Housing culture – home imaging

 

“Hidaka’s house wasn’t one of the mansions, but it was definitely large for a couple with no children. Though the peaked gables on the roof gave it a Japanese look, it had bay windows, an arch over the front door and window boxes hanging from the second storey that were clearly Western in design.”*

The task of a translator extends far beyond linguistic matters and necessarily involves creating images. The challenge lies in both visualizing the picture in the original text, obvious to the author, and gracefully reproducing it for the reader unfamiliar with the culture in question. An example of this task is the simple word “house”. While almost all dwellings have at least four walls, they vary in material, dimension, outside façade, inside layout and access to light and air, to name just a few factors. It is clear that the sentence “I loved my parents’ home” may elicit a universal feeling but fails to create a single picture, with each person envisioning the building differently. Often, housing styles may be fairly typical in a given country or region, creating a stereotype for those familiar with them. The actual variances may be quite significant or more subtle as I show in a few examples of “typical” homes.

Spanish houses and apartments, at least in cities, seem to emphasize social space at the expense of the more private spaces. The holiday homes on the Spanish coast have relatively large sitting areas, both outside and inside. By contrast, the kitchen is often quite small, “galley” style in polite terms, often cut off from the social space. Depending on the area, red tiles and arches are quite popular.

·    English dwellings, particularly urban ones, enjoy multiple but small sitting areas, referred to as “cozy”, often leaving me to think that the English like to keep their children’s mess and noise from strangers’ eyes and ears. Curiously enough, the entrance ways are often extremely narrow, barely wide enough for one person to pass through at a time. Based on TV programs, the English appreciate solariums and wooden beams, the symbols of luxury and character.

·    The French are a rather solid people traditionally. The houses are often made of brick or stone, especially in the countryside,  possibly with painted window shutters. Whether urban or rural, the furniture tends to be heavy in line with the style of the walls, with lots of bric-a-brac cluttering the living space. Traditional French dwellings often lack air and light, apparently to reduce the cost of heating the space. French houses are homey but a bit claustrophobic in my eyes.

American West Coast homes are as large as the land allows. The houses are constructed from wood and generally rather standard in construction, but include large rooms, meaningful garden areas, healthy air flow, natural light, central air conditioning and a garage. Ranch house style houses are designed to give the residents space and impress the neighbors. The character and age of the building are not relevant factors. The East Coast has a different tradition but I am not sufficiently familiar to comment.

·    Israeli houses are typical of the Eastern Mediterranean. People are social while the weather is hot. The kitchen and living room, often joined, take proportionally a large part of the livable space, often at the expense of the bedrooms. People seek patio space whenever possible as garden space can significantly raise the purchase price. Upper floors tend to become quite hot and are only practical with air conditioning. The Israeli unique feature is the requirement, both legal and emotional, for some kind of “safe” room, a reinforced area when (not in case) the country is bombed. Many older houses and apartments lack this feature, reducing their desirability. As for color scheme, Israel is a multicultural society, creating a wide variety of furnishing styles.

The translator of the novel cited in the first paragraph was fortunate in that the author himself provided details of the house. Likewise, Honoré de Balzac generally wrote pages about the physical description of the building and each of its rooms. However, most literary translators not only need to be familiar with the architecture but somehow transmit that image. I am quite happy to be a technical translator and not be required to achieve that goal. Yet, the thought does give another meaning to the term “in-house translator”.

* Higashino, K., 2014. Malice translated by A. Smith. London: Abascus.