Cannibal Translation: Final Report by Maria

Cannibal Translation: Routes, Roots, and Recipes from Latin American Literary Praxis

Associate Professor Isabel Gómez, a prominent figure in the field of Latin American and Iberian studies at the University of Massachusetts Boston, has made significant contributions to the world of literary translation. Her translation experience is diverse, including supertitles for theater, such as Jorgelina Cerritos' "Across the Sea," the 2010 Casa de las Américas Prize Winner, and prose and poetry by Sor Juana Inés de la Cruz, with contributions in the Norton Critical Edition. Her dissertation, entitled "Reciprocity in Literary Translation: Between Mexico and Brazil (1968-2014)," explores the role of poet-translators as tricksters, cannibals, and gift-givers, forging connections across Latin American literary traditions.

Gómez's scholarly journey has led her to develop the concept of "Cannibal Translation," which is the focus of her book "Cannibal Translation: Literary Reciprocity in Contemporary Latin America" (2023). This innovative concept is rooted in the Brazilian avant-garde movement of the 1920s, known as modernismo, and its resurgence in the 1950s with the concrete poetry movement. Inspired by Walter Benjamin and further refined by Brazilian writers like Haroldo de Campos, cannibal translation involves the translator consuming and reconfiguring the source text, infusing it with new life and creativity.

The book delves into the application of this theory in Latin American literary practice, examining the works of prominent authors such as Augusto and Haroldo de Campos, Rosario Castellanos, Clarice Lispector, Héctor Olea, José Emilio Pacheco, Octavio Paz, and Ángel Rama. Gómez sheds light on the innovative translation techniques employed by these authors, including untranslation, transcreation, and porous prose, which challenge conventional notions of translation and originality.

Further, "Cannibal Translation" explores the political and ethical dimensions of this approach, suggesting that it provides a means to navigate and counteract colonial and Eurocentric biases in literature. Through a comprehensive analysis of these authors' translation practices, Gómez advocates for a more expansive understanding of translation as a dynamic and transformative process that plays a crucial role in the creation and dissemination of world literature, particularly within the context of Latin American literary networks. 

On February 9, 2024, Gómez had the honor of being the invited speaker at Boston University's prominent translation series lectures—a familiar setting for her—where she explored this framework. Gómez’s lecture began by addressing the historical context of cultural cannibalism. The term originates from the colonial portrayal of Caribbean and Brazilian peoples as violent maneaters, a stereotype perpetuated by colonists. This negative image was challenged by Oswald de Andrade in his manifesto "Antropofagia," where he advocated for the concept of cultural cannibalism as a form of creative destruction. By devouring and mixing different cultures, new artistic works could be created. This idea was embraced by the founders of Brazilian concrete poetry, drawing upon the tradition of celebrating life through the honorable burial practice of eating each other among the Tupi-Guarani people, which was considered an ethical relationship.

Gómez highlighted the 'verbivocovisual' aspect of Brazilian concrete poetry, which intertwines sound, visual effects, and words to create meaning. This complexity challenges traditional translation methods, necessitating a 'devouring' of the text. Cannibal translation, characterized by qualities such as independence from its source text, reciprocity over extraction, and a focus on translation as a creative act, requires a thoughtful and involved interaction from the translator. It presents works as unfinished and open, maintaining all elements in a visible, unassimilated state. This approach not only promotes translator visibility, as illustrated by Gómez's metaphor of leaving 'teeth marks' on the translation, but also enriches world literature by incorporating diverse Latin American cultural and linguistic perspectives. Cannibal translation broadens the global literary canon, making it more inclusive and representative of a wider range of human experiences. Referencing Lawrence Venuti's statement, “we have yet to read translation as translation,” Gómez argues that cannibal translation encourages a reevaluation of how we perceive translations. It invites us to read them anew by appreciating their unique qualities, moving away from the traditional expectation of smooth, invisible translations and towards a recognition of the translator's creative role.

