Memoir translation – lessons learned

 

I am a technical translator – legal, official and other dry material – as Alice would say. However, I have had the opportunity to translate Holocaust period memoirs at various times in my career and have seen how much I have learned not only about the subject of the texts but about the art of translating such narratives, whether in terms of language, editing or expectations. I also enjoy the added benefit of such projects.

To provide some background, I have translated three Holocaust memoirs in my 22-year translation career. My first paid job was the translation of the memoirs of a Belarusian partisan in Minsk from Russian to English. As it was my first professional project, I prefer not to look at what I did and consider it a “paid apprenticeship”. The story was quite interesting, even shocking. I hope that I somehow managed to transmit that aspect. Several years later, I translated the memoirs of a German Jew that was sent to a labor camp in the Baltic area and survived. Curiously enough, he wrote in French. Again, it was an amazing story but I later learned that the commissioning party was not completely satisfied with my translation. I did not receive any specific feedback, meaning that I cannot judge whether that reaction reflected an objective judgment. Recently, I translated the monograph of a Polish Jew from Hebrew to English. I am happy to report that the translation pleased both the editor and the commissioning party and is about to be published. Live and learn.

My first take from my experience with memoirs is to treat them as a story. The writers were not professional writers. In some cases, they did not write in their native language. Thus, the purpose of the translation is to tell a story, one that the reader wants to read to the end. To do so may involve changing the word or even sentence order. My initial instinct, reinforced by my experience, was to rewrite the story in English and not to cling to the original phrasing, all while expressing the tone of the writer, whether it is ironic, sarcastic, or matter-of-fact. A memoir, unlike legal translation, allows much freedom of expression.

However, this combination of freedom and the need to be seamless, i.e., not sound like a translation, makes having an outside editor an absolute requirement. After hours of processing a text and multiple drafts, a translator loses the objective eye. To produce the polished text, even by the slightly lower standards of a memoir as compared to a novel, at least one other pair of eyes is necessary. Furthermore, the use of digital tools, e.g., Grammarly or AI, is vital in identifying language issues in the text that escape the tired eye of the translator. In the literary world, no translator is an island.

Finally, unlike legal translation, literary translation of any kind is ultimately a labor of love. It involves far more hours and effort than technical translation. There are countless technical questions to research, particularly spellings of names of towns, streets and people, which involves a surprising amount of time. For example, I discovered that, at the time, Belarus had no official English map to guide me in spelling the names of the various villages mentioned in the memoir. Furthermore, as there is no limit to the range of acceptable styles of writing as in many types of technical translation, the translator has to question every sentence several times to be sure that it is the best that it can be, a very time-consuming and exhausting experience. Consequently, just as memoir writers put all their heart into their writing, so the translators of their stories must invest all they have and not count hours. It is clear why literary translators generally do not become rich but are very satisfied with the work.

Last week, the editor informed me that the family of the Polish writer was publishing the book and sent me a picture of the cover (until I receive an actual copy). I was quite pleased and even surprised to see that not only did I receive credit for the translation but my name is on the cover page. There is something to be said for actual public credit for your work. True, translating rental contracts is far more profitable and less intensive. However, the joy of sharing an important story and seeing one’s name on the cover is quite extraordinary. It also shows how much I have learned over my career. I am looking forward to my next memoir translation project.