefully nasal and monotonous. Fast forward to today, and one of the fields I work in is subtitle translation.
Audiovisual content has been experiencing exponential growth fueled by the Internet boom: not only can we stream movies, shows, documentaries, concerts and sport events, but now there is online education and gaming. The recent development in the AVT world has been with Netflix and Amazon, as they started offering their products in many countries. Because of the volume of audiovisual content, subtitle translation has become the mode of choice, since it is the least expensive and the fastest way to localize an audiovisual event. Voiceover is more audience-friendly, but costs more, since it involves a voice talent and studio; dubbing is the most enjoyable for the audience, but it is the most expensive.
A good audiovisual translator is a person who is familiar with the culture, comfortable with slang (there is a lot of that!), and quick to adapt to the peculiarities of AVT. Here is what makes subtitle translation different from other types of translations:
- The translator is always looking for ways to make the translation shorter. There is the ever-present factor of reading speed that the translator needs to consider. Currently, the speed of 17 characters per second (CPS) is widely accepted for grown-up audience. This speed allows the viewer to read the subtitle and to have time to see what is happening on the screen. When actors talk fast or when translation into a target language is longer, it calls for re-creation: words and phrases that are not critical to the plot will be dropped, expressions reworded and repetitions omitted. The translator aims at translating maximum meaning within the tight boundaries of reading speed.
- Translation is geared toward translating emotion versus text. It is of primary importance to make the translation sound as natural in the target language as possible. Instead of staying close to the original text, substituting common expressions in the target language is normal. In a lot of cases, the shortest option will win (see point 1).
- Translating a lot of conversational speech: one might need to brush up on slang (Urban Dictionary comes in handy) and the current corresponding phrases in the target language. Punctuation in conversational speech also can be tricky.
- Working with style guides that differ slightly, and keeping in mind those differences. For instance, one client might want a space after a hyphen at the beginning of each speaker’s line in dialogs, another might not.
- The translator is usually paid per minute of runtime, not per word. This is unfortunate, as content varies in difficulty and word count: a 45-minute show can have as many as 850 subtitles and as few as 550. Netflix has a multi-language chart of per-minute prices that it pays agencies for a finished product.
Commonalities:
- The translation needs to be as accurate as possible (tense, register, punctuation).
- The translator researches terminology (for historic films or ones dealing with a particular field, e.g. medicine or law, and especially documentaries).
- Sometimes translators work alone, other times they works in a team of other translators (when there are several seasons of the same show, for example). Some agencies provide platforms for translators to collaborate in order to unify their efforts, others do not.
While I do other types of translation and hope to keep it that way, so my skills are more balanced, I enjoy audiovisual translation, and here is why:
- a good translation can bridge a cultural gap for the audience;
- watching a show or a movie and translating it helps with the boredom that naturally comes when translating documents;
- it’s a thrill to find a good equivalent in the target language that fits into the reading speed!
- when working for an agency, the software is provided on the agency’s site: no need to buy yet another CAT tool.
Challenges of audiovisual translation:
- relatively low pay, if counted per word;
- getting stuck with translation because all the words are plot-pertinent, yet they don’t fit the reading speed;
- tight deadlines: a 45-minute show is usually translated in 2 days or less.
Now is a good time to get into the field for anyone who wants to give it a try. While it is possible to work for direct clients who regularly produce audiovisual content (government organizations, religious groups, educational websites), most audiovisual translators work for agencies who are subcontractors of major content providers. A narrowed-down search in the ATA directory will yield names of companies that work with subtitles. Most of these companies require a prospective translator to take an unpaid test. If you want to build your subtitle translation skills, you can learn them as you volunteer (for instance, on the TED Project). Acquiring this new skill will help you see translated movies in a new light and gain appreciation for the work audiovisual translators do. You might like it so much you will want to continue!
Julia Thornton is a certified EN-RU translator (ATA). She grew up in Russia and graduated from the Nizhny Novgorod State Pedagogical Institute of Foreign Languages. She then moved to the USA and earned a master’s degree in theological studies. Her other experiences and interests are in interpreting and education. She can be reached at julia.thornton@alterustranslations.com.
