I think about the importance of editing often as I’m working. Partly this is because I am also editing other people’s writing as I write and translate. It is easier to separate these activities when the writing is of very different kinds, but sometimes they cross paths, and then I have to be careful that the voice of one first-person narration does not slip into another first-person narration. That, I think, is happening with this post. It sounds to me a bit like the narrator in Vassilis Alexakis’s Mother Tongue (La langue maternelle), the English translation of which (by Harlon Patton) I am editing for Autumn Hill as I work on Kin. Alexakis has a lovely first-person narrator’s voice, but it is quite different from Jergovic’s. How they are different would take me too long to figure out–I need to get back to both!–but here is a very brief example of the kind of editing that seems to be absolutely essential in both the self-performed and the other-performed kinds.
Re-reading a recently translated passage, I came across this phrase, which ends a section in which the narrator has commented on the disappearance of an entire line of relatives from the past: “Mi smo u rodu s fantomima i duhovima.” I am somewhat embarrassed to admit that my draft version had “We are the relatives of phantoms and spirits,” which is basically what the phrase means but misses an obvious connection to the very title of the book, which is explicit in the expression, “u rodu s…” (in relation to…). The slight change to “We are kin to phantoms and spirits” raises the register ever so slightly and strikes for the whole line a more effective, more moving tone.
I find myself looking at every sentence this way, which is of course no way to finish on time but gives me so much more pleasure than just rushing forward to get through the pages (and pages). It will be a better book, I hope, as a result of these little things.