Writer Quentin Bates writes an insightful post about translators. An appreciation for them and I felt like adding a piggyback off his post to say that I’ve started noticing them [translators] more and more as I discover new writers in this genre. I even look for them or if I see their name attached to a new author, I buy their books because they are the translator. How about you? Just in my brief reading experience I’ve read Don Bartlett for Jo Nesbø’s work and he is outstanding and Marlaine Delargy for Johan Theorin and the late Bernard Scudder for Arnaldur Indridason’s books, again, outstanding job.
As Bates says in his article:
A good translator is someone who wallows in words and I’ve heard it said that nobody knows and understands a writer as well as the translator. The fact is that a poor translation can easily turn a decent book sour, while a good book can be made into a great read by an inspired translator who makes an author’s words sing in another language.
The author’s work really is at the mercy of the translator. They can make or break a book. I think translators, good translators are invaluable and should be recognized with the author because it is their skill/talent that allows me, the reader, to enjoy crime fiction from different parts of the world. So, I’d like to say how much I appreciate translators because without them I’d never be able to read and enjoy some of the most awesome crime fiction that’s out there today.
I like the three you’ve picked. I also admire Laurie Thompson (some of Henning Mankell, Asa Larsson – who has also been wonderfully translated by Marlaine D), Tiina Nunnally (Camilla Lackberg, Peter Hoeg & many others – under 3 names) and Steve Murray (Mankell, Tursten, Stieg Larsson & others, also under 3 names). Charlotte Braslund does a good job too, eg with Karin Fossum (Tiina N has translated a couple of the earlier Fossums, too). The two translaters, Roz and Amanda, who do Dominique Manotti are also great.
I forgot Tiina Nunnally (!) the others are noted, thanks.
I have to admit to not paying a huge amount of attention to translators in popular fiction, which is a disservice that I apologize for because I’m aware that the talent of the translator has a huge impact on the voice of any work written in another language originally. I’ve been fortunate enough to read a couple of books in Spanish follwed by the English translations by Edith Grossman, and was incredibly impressed by how true to the original they were in feeling or atmosphere.
Sadly this is one of those things I tend to only notice or mention when it is bad. A good translator will make it seem like they weren’t there at all and so I forget them which is very poor form on my part. Another translator I love is Stephen Sartarelli who translates Andrea Camilleri from Italian – he puts translator’s notes at the end of the books and they’re always enjoyable
yes, who could forget Sartarelli, whose translations of Camilleri are on another plane. He’s an author in his own right, and also translates very heavy stuff, which may account for some of the lovely academic details one receives as a reader – but his depictions of the accents in Montalbano’s team, etc, are lovely.
I also forgot to mention Victoria Cribb, who has done a lovely job with Indridason after taking over after the sad death of Bernard Scudder.
I agree with Bernadette than one certainly notices badly translated books, but to be fair one does not know as a reader whether this is the translator, author, editor or publisher. It isn’t as if someone translates a work and their every word is in the final edition, far from it. So I urge caution in blaming the translator!
I didn’t know that, Maxine, re badly translated books and I’ve not read any yet that I can recall. I’m usually reading what books you all recommended
Hmm, I don’t know why I thought you said you didn’t care for Victoria Cribb as translator but I am glad to know that she’s good as I am/will be reading Hypothermia soon.
I think Indridason has done much better with his translators than Yrsa Sigurdardottir, apart from the first one. Though of course, I should not blame the translator
Yet another great post, Keishon. I’m convinced Jo Nesbø’s success in English-speaking countries is at least partly due to the quality of Don Bartlett’s translations. I’ve read too many bad translations in my time not to appreciate it when they get it right.
I completely agree Sarah. I think when you started pointing out how good the translations were for Nesbo’s books is when I started paying more attention to them.
Saint Don Bartlett of the translators
He’s doing a lovely job with Lethal Investments by K O Dahl which I am reading currently. For fans of feminist crime, he also translated The Butterfly Effect by Pernille Rigg which is worth a read. (did not like the sequel very much though).
Will look that one up, thanks! Edited to add: I see her last name is with a Rygg for those interested
So true! I really notice this when I try to find translations of Israeli writers in English, and of English-language writers in Hebrew (the latter mainly to give to my Israeli relatives). It’s amazing how much difference the quality of the translation can make. There are a couple of books I’ve read in Israel that I can’t recommend to English speaking readers because the English translations are horrible. And vice versa. When I run across a good translation, I marvel at the skill and thought that must have gone into it. Translators are generally poorly paid and little known, and therefore I think of them as the unsung heroes and heroines of literature in all genres.
Hi Janine. “Unsung heroes” I like that description. Thanks for dropping by