But before we talk about translations. No, the vexed question Urania ;-). This time nothing to do with the already miserable practice of cutting the novels in the translation becomes miserable for the unfairness of not reporting the fact on the cover.
Vorrei invece gettare uno sguardo più articolato alla questione. E’ infatti appena uscito in edicola l’Urania Millemondi n.53, Pianeti dell’impossibile , che presenta la seconda edizione dello splendido racconto scritto dal catalano de la Casa insieme allo spagnolo Romero. Il Millemondi traduce il volume The SFWA European Hall of Fame , antologia di fantascienza europea non anglofona curata nel 2007 dagli americani James e Kathryn Morrow. In precedenza, il racconto era apparso nel 2007 nell’Urania Millemondi n.44, Venti galassie , traduzione dello Year’s Best SF 9 , curato da David G. Hartwell e Kathryn Cramer e pubblicato nel 2004 con riferimento ai migliori stories appeared in English in 2003. The two Italian versions are very different and their value is uneven. Clear right away that is not necessarily a question of cuts or a greater or lesser capacity of the two Italian translators: to what one can understand the two versions are expected to head to the two different editions of Anglophone (of which I can not find the text on the network) and the original short story in English, read here: http://archivodenessus.com/cuento2.htm . The differences and the difference in value could thus well be attributed to the origin, translated into English. But are not these two specific translations of the same story that I wish to draw attention; However, given the chance, they lend themselves well for a couple of thoughts more details.
a reflection, more generally, I would refer to the style. The most recent translation is presented as a whole much more readable and stylistically elegant, yet on closer inspection it is not entirely satisfactory just as the other. Shorter than the previous one, characterized by a language more dry and few frills, with a vocabulary that makes the most accurate sense of history and phrases more clearly seem the kind of translation, "Slide" and "fluid" so maybe if the players should thank the original text is cut off. Mind you, in fact, that apart from small discrepancies in the information content of the two translations differ: not more than a few minimal detail, and without that there is an imbalance in favor of the longest translation. The difference, to read, it seems all styles: the oldest translation is much more discursive, sometimes scattered, and no doubt lengthy, typically presents as a fairly sloppy and unclear in places. At first glance it seems even closer to the original story, but I do not know English from potermici delve much. Beyond this, however, recover ground compared to the second row in Italian style undoubtedly better because, without the tare to the sloppiness (which can be attributed to the translator, English or Italian does not matter), is closer to the subject of the story. Smoothness is undoubtedly a quality, but not absolute by having to sacrifice everything, the new translation is dynamic, concise and appropriate action as the other is static, verbose and full of distractions: the fact is that in el día transición que hicimos the action, although present, is entirely vicarious than the speculative content, and reflective. If the lack of care of older translation becomes dark and sometimes disturbing, the new traduzione troppo spesso dà la sgradevole sensazione di sfuggire tra le dita e tralasciare di soffermarsi su particolari salienti, anche se l’indubbia eleganza attenua il rammarico.
Ricard de la Casa e Pedro Jorge Romero (primo e terzo da sinistra) insieme agli fondatori della rivista BEM
Una seconda riflessione più circoscritta vorrei riferirla alle scelte del traduttore. Nel racconto originale compare questa frase: Me veía moverme, Isabel parándolos y yo aturdiendo al primero, Isabel al segundo, yo al tercero. Interviniendo la bomba . Inizialmente is translated as: I saw forward, then I saw that Isabel would stop them and I stunned the first, second Isabel, I the third, holding the bomb . In the second becomes: [ Me veia moverme, Isabel paràndolos is deleted in a slightly different way, expressing the preceding sentence] I it stuns a while Isabel will land another, after which the third lie down together and grab the bomb . more elegant and efficient, no doubt, but why grab the bomb together? It seems a stretch to over-interpretation, though not impossible. The original phrase seems more unpredictable, and even later in scena Mikel, l’io narrante, studia da solo l’oggetto tenendolo in mano; è dunque più probabile che sia stato lui ad afferrare la bomba da solo e non con Isabel. Un’inezia, certo, però quante inezie ci sono nel corpo di ogni traduzione? E’ ovvio che ogni traduzione è rimessa all’interpretazione del traduttore, ma quanta di questa interpretazione deve sconfinare dallo stile (e già qui…) e dal senso generale alla lettera del testo?
Venendo al racconto, esso nella sua impostazione generale è una classica storia di viaggi nel tempo, e più precisamente si inserisce in quel stream of stories where bodies act of "police time." The classic American fiction has produced in the masterpiece asimov The End of Eternity and the cycles of Poul Anderson and H. Beam Piper, respectively, the Time Patrol and Paratime (which is part of the novel Lord Kalvan Altroquando , one of the best on the subject). Ricard de la Casa and Pedro Jorge Romero write a story worthy of the best Asimov, scientifically rigorous, intellectually fascinating and daring, and create two portraits in a few pages deep and credible human. And most of psychology that is credible in relation to the situation told. Psychologies that can really imagine lives be shaped by (multiple) as those of Isabel and Mikel if they ever existed. And yet still perfectly credible as a woman and a man of all time.
On 7 August 2012, the formulation of the theory Thunder makes it possible to travel in time (the past) but also splits the story into two: before that date there is only one temporal plane of then on the continuum shatters into millions, billions of divergent lines, as more and which less. The Corps of Intervention Thunder oversees the orthodoxy of that story before August 7, 2012 is not breached by criminals storms. Isabel and Mikel are part the section of the body that oversees the English history. And the longer period of time is subject to attacks of the transition, the sensitive period after Franco's death in the coup attempt operated by Tejero, when the reaction to it permanently consolidated democratic institutions.
In its content of action and plot, the story is reduced to the narration of a task team led by Isabel to bring the story back on track after known criminals had murdered Santiago Carrillo causing devastating deviations of the Timeline. Isabel died in the course of action. That's it. But the real story envelops this core, the pervading and yet is made to contain. The two authors are able to emerge from this tiny plot the relationship between Isabel and Mikel. Between Isabel and Mikel. Or the many, countless reports, all variations of a report supporting that crumbles into those of the infinite and the infinite Mikel Isabel's death in which death renew their knowledge, returning each time to know each other in a way that is both usual and each time is different. With infinite timelines after August 7, 2012 is indeed recruited at each death, another of the many different versions of each official storm. And so there is always that Mikel will recruit a new Isabel while he is still mourning the death of mate or friend (depending on how their relationship has evolved in a specific special occasion). Or there will be an Isabel who will do the same with Mikel. But if the reality is infinite, there is still a reality? I believe that Philip Dick would have appreciated a story like this. The reader will appreciate instead the emergence of Mikel conscious of its being a stage in a succession of identity are always different and always the same. A Mikel who is preparing to face for the first time its normal condition of Mikel: the resumption of his relationship with Isabel after death - a death - of her.
The anthology Cosmos Latinos where the story appeared in English for the first time
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