“I think each of us speak multiple languages. Not necessarily whole different tongues like Russian and English, but we speak different glosses. I like to think of those as languages.” Ian Ross Singleton talks with Cameron Finch about his debut novel, Two Big Differences.
“You can’t change the past. You can reinvent it. Memory’s your accomplice in that. Memory is like water. Memory is imagination pointing backwards.” Mikhail Iossel talks with Ian Ross Singleton about his new story collection, Love Like Water, Love Like Fire.
“By allowing the reader to hear these voices, their pravda, instead of her own, Alexievich can better give voice to the feelings of disenfranchisement many witnesses feel in the current, capitalist Russia”: Ian Singleton tackles truth, translation, and history in Svetlana Alexievich’s Secondhand Time.
“What is the purpose of one culture translating another? One reason Slavic departments thrive during political crises would seem to be so that we can better understand the cultures of the post-Soviet East. Another reason, though, may be something more akin to the motives of the CIA in translating Doctor Zhivago.”
In the introduction to their forthcoming translation of Apollo in the Grass: Selected Poems, by Aleksandr Kushner, Carol Ueland and Robert Carnevale write that “translators simply have to admit that most of the music of most all lyric poetry, and most of its phenomenal presence, stay at home, in the native tongue. But ‘music of language’ is a metaphor.” Ian Singleton examines how this claim plays out in their translation of Kushner’s poetry.
“The Symmetry Teacher and its Russian version have a different relationship than the traditional one of a translation to an original. The additions and augmentations alone suggest this. The Symmetry Teacher is a bilingual or interlingual novel. Perhaps translingual is the term for it, since the novel refers back to its previous versions.”