Coming Out of the Shadow: Review of Madeline G. Levine’s Susana Greiss Lecture [from SlavFile]
Reviewed by Christine Pawlowski
Reprinted from SlavFile
Each year at the American Translators Association Annual Conference, the Susana Greiss lecture brings an eminent guest lecturer to speak upon some aspect of translation/interpretation related to the Slavic languages. ATA’s Polonists owe a debt of gratitude to Nora Favorov, who initially reached out to Madeline Levine, the 2016 speaker. Dr. Levine’s address, “In the Shadow of Russian: Forty Years of Translating Polish Literature,” proved a seminal event: Dr. Levine became the first speaker in the nineteen-year history of the Greiss lecture to address a Polish subject.
Graduates of Slavic Studies programs in the United States have often encountered the tendency to categorize the various Slavic literatures as “major” or “minor,” with Russian at the top. In 1963, Dr. Levine, a Russian specialist at Harvard, chose to study Polish as her secondary literature requirement. It turned out to be a serendipitous decision; the need for scholarly attention to and good literary translation of Polish was extreme. In fact, an American colleague of Dr. Levine’s once greeted her with the question, “Is there really such a thing as Polish literature?” Learning “at breakneck speed” to read Polish, Dr. Levine began a lifelong career translating this “minor” literature.
Dr. Levine’s early work was made more difficult by the lack of critical resources available. (She singled out Kridl’s “stupefyingly dull,” blue-covered, pictureless survey.) This situation was radically transformed by the publication of Miłosz’s 1969 work, The History of Polish Literature, which helped to provide a cultural and historical context for Polish literature in a “readable, even exciting” way. As I pulled out my 40-year-old copy of this book, heavily annotated in the early ‘70s, I found myself in wholehearted agreement. Miłosz’s work, with its determination to “avoid… scholarly dryness” and “preserve… a trace of a smile” must have created something of a Lazarus experience when it first appeared—Polish literature was alive after all.
Among other groundbreaking efforts for Polish literature in English, Dr. Levine explored the “labors of love” undertaken by Celina Wieniewska and Barbara Vedder. These pioneering women translated the works of Bruno Schulz and Tadeusz Borowski, two unknown writers whose influence now reaches worldwide. Dr. Levine has produced new translations of these works, and her translation of Bruno Schulz’s prose fiction is soon to be published by Northwestern University Press.
A primary focus of Dr. Levine’s work has been Jewish-themed literature in the Polish language. In translating works about the Holocaust and in her work as a university professor, she has delved into the question: “How is it possible that such horror can be captured and transformed into works of artistic beauty?” She has also taken on another wartime subject: her re-translation of Białoszewski’s Memoir of the Warsaw Uprising was released by the New York Review of Books in their Classics series.
Dr. Levine has had her share of good fortune: at a very young age, she obtained her first position as Assistant Professor at the City University of New York “sight unseen” after a phone interview. She enjoyed the stability of her position in the University of North Carolina’s Slavic Languages and Literatures Department (now Germanic & Slavic Languages and Literatures). However, she has also experienced the vicissitudes of the publishing industry and, as a result, seems to have developed the patience of a saint! After 40 years of sharing an unknown literary culture with readers and students, Dr. Levine leaves her audience with the firm conviction that she has only just begun. When I asked her at our communal lunch: “So what still needs to be translated?” She responded: “Everything!”
I encourage you to read excerpts from Dr. Levine’s talk on the next page to learn more about the fascinating and, at times, frustrating professional journey of a “student-teacher-scholar-translator.”
Christine Pawlowski is a freelance Polish and Russian translator with an M.A. in Slavic Languages and Literatures from Indiana University, “Tsvetograd.” She is retired from teaching elementary music and enjoys being called “Busia” by her 10 grandchildren. She is ATA certified (Polish-English). She may be reached at pawlow@verizon.net.
This article first appeared in the Spring 2017 issue of SlavFile. We invite you to check out the full publication for the excerpts from Dr. Levine’s talk referenced in the review, as well as a follow-up by Nora Favorov, “The List,” about the list of pre-1945 works in various Slavic languages that still need to be translated.
Going to this year’s ATA conference in Washington, DC? Then we encourage you to attend this year’s Susana Greiss lecture! “The Long and Winding Road to Becoming a Presidential Interpreter,” presented by Nikolai Sorokin, will take place on Thursday, October 26, at 3:30 PM. Nikolai Sorokin will also present a session on interpreting on Friday, October 27, at 10:00 AM, titled “Wow! How Am I Going to Interpret That?”. We hope to see you there!