River in an Ocean: Essays on Translation ed. by Nuzhat Abbas (review)
Bibliographic record
Abstract
Reviewed by: River in an Ocean: Essays on Translation ed. by Nuzhat Abbas Nancy Naomi Carlson River in an Ocean: Essays on Translation Ed. Nuzhat Abbas Ontario. Trace Press. 2023. 223 pages. MOST OF THE COLLECTIONS of translation essays I've come across, including those that were key to my development as a translator—such as The Craft of Translation, edited by John Biguenet and Rainer Schulte—are centered around Western conventions. I was intrigued by Nuzhat Abbas's vision of this new anthology as "a small vessel, an improvised container for critical and creative questions, for contemplation, for decolonial, antiracist, feminist, queer, and trans dissonance, refusal and rebellion, for care and community." I questioned whether I should be writing this review, as I was on unfamiliar turf, only recognizing one of the contributors' names—someone I personally knew through her work as the editor of Modern Poetry in Translation—but felt a bit more at ease upon reading the name of my publisher at Seagull Books, Naveen Kishore, in the acknowledgments section of the anthology. Indeed, it was Naveen who brought me halfway around the globe to meet with the students at the Seagull School of Publishing in Kolkata—a life-changing experience for me, who had never visited this part of the world. Drawing on eleven feminist voices whose origins lie in such disparate geographies that include the Middle East, South and Southeast Asia, and East Africa, this anthology is a product of unsettled times, which, as Abbas states, include "the shifting conditions of an ongoing global pandemic, environmental catastrophes, growing fascism, and conflicts large and small, alongside the uncountable dead, the disabled, and the orphaned." The contributors, broadly addressing why they translate, are a diverse mix of emerging and experienced translators working in an array of languages, including Arabic, Gujarati, Indonesian, Persian, Rukiga, Tamil, and Urdu. The backgrounds of the contributors are equally diverse, both among themselves and within themselves, such as Rwandan-born Lisa Ndejuru, who grew up in Germany and moved to Canada as a teen, and Suneela Mubayi, born in New York to a Jewish American mother and a Hindu Kashmiri father, then raised in both India and the United States. The structure of each essay is as different from the others as each contributor. "The Meaning of a Song," by Kenyan-born, Ugandan-raised Otoniya J. Okot Bitek, consists of a series of unsent letters written to her deceased poet-father and includes pictures from the family archives. "Elegiac Moods," by Canadian Rahat Kurd, descended from a line of Kashmiri women, contains seven letters addressed to the late Kashmiri American poet and translator Agha Shahid Ali. Khairani Barokka's "Apa Kabar, Penerjemah? How Are You, Translator?" alternates between Indonesian and its English translation. Saudi Arabian–born Nora Alkharashi's "Translating Courageously" is framed around her work translating Haitian American Edwidge Danticat's work into Arabic. I was particularly drawn to the lyrical essays in this collection. For example, Palestinian-born Yasmine Haj's "Rast" organizes her wisdom-infused essay into po etic prose segments about various aspects of translation. In the first section, titled "On Music," Haj equates translation with survival: A human's first task is to translate. As infants, we breathe air and immediately translate. To survive, we translate. In different tones, an infant articulates hunger, distress, and fatigue. In turn, their caregivers experiment, juggle interpretations, understand, translate. In Haj's "On Landscape," she discusses whether landscape might have been "the first shaper of how we translate," describing how eons ago, a supercontinent that included today's South America and Africa was torn apart by the effects of currents, creating what is now called the Atlantic Ocean. Integrating decolonial discourse, she muses: "If they hadn't been separated, would translation have been needed to translate one to the other? Never mind colonization and the division of the two continents into Dutch, English, French, Italian, Portuguese …" Later in the essay, Haj evocatively describes the process of translating silence, making use of an astonishing but apt simile: "silence, too, is an ancient act of translation, musical in essence, magnificent in power. It amalgamates centuries of rhythm like black absorbs all colour. … Acts of...
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.005 | 0.018 |
| Meta-epidemiology (narrow) | 0.002 | 0.001 |
| Meta-epidemiology (broad) | 0.003 | 0.001 |
| Bibliometrics | 0.003 | 0.006 |
| Science and technology studies | 0.002 | 0.002 |
| Scholarly communication | 0.005 | 0.005 |
| Open science | 0.002 | 0.003 |
| Research integrity | 0.003 | 0.004 |
| Insufficient payload (model declined to judge) | 0.047 | 0.032 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".