Untranslatable, Allegedly

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Source — 2017 Man Booker International Prize Q&A: Misha Hoekstra

Extract

Hoekstra describes what drew him to Nors's writing: "the way the voice jumps from high-flown lyricism in one line to pithy vernacular in the next." He notes Mirror, Shoulder, Signal is more conventional in form than her earlier work but that the same underlying sensibility — "the wry observation, the existential longing, the eye for beauty and ear for language" — carries through. He quotes a line from the novel voicing a view of translation itself (via the narrator Sonja): "Language is powerful, almost magic, and the smallest alteration can elevate a sentence or be its undoing" — Nors's/Sonja's observation, not Hoekstra's own meta-commentary on a specific choice he made.

Relevance and limits

Checked directly for this project's open question of whether Hoekstra has said anything, anywhere, connecting his translation practice for Nors to gender (a possible angle for the feminist/postcolonial page's von Flotow taxonomy, applied here to a male translator rendering a female author, the reverse pairing from the project's existing Lispector examples) or to the word hygge specifically (Nors/Hoekstra's short story "Hygge" is this project's one hygge translator-practice data point — see hygge.md).

Neither is present in this interview. Hoekstra does not discuss gender as a factor in translating Nors's voice, and does not mention "hygge," "hyggelig," or the "Hygge" story at all — the interview concerns Mirror, Shoulder, Signal specifically. This is a genuine, checked negative result, not an unexamined gap: a natural-seeming lead (the translator's own words, from a substantive literary interview around the time the "Hygge" printings were circulating) was checked directly and found not to bear on either question.

Gaps

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