Posts featuring Lydia Davis

Translator Profile: Lydia Davis

I began to see that I enjoyed [translation] and also that it was a form of writing I could do without the problem of having to be "inspired."

Lydia Davis is the author of one novel and seven story collections, the most recent of which is Can’t and Won’t (2014). Her Collected Stories was published in 2009. She is also the translator, from the French, of Swann’s Way (2003) and Madame Bovary (2010) and has been appointed, this year, the French-American Foundation’s inaugural Laureate in Translation. A bi-lingual edition of her translations from the Dutch, of the very short stories of A.L. Snijders, first presented in our Fall 2011 issue, will be published in Amsterdam by AFdH in September.

Who are you and what do you translate?

I’m Lydia Davis, both fiction writer and translator. I’ve been both for as long as I can remember, and they complement each other nicely. I spent decades translating from French and then, about ten years ago, started widening my scope of languages—first with Spanish, then with Dutch and German. I’ve also—just for the challenge—translated one story from the Portuguese and a few from the two principal Norwegian languages.

I should add, since you asked what I translate, not from which languages, that my most recent major translations from French were Proust’s Swann’s Way and Flaubert’s Madame Bovary. After those two projects, which occupied several years each, I vowed to translate only very short stories. I have mainly stuck to that vow. READ MORE…

My 2015

The off-white of the page and the off-white of the walls. The world outside the door. And you reading.

What is the memory of reading? How do you remember reading? For me, I cannot simply recall the book in question, but also when I read it, why I had chosen to read it if there was a choice involved, or how I chanced upon it, and most significantly, where I read it: in which rooms and in which seats. I have moved around a lot this year, both travelling and relocating, but at the same time, my memories of reading certain books invoke stillness, the kind where you notice the slightest movement of daylight changing the hours. The off-white of the page and the off-white of the walls. The world outside the door. And you reading. And then there are some books that do not ask for a stupor, but an attention where you want to see or imagine it being made, you want to know what it looked like in its first stages and what conversations transformed it into its finished present state. Well-arranged poetry anthologies have this effect on me. When I heard Robert Chandler speak about The Penguin Book of Russian Poetry at the Place for Poetry conference, at Goldsmiths in London earlier this year, I knew I had to spend time looking at the way he had organized the contents and think back to what he had said about editorial choices, about being both editor and translator, and working with co-editors. How does one take on the challenge of representing 200 years of Russian poetry to be published in 2015 and under the banner of a Penguin Classic? The key, Chandler said was in striking a balance between what is available and what should ideally be available. So he had to go beyond the ‘seductive neatness’ of the four that most representation of Russian poetry is over-fixated on (Anna Akhmatova, Osip Mandelstam, Boris Pasternak and Marina Tsvetaeva), and include a few non-Russian poets, and have over fifty contemporary translators work on the anthology. READ MORE…