Kate Briggs, This Little Art
To suspend, or to suspend even further, my disbelief. This can’t really have been what he said (Barthes spoke in French; he claimed to barely speak English at all); nevertheless, I’ll go with it. In this sense, there’s something from the outset speculative and, I would say, of the novelistic about the translator’s project, whatever the genre of writing she is writing in.
I have translated Octave Debary‘s Resemblance in the Work of Jochen Gerz (French title: La ressemblance dans l’oeuvre de Jochen Gerz) published by Créaphis éditions on 1 June 2017. It is a bilingual edition, with my English translation appearing on each page beside the original French text.
My aim here is to go on a journey down this road with Jochen Gerz. To strike up a conversation, not so much about his work as one that winds its way through his works. I wish to chart the trajectory I have been following as an anthropologist studying remains and the remains of history, which has led to a decade-long dialogue with Gerz’s oeuvre. Those artworks that he often abandons, once created, offering them up to the city and passers-by. Gerz is one of the foremost contemporary artists of memory and public space.
Dennis Duncan, “The American Oulipian,” The Times Literary Supplement 27 January 2017
One of his [Harry Matthews] characters muses, “The longer I live — the longer I write — the stronger becomes my conviction that translation is the paradigm, the exemplar of all writing”. It is hard not to read this as Mathews himself thinking out loud.
[See Kafka and Proust.]
Franz Kafka, The Zürau Aphorisms
All language is but a poor translation.