Chapter 4. Talks with translators
across their languages, and differences between interviewees were unlinked to
source language, indicating that source language is not a major influence on trans-
lator behaviour or perceptions. Secondly, English is the only receptor language.
Some English-language poetry-translation norms may be culture-specific, such as
a reluctance to recreate source-poem rhyme and rhythm (Osers 1998); and, as
mentioned earlier, English-language publishers are notoriously resistant to trans-
lated literature. However, these interviewees’ reports concur broadly with those of
Flynn’s interviewees, who translated into Dutch (2004). Thirdly, four of the five in-
terviewees are male. The gender ratio, however, is not statistically significant^2 ; and
the only feature distinguishing Ellen from her male co-interviewees (low use of text
helpers) seems unlinked to gender. Sampling bias, therefore, probably has only
slight effects on outcomes. With only five interviewees, however, any claims must
remain cautious – unless confirmed by other studies, like the others in this book.
Another question is whether the interviewees honestly reported their percep-
tions. Firstly, Bruce and Carl mentioned acting as each other’s text helper: here both
accounts tally, indicating that their reports overall are also reliable. Secondly, the
interviewer (myself ) was a poetry translator whom interviewees already knew: as
mentioned in Chapter 1, this will have made them more likely to give reliable ac-
counts. As for whether the translators accurately reported what strategies and tech-
niques they used, their answers often described specific cases, which are more like-
ly than statements of principle to reflect actual practice (Shih 2006). Nevertheless,
one should always remember that the interviewees are describing their ‘operating
principles’ of poetry translating – that is, generalizations from their actual working
practices. Hence, as mentioned above, this study must be seen as complementing
the analysis of translators’ actual strategies and techniques in Chapters 5–6.4.3 Findings: Translation projects, processes and products
This section roughly follows a project’s timeline from the poetry translator’s view-
point: joining or assembling a project team; translating proper; working with trans-
lating agents; and what happens after publication. I begin by examining what drives
poetry translators to translate, and why they might decide to enter a project.4.3.1 Motivation and emotion
To begin with, why translate poetry? A key reason, mentioned by two interview-
ees, is a “belief in the value of making work available through translation” (Alan).- Chi-square test p 0.18.