Finding harmony
"Changes and recreations are unavoidable in translations -- finding the equivalent [expression in another language] is an art," said Kingsbury when asked whether translations should follow the source text exactly. She believes that translating is basically a rewriting of the original text. Most readers in America expect highly polished, smooth, and readable English texts. However, following the exact details of the source text may result in awkward translations that few readers would feel comfortable buying.
When choosing the title for "Half a Lifelong Romance," Kingsbury struggled with several words. "We decided on the word 'romance' even though that is not the exact meaning -- we have to find something that captures the 'flavor' of the passage for the English readers."
Eric Abrahamsen, co-founder of Paper-republic.org, a Beijing-based website facilitating literary and publishing connections between China and the rest of the world, echoed Kingsbury's view. He said that what matters the most in literary translation is getting the tone right. It is therefore his belief that native English speakers with a good command of Chinese are more suitable for the job than Chinese translators.
Kingsbury, however, admits that a naturalized translation may, to some extent, result in cultural assimilation. But since few readers are willing to read awkward translations, translators must recreate the original to avoid bungling the text for readers.
But Kingsbury warns against casual rewriting. "Each literary work tries to point us toward something that makes us think beyond the concrete world," she said. Translators must find that essence in the source text and be cautious about editing it. Every change has to faithfully represent the spirit of the original. A translator should try to find not only a high-quality equivalent, but also a pattern of congruence between the two different cultures, Kingsbury added.
Reaching global audience
Kingsbury told Beijing Review that there are not enough Chinese-to-English literary translators who are native English speakers. According to her, literary translators in the United States can be roughly divided into three groups. The first group is that of the much respected "elders" -- academically trained translators working on Chinese classics. The second group, mostly born in the mid-20th century, consists of scholars and people of different professions who became interested in China after China established diplomatic relationship with the United States in 1979. The third group is largely composed of poets enamored with Chinese poetry.
"Literary translation is not a financially feasible career in America," said Kingsbury. In her opinion, it's the key reason for the shortage of literary translators. The American literary market is already crowded with an eclectic range of topics and authors.