The Italian Literary translators are struggling. Please help them by signing this petition.

Here you can find an interesting interview (in Italian) to Marina Pugliano, Yasmina Melouah and other Italian Literary translators:

Try to ask this question to several stakeholders and you would be surprised about how many different answers you will get.

Some may say that quality is measured by the user experience and that a quality localized product is one that functions the same way as the English version.

Others may say that a quality translation is one that maintains brand consistency.

Or that a quality translation is one that is factually accurate, readable and (hear hear) not localized (preserves the source culture nuances).

I find all the above answers valid.

However, in June 2006 a new translation quality assurance standard was published by ASTM International and unfortunately it’s still relatively unknown: ASTM F2575.

The ASTM translation standard (F2575) defines translation quality as:

The degree to which the characteristics of a translation fulfill the requirements of the agreed upon specifications

This definition implies two stages: Agreeing upon project-specific specifications and applying those specifications. Sounds too easy, doesn’t it? But it actually works! This approach can be applied to every translation project.

How? Well, translation projects usually consist of three phases:

Pre-Production, Production and Post-Production (aka Post Mortem).

It’s in the Pre-production phase when you should discuss and agree upon the specifications. In the Production phase, these specification should be applied. Finally, in the Post-Production phase, you should carry out the project analysis to verify the fulfillments of the agreed upon specifications.

If all translation projects followed this simple approach, all the different stakeholders would be much happier at the end of the project!

When writing for mobile, always keep in mind that the screen of a smartphone is about 4 inches diagonally. Also, keep in mind the intended audience: mobile users have less time and shorter attention spam.

Here are a couple of tips on how to write for mobile:

• Sentences should be no longer than 20 words.
• Nested lists should never be more than 3 levels deep.

How can you think for the small screen? Well, here are some tips:

• Don’t simply try to reuse content that you wrote for the web without repackaging the message in smaller containers.
• Use WYSIWYG editing display to see how much content you have for an iPhone screen while you are writing it.
• Write directly in this mode, don’t simply preview.

The last piece of advice is this one: take your time! Don’t do like Blaise Pascal, the famous 17th century French mathematician, who once apologized to a friend writing “I made this letter very long, because I did not have the time to make it shorter“!

According to an article published in Bloomberg’s Businessweek on 10/15/2012, based on calculations of the Bureau of Labor Statistics data, translation and interpreting is the 15th fastest expanding job category in the United States, with projected growth of 42% by 2020.

Public places always have multiple translations available for people who may not speak the native language. Never underestimate the complexities of language and before putting any translation in print, always double check that it’s correct, or at least that it isn’t a euphemism for something lewd or horrifying.

Unfortunately, there are plenty of people who don’t do that and these are a few hilarious results. My favorite one is the Enviro Mental Area sign. What’s yours?

2011 is the 400th anniversary of the King James Bible. The anniversary is both a cause for celebration and for reflection: is it possible to have a final version of such a work? Probably not. Translations can never be final and conclusive.

This is demonstrated by the waves of new editions of all-time classics such as Tolstoy’s “War and Peace”, Flaubert’s “Madame Bovary”, Proust’s “A la Recherche du Temps Perdu”. As far as I can remember, translators have never been this busy before. The fact that Stieg Larsson is constantly in the bestseller list, is a sign of the building momentum for the ART of good translation.

The increasing popularity of foreign fiction like Steig Larsson’s Millennium-trilogy or Haruki Murakami’s new hit, 1Q84, means that translators are in high demand. Not only literary translators, but also marketing and technical translators.

Surprisingly enough in this economy, for the first time in many years most freelance translators are very happy with their work volume. According to various reports I read about the annual ATA conference, 2011 has been a great year for translators in general. And for the first time in many years, the outlook is even brighter in our profession!

Translators are a rare and shy breed that rarely make it into the spotlight. Unless, of course, they live in countries like Japan, where they are treated like rock stars and have their own book of celebrity gossip: 翻訳家列伝101 (Honyakuka Retsuden 101, or The life of Translators 101).

Happy KJB anniversary! May 2012 be even better for translators!

Francesco Pugliano

How many times I have heard that a translation is no substitute for the original? Countless. This is a trite remark that is obviously wrong. It’s just a piece of folk wisdom that is just untrue. It’s amazing how many people fall into this trap.

People who say that translations are no substitute for the original imply that they have the means to recognize and appreciate the source text as opposed to its translation. Without this ability they wouldn’t be able to make this claim. If you are unable to tell a Chianti from a Merlot then you can’t possibly compare them. In the same way, the ability to discriminate between a translation and its original implies that you master both languages, the source and the target. How many people have this set of skills? Not too many…

Then the question is: is the average reader able to tell if they are reading a translation? If the translation was made by a professional, absolutely not. As a matter of fact, countless writers in the past have devised originals as translations and vice versa.

For example, in 1761 a minor Scottish poet called James Macpherson claimed to have discovered and translated from the Gaelic an epic on the subject of Fingal, related to the Irish mythological character Fionn mac Cumhaill (Anglicized to Finn McCool) written by Ossian.

The following year the Scottish poet published, to great acclaim, “Fingal, an Ancient Epic Poem in Six Books”.

For many decades, this poem was considered to give precious insight into the ancient culture of the original inhabitants of Ireland. Eminent figures such as the great Napoleon and Thomas Jefferson and also well learned ones like the German philosopher Johann Wolfgang von Goethe and Johann Gottfried von Herder were fascinated by the poetry of Ossian, the “Gaelic Bard”. He was soon proclaimed as the Celtic equivalent of classical writers such as Homer. Many writers were influenced by these works, including one of my all-time favorites: Sir Walter Scott.

But they were all wrong! The story of Ossian hadn’t been invented by Celtic poets at all. It was written directly in English by James Macpherson himlf!

Authors may have different valid reasons for disguising an original work as a translation and vice versa. Sometimes it’s done to get through censorship or to serve individual or collective fantasies about national of linguistic authenticity. What all such deceptions tell us is that by reading alone it’s simply impossible to tell if a work was originally written in that language.

Francesco Pugliano