Fisher & Braslavsky

I'm really appreciating the variety of speakers we have the pleasure of hearing from week after week, with each guest providing a unique perspective and wealth of knowledge and experience. Hearing from this week’s speakers was extremely beneficial to me as a young translator. I was grateful for their candidness about their experiences in translating their respective poets. It was clear that both translators came to know their poets very well, and translating them appeared to be a transformative experience while also sharing their doubts and fears.

Fisher's first encounter with Joyce Mansour was during her MFA studies at Columbia. Describing Mansour's work as autofiction, “without the drag of the biographical,” Fisher noted its often overlooked humor and the darker lens through which Mansour chose to explore equality. Despite not identifying as a feminist, Mansour portrayed women as capable of violence and terribleness equal to men. Fisher also noted that Mansour's stance didn't negate the feminist themes present in her work. Mansour's poems also focused on Jewish women, including Miriam, Eve, and Lot's wife, and included radical retellings like "Miriam after an orgasm." Fisher mentioned Mansour's use of imperatives without subjects and the distinction between "one" and "we," and admired Mansour for being “direct and fair in order to reach the reader with force.” 

Regarding the translation process, Fisher highlighted the freedom of viewing translation as reading and an interpretive act. She expressed an initial fear of being wrong but emphasized that the original text always remains unchanged. Seeking help from professors and scholars, Fisher learned she had to balance foreignization and domestication in her translations. She also shared advice for emerging translators, stating, “Be shameless. Email everyone. Submit everything. Put yourself out there but expect nothing.”

Braslavsky also immersed herself in the translation of Ginczanka's work, determined not to infantilize her, although critics accused her of portraying her like Anne Frank. She felt deeply connected with Ginczanka, even as she aged beyond the poet herself. Exploring the concept of "this flesh becomes the word," Braslavsky shared how Ginczanka inverted religious concepts and created her own mythos. In contrast to other translators, who prioritized preserving Ginczanka's rhyme, Braslavsky focused on maintaining the syntax, believing that maintaining rhyme often came at the cost of syntax in poetry translation. Braslavsky insisted on including Ginczanka's "two left foot" poems, a choice that some translators avoided. She emphasized the importance of authenticity and earnestness in her translation work. Despite feeling overwhelmed by the presence of other ‘heavyweight’ translators working on Ginczanka, she stuck with it, viewing it as a passion project. This experience not only taught her valuable lessons but also changed the way she writes poetry herself. (Fisher echoed this sentiment in the Q&A, noting that Mansour has been a significant influence on her work to the point where she’s unsure how much of the work is herself or Mansour).

Starting with such a challenging translation made subsequent translations feel more manageable for Braslavsky. A specific moment in Ginczanka's work, where she breaks the fourth wall with "believe in me," deeply resonated with Braslavsky, as she “felt her there.” This brought to mind Isabel Gomez’s similar experience in translating Sor Juana where she also experienced Sir Juana’s presence. Both instances highlight the profound connection one can feel and emphasize the transformative power of translation and poetry.

Lastly, it was encouraging to hear about the translators' experiences with World Poetry. Fisher expressed feeling heard and respected, noting that she was never bullied into changing her work. For instance, she highlighted the importance of using a print by surrealist painter Pierre Alechinsky, a friend of Mansour, and noted that many of Mansour’s poems were dedicated to such friends. World Poetry complied with her request, leaving her even more excited for the work to be released. On the other hand, Braslavsky was grateful for World Poetry's interest in her work with Ginczanka, especially since other more prominent translators had already translated her. It's heartening to hear of emerging translators being acknowledged, respected, and supported in their initial publications.

—Maria

P.S. Just a general statement, but the lecture series has introduced me to a lot of work and translators that I didn’t know of before. It’s made me excited to continue reading and engaging with all of these different works, genres, translators, and authors!