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Translator’s Diary: Vincent Kling

2016/12/28 — 15:28

【Text by Vincent Kling】

In a work of art, sound and sense, content and form, can’t be separated.

Today, we are thrilled to introduce a new monthly column by past contributor Vincent Kling, winner of the 2013 Schlegel-Tieck Prize. Making his way through his current project—translating Heimito von Doderer’s 909-page Die Strudlhofstiege for New York Review Books, he generously shares with us some thoughts on the process from up close. In this first instalment, he tells us how he got started—and restarted—on this translation, and gives us a taste of the entanglements to come.

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No translator’s dream is worth much unless it’s a nightmare as well. The craft requires compromise, meaning necessary loss. Those who argue for the intrinsic untranslatability of literature have a point, but it’s valid only in part and never seems to stop anyone. A rule of thumb (or maybe thumbscrew, considering the toil), is that if the effort doesn’t both drain and recharge at once, it’s probably not genuine. Still, Klaus Reichert’s extensive experience has taught him that the eureka moments and the rare flashes of just-right rendering compensate for the drudgery and frustration. Remembering that makes me stop my pity party and resume work after praying to my patron saints—Constance Garnett and Jean Starr Untermeyer; C. K. Scott-Moncrieff and Archibald Colquhoun.

A door to my current project opened again when a major award, the Schlegel-Tieck Prize, came my way unexpectedly a few years ago. I’d been translating for decades and had been working on Heimito von Doderer’s Die Strudlhofstiege oder Melzer und die Tiefe der Jahre (The Strudlhof Steps or Melzer and the Depth of the Years) in the early 1990s, only to have the publisher go bankrupt. (The title names an elaborate, beautiful public staircase in Vienna that becomes the novel’s main objective correlative.) Half of the long novel (909 pages, about 360,000 words) was finished, all ready to go but no place to go to, since Doderer’s disastrous reception in the early 1960s (Alfred A. Knopf called The Demons “our colossal failure”) made him publishers’ poison. But Edwin Frank of New York Review Books must be immune; his passion is the antidote, here as in so many other cases, so he sought me out in 2014 and asked me to finish my translation.

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