Sleep Well, José Miguel

Humberto Benjamín Clavería

Que duermes bienManuel Urrutia couldn’t get to sleep. Every time he closed his eyes he thought of the damaged skull with a gold tooth that he had hidden away inside his backpack. He seemed to sense the dead thing emerging from the bag, covered in soft tissue, crowned with a mop of fresh flowing hair. His skin stood on end merely imagining that the bodiless head might suddenly come to life, approach him and begin to talk to him, to tell him who he was, to share his past with him. Or perhaps he would weep or laugh. And the gold tooth would shine in the light of his bedside lamp.

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The Translation Rate Conundrum

Martin Boyd

RatesPricing is a delicate topic in the translation industry. As a general rule, translators are averse to discussing their rates, and translator organizations generally avoid publishing data on rates due to concerns that such data may be viewed as price-fixing. The industry standard is to charge by the word, but while this standard is an extremely helpful tool for clients to be able to forecast how much a given project will cost, a one-size-fits-all per-word rate is problematic for those of us who know that not all words are created equal: one word may be translated in a second, while for another hours of research and deliberation may be needed to determine its best equivalent in the target language. Some texts have more of the latter kind of word than others, which is why most translators (myself included) do not publish a “standard” per word rate for all projects and all clients, opting instead to assess each project on a case-by-case basis. We thus tend to speak more of rate “ranges” than specific rates. But for novice translators who want clear advice on what they should be charging for their services, this kind of vagueness can be frustrating. So how can new freelance translators determine what rates they should be charging?

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Joan Francisco Matamoros

Big BopMexican writer Joan Francisco Matamoros was born in the Mexican border state of Chihuahua, and at the age of 12 he moved with his mother to Toronto, where he completed much of his secondary education. At sixteen he returned to Chihuahua to live with his father, and then decided to return to Toronto to settle and study here. He began writing stories in earnest at the age of sixteen during his return to Mexico, when he reconnected with the Spanish language.

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Ángel Fernández (Gélico)

gelicoGélico began his first publications as a cartoonist at age 17 in the humorous weekly magazine Melaíto. Since then, his work has been published in hundreds of magazines and newspapers in Cuba, Canada, and many other countries. During his career he has won more than twenty awards and participated in more than thirty collective exhibitions. He currently resides in Toronto, where he is the director of Gélico Gallery.

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An Important Precedent for the Future of Canada’s Refugee Policy

Martin Boyd

LuluSince the 1970s, Canada’s Hispanic community has grown from a tiny group of pioneering Spanish and Latin American immigrants to a vibrant, multifarious community of well over half a million. A key factor in the development of this community, which today has become such a vital element of Canada’s multicultural mosaic, has been Canada’s positive approach to immigration, and in particular, its historically compassionate refugee policy. Indeed, a significant proportion of the first major waves of Hispanic immigrants to Canada were refugee claimants from the military dictatorships of Chile, Argentina and Uruguay in the 1970s, and from war-torn El Salvador in the 1980s, who played an important role in building and consolidating an infrastructure for Hispanic arts and culture in this country, and whose positive contribution to their adopted home has added a very welcome dimension to Canada’s cultural fabric.

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Old Fear

Miedo viejo

Yoel Isaac Díaz León

Once again, I’ve been a few blocks from my friends’ house, near the street Calzada de Infanta. Once again, I have not gone to see them. One of them is now 65 years old; the other 68. Every December when I go back to Havana, I feel the impulse to go by and say “hello” to them, but at the last moment I stop short at the bus stop. There I stay while my gaze wanders down the street to San Miguel, right, left, then right again. I stop at the building and look up. I go up the stairs and knock on the door.

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Context

Martin Boyd

ContextQuestion: How many translators does it take to change a light bulb?

Answer: It depends on the context.

The above joke is probably only funny to translators and people who interact with them on a regular basis, and specifically, to anyone who has ever had the frustrating experience of asking a translator how to translate a particular word and has been met with this same answer. But the fact is, when replying to your deceptively simple question as to how to say “echar” in English, the familiar refrain “it depends on the context” is not merely an attempt to be evasive, because it really is important to know first whether your intention is to “echar algo a la basura” (throw something into the garbage), “echarme una llamada”(give me a call) or “echarme la culpa” (put the blame on me), among many other possibilities.

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The Monarch Connection

Flight of the ButterfliesFlight of the Butterflies
Director: Mike Slee
Studio: SK Films/Sin Sentido Films
Canada/Mexico, 2012

Review by Martin Boyd

When I founded Diálogos in 2006, my wife suggested adopting a monarch butterfly as the company logo. Apart from its obvious aesthetic appeal, the symbolic power of the monarch seemed perfect; what could be a better logo for a Toronto-based company whose purpose is to promote dialogue between English- and Spanish-speaking worlds than a butterfly that makes an incredible 4,000 kilometre journey between Mexico and Canada every year? But I’d never given much more thought than this to the amazing story of the monarch until this week, when I had the opportunity of seeing Mike Slee’s documentary Flight of the Butterflies at the gala opening of MexFest at Scotiabank Theatre.

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Professionalizing Translation

Martin Boyd

St. Jerome, patron saint of translators, apparently never obtained certification

St. Jerome, patron saint of translators, apparently never obtained certification

Practically since the dawn of history, translation has been of vital importance to human society. All manner of interaction between different communities, whether for trade, cultural exchange, for waging war or making peace, has depended hugely upon the work of translators and interpreters. And yet it is only relatively recently that translation has begun to be consolidated as a profession. And even now, the persistence of the popular misconceptions that translation is an activity that can be mastered by any person with a working knowledge of two languages and a good bilingual dictionary, or that machine translation is effectively eliminating the need for human translators, suggests that we still have a long way to go before translation receives the respect it deserves as a profession.

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Adrift

Horacio Quiroga

A la derivaThe man stepped on something spongy, and then at once felt the bite on his foot. He jumped forward, and turned around with a curse to see the jararacussu coiled up, awaiting another attack.

The man shot a quick glance at his foot, where two little drops of blood grew painfully larger, and he drew his machete from his belt. The snake saw the threat and buried its head in the middle of its coiled body; but the blunt edge of the machete fell upon it, dislocating its spine.

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