Gómez highlighted Augusto de Campos's "untranslations" as one example of cannibal translation in practice. Untranslations paradoxically draw attention to the untranslatable elements of a text while translating it, hyperfragmenting the work and inviting readers to explore what is missing. Hyperfragmenting refers to the deliberate breaking down of a text into smaller, more fragmented pieces than would be typical in a conventional translation and selectively translating some parts of the original work while intentionally leaving other parts untranslated or only partially translated. This approach fosters an ongoing relationship with the source text, aligning with the principles of cannibal translation.

The lecture also covered the "translationship" between Octavio Paz and Haroldo de Campos, a term used to describe a reciprocal collaboration between writers who translate each other's works in order to pursue literary influence and creative input. This partnership led to the concept of "transcreation," which prioritizes aesthetic information over documentary or semantic information, a mode inspired by concrete poetry. Their collaboration on the work "Transblanco" was presented as a prime example of cannibal translation, a process that Gómez described as “rooting itself and uprooting in the same movement of loving duplicity.” Gómez’s description here captures the transformative nature of cannibal translation, which simultaneously grounds the text in its source and liberates it, enabling a powerful exchange through translation between the original and the translation by changing and reshaping the source text.

Another concept Gomez introduced was Héctor Olea's emphasis on prioritizing orality in indigenous content, called "tradecir" (transpeak/transsay). This approach aligns with the political goals of "thick translation," as described by Kwame Anthony Appiah, where translators add significant explanatory material to bridge cultural gaps and counteract notions of cultural superiority in a decolonial context.

The lecture also touched on the gendered aspects of translation, referencing Rosario Castellanos's work and the demeaning labels applied to female translators, contrasting with the treatment of their male contemporaries. Women's translation projects were often feminized, infantilized, and diminished, as seen in the term "traducir mocosuena" (to translate by sound, or to translate like a mocosa or a childish girl). Note the homophony of mocosuena and mocosa.

Finally, Gomez suggests various applications of cannibal translation, including editing, post-editing machine translations, consulting work, subtitling, reader's reports, reviews of translations, teaching and workshops, creative writing activities, prize jury selection, and promotional material. These suggestions highlight the versatility and potential of cannibal translation in transforming and enriching translation practices.

Insights from the post-lecture discussion, in-class dialogue, and classmates' blog posts offered a comprehensive view of diverse perspectives and key themes. These collective explorations enhanced the understanding of cannibal translation and facilitated a lively exchange of ideas.

During the post-lecture discussion, one audience member shared their initial negative reaction to the term 'cannibal,' which shifted to a more positive perspective upon reflecting on their own translation work and collaboration with authors. They found that they could relate the concepts proposed by Gómez to their own experiences which fostered a better understanding of what Gómez proposed.

A key question raised was how this translation theory and practice could be applied beyond anti-colonialism, specifically in opening up English translations. The suggestion was to make English translations less smooth and self-contained, thereby challenging the conventional aesthetic coherence of translated works. Professor Canaan Morse and Gómez discussed finding a beneficial pathway into translation with this method, particularly in the context of translating into a hegemonic language or culture like English. Gómez emphasized that cannibal translation, as practiced in Latin America, aims to adopt works and challenge the supremacy of the original. When translating into English, however, the approach should be to highlight the power dynamics and the fact that they are translations. As stated by Gómez, this means making the English translation “less smooth and less self-contained,” to better reflect its translated nature. 

Another question arose regarding the choice of the term 'cannibalism,' which Gómez explained was used for its shock value, drawing upon the broader contemplation of the vocabulary available for translation if we are to view it as a form of 'rewriting’. The concept of translation as a form of "rewriting" is closely related to the metaphor of "cannibalism" used by Gómez. In both cases, the idea is that the translator is not simply transferring the original text from one language to another but is actively engaging and reshaping it. Both concepts challenge the view of translation as a passive and faithful reproduction of the original text, instead presenting it as a lively and imaginative process that involves making choices and changes.

Further reflections on the lecture revealed more insights. The concept of leaving "teeth marks," was a striking image of the traces left by translation. Instead of viewing these marks as flaws, Gómez sees them as beautiful, challenging the traditional notion that translation should be invisible. This concept underscores that translations are never truly finished and that there is no single correct translation, encouraging readers to appreciate the translation process and the translator's role in shaping the final text.

