ARC BLOG: GS Smith on Translating

ARC BLOG

GS Smith on Translating

Posted by Sarah, 4th June 2012

To tie with the launch of As I Said, I spoke with Gerry Smith on his approach to translating Lev Loseff's poetry.

SH: In the Translator's preface to As I Said, you write "I hope this translation will encourage others to tackle it". What do you think can be gained by multiple translations of one work?

GS: My approach to translation from Russian has been influenced in particular by my professional academic interest in the history and theory of verse form; in 1996 I translated the best guide to this subject, M.L.Gasparov’s A History of European Versification. Because of this background I realise that there are many alternatives to the strict-form approach that I favour, even though it lengthens the odds against precise semantic equivalence. My commitment to strict form is not primarily academic: my literary/aesthetic awareness was formed in childhood by years of exposure to Anglican metrical hymns and psalms, and I then moved on to classic American song lyrics; ever since I have felt that to be authentic, verbal art needs to be fashioned in the way they are. To me, free verse is elitist and alien, and always has a feel of arbitrariness and self-indulgence.

CONTINUE READING HERE

ARC BLOG: GS Smith on Translating

ARC BLOG

GS Smith on Translating

Posted by Sarah, 4th June 2012

To tie with the launch of As I Said, I spoke with Gerry Smith on his approach to translating Lev Loseff's poetry.

SH: In the Translator's preface to As I Said, you write "I hope this translation will encourage others to tackle it". What do you think can be gained by multiple translations of one work?

GS: My approach to translation from Russian has been influenced in particular by my professional academic interest in the history and theory of verse form; in 1996 I translated the best guide to this subject, M.L.Gasparov’s A History of European Versification. Because of this background I realise that there are many alternatives to the strict-form approach that I favour, even though it lengthens the odds against precise semantic equivalence. My commitment to strict form is not primarily academic: my literary/aesthetic awareness was formed in childhood by years of exposure to Anglican metrical hymns and psalms, and I then moved on to classic American song lyrics; ever since I have felt that to be authentic, verbal art needs to be fashioned in the way they are. To me, free verse is elitist and alien, and always has a feel of arbitrariness and self-indulgence.

CONTINUE READING HERE

Pushkin Places / Пушкинские места

Pushkin Places

Morning and evening, dressing and undressing,

never not viewed.

Where did they find to do their secret trysting—

Garden? Or wood?

Beneath a bush, in full view of a mousehole,

like gypsies do?

Or maybe in a carriage with the blinds down?

Just how, if so?

It’s full of people, is this so-called wasteland!

Think you’re alone—

in the garden there’s a yokel idly swatting,

down by the stream there’s women doing washing,

in the parlour darling nanny’s always watching—

curse the old crone!

Oh, where to find those far-sequestered purlieus,

by night or day?

So you can get the hairpins, pantaloons, and

the skirt away?

Where ever won’t your measured bliss be spooked by

a sudden knock,

and then those vulgar sniggers of collusion

the servants make?

Rural retreat—I think that was your comment?

Friend, I retort:

Is this the reason why that wondrous moment

was oh so short?

(Translation © G.S. Smith 2012)

Пушкинские места

День, вечер, одеванье, раздеванье —

всë на виду.

Где назначались тайные свиданья —

в лесу? в саду?

Под кустиком в виду мышиной норки?

à la gitane?

В коляске, натянув на окна шторки?

но как же там?

Как многолюден этот край пустынный!

Укрылся — глядь,

в саду мужик гуляет с хворостиной,

на речке бабы заняты холстиной,

голубка дряхлая с утра торчит в гостиной,

не дремлет, блядь.

О где найти пределы потaенны

на день? на ночь?

Где шпильки вынуть? скинуть панталоны?

где юбку прочь?

Где не спугнет размеренного счастья

внезапный стук

и хамская ухмылька соучастья

на рожах слуг?

Деревня, говоришь, уедеиненье?

Нет, брат, шалишь.

Не оттого ли чудное мгновенье

мгновенье лишь?

Pushkin Places / Пушкинские места

Pushkin Places

Morning and evening, dressing and undressing,

never not viewed.

Where did they find to do their secret trysting—

Garden? Or wood?

Beneath a bush, in full view of a mousehole,

like gypsies do?

Or maybe in a carriage with the blinds down?

Just how, if so?

It’s full of people, is this so-called wasteland!

Think you’re alone—

in the garden there’s a yokel idly swatting,

down by the stream there’s women doing washing,

in the parlour darling nanny’s always watching—

curse the old crone!

Oh, where to find those far-sequestered purlieus,

by night or day?

So you can get the hairpins, pantaloons, and

the skirt away?

Where ever won’t your measured bliss be spooked by

a sudden knock,

and then those vulgar sniggers of collusion

the servants make?

Rural retreat—I think that was your comment?

Friend, I retort:

Is this the reason why that wondrous moment

was oh so short?

(Translation © G.S. Smith 2012)

Пушкинские места

День, вечер, одеванье, раздеванье —

всë на виду.

Где назначались тайные свиданья —

в лесу? в саду?

Под кустиком в виду мышиной норки?

à la gitane?

В коляске, натянув на окна шторки?

но как же там?

Как многолюден этот край пустынный!

Укрылся — глядь,

в саду мужик гуляет с хворостиной,

на речке бабы заняты холстиной,

голубка дряхлая с утра торчит в гостиной,

не дремлет, блядь.

О где найти пределы потaенны

на день? на ночь?

Где шпильки вынуть? скинуть панталоны?

где юбку прочь?

Где не спугнет размеренного счастья

внезапный стук

и хамская ухмылька соучастья

на рожах слуг?

Деревня, говоришь, уедеиненье?

Нет, брат, шалишь.

Не оттого ли чудное мгновенье

мгновенье лишь?