Why read translations? Or, Why there is no borderless literature and why that is not bad at all

Jaipur BookMark 2020 session on translation
Berthold Franke, delivering the keynote at the session, Towards a borderless literature at the Jaipur BookMark on the 22 January 2020.

Let’s make it short – ‘Why read translations?’
Answer – ‘Because we cannot read all languages.’
Full stop.
Simple question, a simple and complete answer. 

And this, please, believe me, is a serious and not an ironic or coquettish statement. It is like this – we all are born in Babylon, and we all have to look at how to get the good things. And it would be an act of truly idiotic self-hindering to renounce the vast cosmos of texts and works in foreign languages just because our knowledge of languages is naturally limited, and which can be expanded through Sprachschule Hannover. That, I think, doesn’t need to be explained further now.

This is why so many wise people have always expressed their gratitude and appreciation for the often overlooked community of translators, a group of pioneers, virtuosos, and scouts of international cultural exchange who are rarely in the limelight and are much too often not valued highly enough. They help us to get out of the inescapable limitations of our access to world literature (Goethe: ‘Weltliteratur’) and into the wisdom and truth of texts from all parts of the world and from all generations, and to whom we all owe so much. Especially my house, the Goethe-Institut – how much I have learned on my various international posts from translators who, through their often so scrupulous and sustainable work, make more valuable and competent contributions to the dialogue among cultures than whole legions of curators, organizers and administrators of the international cultural jet set . . . . 

Now, there are always two standard statements when it comes to the special qualities of translation. The first is the metaphor of the boat, of the ferry that transfers the texts from one language shore to the other, which at the same time means the never avoidable transference losses – the always programmed failure of every translation in the sense of an ideal 1:1 transfer from the original language to the other. This claim (or allegation) is fundamentally to be abandoned since it is guided by a false concept of language, which always has its own inherent qualities and is connected with the cultural world view of the speaking collective, which is never the same as the one of another. Examples such as the large number of Inuit expressions for snow and the absence of such a word in languages from tropical regions are often cited.

The second standard topos or theme is that of the paradoxical success of translation in achieving a literary endeavor of its own, as a consequence of the problem just mentioned. What is then praised is the effect, which, given the limits of the translator’s job, namely to deliver a 1:1 translation, forces him to make his own literary effort. This, in the end, at least occasionally, produces great works of translation in the sense of recreations or co-creations. 

Famous examples of this are the wonderful Shakespeare translations by August Wilhelm Schlegel in the late 18th century. These translations were extremely important and influential for the reception of the great Englishman in Germany, and are well and rightly regarded as an independent masterpiece of German literature.

The other way round, of course, means that translations can also fail! God knows, they can, as again very famous examples show. For instance, the long time standard translation into French of Nietzsche’s Genealogy of Morals, which in the 1950s every second French student carried in his pocket. Until it became known that the translation was so bad, that the entire French philosophy of those years, which was strongly influenced by Nietzsche, was based on a misunderstanding. And, not to mention Heidegger, who fascinated the French even more, and who, by the way, cannot be translated at all, since the Germans cannot even understand him. Hence the obviously unavoidable obligation that every generation must translate the great classics each time anew.

This is all well known and has been said many times before. I want to take these thoughts one step further. I remember a beautiful moment I shared with Jo Lendle Sunandini Banerjee and Naveen Kishore, not long ago at the Frankfurt Book Fair, when the superb series of translations from original books in German published by Seagull-Publishing house, the ‘Seagull Library of German Literature,’ was presented.

Jaipur BookMark –  Towards a Borderless Literature: The keynote address by Berthold Franke explored the several metaphors, constraints, and even pitfalls of translation and its necessity since we exist in a universe of edges and boundaries. A panel followed this with AJ Thomas, Chandra Prakash Deval, Jo Lendle, Jules Levinson, Vera Michalski in conversation with Urvashi Butalia. The multilingual discussion focused on the need for translation to bridge cultural and geographic gaps. Dostoevsky, in Rajasthani, talked about in Rajasthani and translated into poetic English was a highlight. Shown L-R: AJ Thomas, Chandra Prakash Deval, Jo Lendle, Urvashi Butalia. Photo IPP

Sitting on the podium next to Naveen and Jo and some of the important translators in this series was the filmmaker and author Alexander Kluge, himself represented with four books in the Seagull collection. And he was using the metaphor of the boat, of the passage. He even spoke of an armada that takes the texts not only from continent to continent but even more importantly, through the ages. The book-boats as time machines! However, and this is what interests me now, he was not talking about translations in particular – he was talking about books in general!

