A new genre of writing demonstrating that translation is neither a transparent medium nor a secondary form of literature

In Translation Multiples, Kasia Szymanska examines what happens when translators, poets, and artists expose the act of translation by placing parallel translation variants next to one another in a standalone work of art, presenting each as a legitimate version of the original. Analyzing such “translation multiples” as a new genre of writing, Szymanska explores how an original text can diverge into variants, how such multiplicity can be displayed and embraced, and how the resulting work can still be read as a coherent text. To do so, she focuses on contemporary projects in two different contexts—Anglophone experimental practices and post–1989 Poland’s emergence into democracy—while viewing them against the backdrop of twentieth-century cultural and political developments.

Szymanska first takes a broad look at Anglophone global culture, debunking the myth of translation as a transparent medium and an unoriginal, secondary form of writing. She then turns to postcommunist Poland, where projects introducing multiple translation variants with different ideological readings offered an essential platform for pluralist political discussion. She examines in particular an elaborate metatranslation of “La Marseillaise”; a triple rendering of Anthony Burgess’s novel A Clockwork Orange; and a quadruple book of Bertolt Brecht’s poetry with distinct readings by four translators. She argues that the creators of such multiples want to tell their own stories—personal, critical, visual, or political. Showing why multiple translations matter, Szymanska calls for a redefined practice of reading translations that follows the ethics of the multiple.

A new genre of writing demonstrating that translation is neither a transparent medium nor a secondary form of literature

In Translation Multiples, Kasia Szymanska examines what happens when translators, poets, and artists expose the act of translation by placing parallel translation variants next to one another in a standalone work of art, presenting each as a legitimate version of the original. Analyzing such “translation multiples” as a new genre of writing, Szymanska explores how an original text can diverge into variants, how such multiplicity can be displayed and embraced, and how the resulting work can still be read as a coherent text. To do so, she focuses on contemporary projects in two different contexts—Anglophone experimental practices and post–1989 Poland’s emergence into democracy—while viewing them against the backdrop of twentieth-century cultural and political developments.

Szymanska first takes a broad look at Anglophone global culture, debunking the myth of translation as a transparent medium and an unoriginal, secondary form of writing. She then turns to postcommunist Poland, where projects introducing multiple translation variants with different ideological readings offered an essential platform for pluralist political discussion. She examines in particular an elaborate metatranslation of “La Marseillaise”; a triple rendering of Anthony Burgess’s novel A Clockwork Orange; and a quadruple book of Bertolt Brecht’s poetry with distinct readings by four translators. She argues that the creators of such multiples want to tell their own stories—personal, critical, visual, or political. Showing why multiple translations matter, Szymanska calls for a redefined practice of reading translations that follows the ethics of the multiple.

A new genre of writing demonstrating that translation is neither a transparent medium nor a secondary form of literature

In Translation Multiples, Kasia Szymanska examines what happens when translators, poets, and artists expose the act of translation by placing parallel translation variants next to one another in a standalone work of art, presenting each as a legitimate version of the original. Analyzing such “translation multiples” as a new genre of writing, Szymanska explores how an original text can diverge into variants, how such multiplicity can be displayed and embraced, and how the resulting work can still be read as a coherent text. To do so, she focuses on contemporary projects in two different contexts—Anglophone experimental practices and post–1989 Poland’s emergence into democracy—while viewing them against the backdrop of twentieth-century cultural and political developments.

Szymanska first takes a broad look at Anglophone global culture, debunking the myth of translation as a transparent medium and an unoriginal, secondary form of writing. She then turns to postcommunist Poland, where projects introducing multiple translation variants with different ideological readings offered an essential platform for pluralist political discussion. She examines in particular an elaborate metatranslation of “La Marseillaise”; a triple rendering of Anthony Burgess’s novel A Clockwork Orange; and a quadruple book of Bertolt Brecht’s poetry with distinct readings by four translators. She argues that the creators of such multiples want to tell their own stories—personal, critical, visual, or political. Showing why multiple translations matter, Szymanska calls for a redefined practice of reading translations that follows the ethics of the multiple.