Gómez' challenge to Western translation theories, particularly the emphasis on fidelity, offered a fresh perspective. Her approach highlights the importance of recognizing the translator's influence on a work, even in seemingly invisible elements like paratextual features. These include the presence of an introduction, footnotes, foreword, afterword, title, and cover image, all of which are indicators of the translator's and other contributors' involvement in shaping the final product. Each of these elements, whether they aim to domesticate or foreignize the work, leaves a mark of the translator's choices and challenges the notion of preserving 'originality' without any intervention.

Others were intrigued by the concept of cannibal translation as a postcolonial endeavor to reclaim the Tupi tribe's ritual practice of cannibalism as a form of respectful and creative destruction. Other ideas that stood out in Gómez's lecture were her emphasis on "translationship" and the idea that translators should be seen as fellow poets with creative power, her call for translators to reject invisibility and embrace creativity in translations, and the importance of  highlighting Latin American translation studies.

Lastly, Gómez enlightened us with her focus on the historical aspects of cannibal translation and its application in actual translation works. She presented a fascinating set of rules for cannibal translation, emphasizing the shift away from the source text towards a more aesthetic approach. Particularly intriguing was the idea of cannibal translation as a re-written version of a text that retains the original meaning while connecting more with the audience.

The in-class discussion introduced more topics not previously covered. One key issue was gender bias in translation, particularly how female writers like Rosario Castellanos have been undervalued for using innovative techniques with sound, while their male contemporaries received praise for similar approaches. This highlighted the need for a more inclusive and equitable approach to translation that recognizes the contributions of all writers, regardless of gender.

Additionally, the discussion explored the similarities between Spanish and Portuguese, emphasizing that transcreation becomes even more essential when translating between these closely related languages. This highlighted transcreation, or the process of creatively adapting a text for a new audience, as a means to surprise readers and provide a fresh perspective on the original text, challenging their routine expectations.

Overall, the post-lectures discussions found Gómez's lecture thought-provoking and challenging to traditional translation theories. Attendees greatly appreciated the emphasis on the translator's visibility, the creative liberties in translation, and the importance of acknowledging the cultural and historical contexts of translated works.

Gómez's lecture provided the inspiration I needed to advance in my own translation work. My goal in the MFA Literary Translation program was not only to hone my translation skills but also to develop an identity as a translator. Gómez's theory and practice of cannibal translation gave me the freedom—or maybe just permission—to embrace a more creative translation approach, finding comfort in the discomfort that comes with it. Before Gómez's insights, I believed that any deviation from the so-called fidelity to the original text was not an act of admiration or respect but quite the opposite. Frankly, it was unfathomable to me as a translator. It certainly shifted my perspective, making me reject the notion of being "the invisible translator."

Mostly, I appreciated the approach of cannibal translation for its focus on creativity. It brings to mind the discourse about translators being writers. Authors are recognized as creatives, so why can't translators be considered creatives as well? Cannibal translation, in particular, provides a unique space for translators to showcase their creativity. This approach encourages translators to engage deeply with the text, to "devour" it, and to recreate it in a new language while leaving their own "teeth marks." This metaphor highlights the active, transformative role of the translator, who is not merely transferring words from one language to another but is instead reinterpreting and reshaping the text.

Cannibal translation challenges the traditional notion of fidelity in translation, which often confines translators to a more mechanical role. Instead, it embraces the idea that translation is a creative act, akin to writing. Translators are given the freedom to explore the aesthetic and semantic dimensions of the text, to play with language, and to bring their own artistic sensibilities to the forefront. This approach acknowledges the translator's contribution to the literary work, not as a secondary or invisible figure, but as a co-creator.

Cannibal translation provides a valuable framework for reimagining the role of translators as creatives. It offers a space for translators to exercise their artistic abilities and to be recognized for their contributions to the literary world. This approach not only enriches the translation process but also challenges us to rethink our understanding of translation as a creative endeavor.

Ultimately, Gómez’s lecture, along with insights from others, emphasized the value of this creative approach to translation, highlighting its potential benefits for any translator. Her work expands the world of translation theory and practice, offering fresh perspectives and opportunities for exploration.