And thus, he gives us an important clue to our topic. If we take the above-mentioned in regard to translations seriously, namely that their unconditional commitment to the source text, their fidelity to the original always stands under the systematic reservation of possible failure. This means that the only chance of successful translation is the creative handling of this necessary aporia* or internal contradiction, which actually expresses not only the problem of translation alone but the fundamental dilemma of literature itself.

And that means, taken seriously: every text, even the one in one’s mother tongue, is only understood within limits and will be received differently with each reading and by each reader. In this respect, every reader is a translator, which we know immediately when we read old texts, for example, when I, as a German, have to translate an old German text into my contemporary German.

But even further – this applies not only to the act of reading but also to that of writing. Is it not the case that even the production of the text in one’s own language always leads to the limits of what the author is capable of – and of what language is capable of at all? 

There is the famous dictum of Friedrich Schiller from 1797, which says in approximate translation the following – “If the soul is speaking, then alas! the soul no longer speaks. This means the fundamental fact that there is no immediate identity of emotion and expression of it but an insurmountable separation. The only means given to us to express ourselves, apart from direct physical expression (such as crying or laughing), is language, which always and fundamentally separates the expression from the sentiment itself. It is precisely this fact that is told in a completely different way in the story of the lost paradise. 

Paradise, that is the innocence that results from the unity of creature and nature. This unity is lost forever with the fall of mankind. The human being becomes a cultural being, is thrown into civilization and language. And with this language it attempts, again and again, and always in vain, to heal this loss. So, if the soul is speaking, it is then no longer only the soul, but actually, the language itself that speaks. And thereby, on a very complicated path actually, as have all those who have spoken and written along with this language.

The wisest authors have always reported to us on this topic. And the great texts always bear witness to this, to the great dilemma of writing, to failure, to the challenge arising from the limitations and calamity of language itself. But also, to the great moments of success which, (we all personally as readers know this moment), makes the miracle of literature happen, when we read and feel and say, ‘Yes, precisely, that’s it!’ And I believe that this can happen just as often and just as rarely in an original text as in a translation. Which is why we must make the same demand of both author and translator – they must be masters of their language.

Which, to come back to the claim or supposition of a borderless literature, makes things a little complicated – because just as much as literature, whether translation or not, can cross borders, it must necessarily remain within the limits of language. The paradox of literature is the paradox of language – to be both a border and a delimitation, freedom and isolation, a dead-end and a journey into the open at the same time.

Dr Berthold Franke, delivered the above keynote at the session, Towards a borderless literature at the Jaipur BookMark on the 22 January 2020. The Jaipur BookMark takes place in the background of the Jaipur Literature Festival and this year took place from 22 to 25 January 2020. The 13th Jaipur Literature Festival took place from 23 to 27 January 2020. 

*aporia – an irresolvable internal contradiction or logical disjunction in a text, argument, or theory.

The Covid-19 pandemic led to the country-wide lockdown on 25 March 2020. It will be two years tomorrow as I write this. What have we learned in this time? Maybe the meaning of resilience since small companies like us have had to rely on our resources and the forbearance of our employees as we have struggled to produce our trade platforms.

The print and packaging industries have been fortunate, although the commercial printing industry is still to recover. We have learned more about the digital transformation that affects commercial printing and packaging. Ultimately digital will help print grow in a country where we are still far behind in our paper and print consumption and where digital is a leapfrog technology that will only increase the demand for print in the foreseeable future.

Web analytics show that we now have readership in North America and Europe amongst the 90 countries where our five platforms reach. Our traffic which more than doubled in 2020, has at times gone up by another 50% in 2021. And advertising which had fallen to pieces in 2020 and 2021, has started its return since January 2022.

As the economy approaches real growth with unevenness and shortages a given, we are looking forward to the PrintPack India exhibition in Greater Noida. We are again appointed to produce the Show Daily on all five days of the show from 26 to 30 May 2022.

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