A DISCUSSION ABOUT THE PRACTICE OF RETRANSLATION BASED ON THE CASE OF CLARICE LISPECTOR'S WORKS REPUBLICATIONS ABROAD

In the last five years or so, there has been a new movement around Brazilian author Clarice Lispector, especially in the English speaking world. Lispector was already known in countries like England and the United States, but during this last period her English biography was published, as well as several retranslations of her works. All this attracted a considerable attention in the media. Based on these events, this paper proposes a reflection on the practice of retranslation and its determinants, analyzing the motives that lead people to make new translations to replace existing ones. A contrastive study will be also proposed of three works in particular: A hora da estrela ([1977] 1998), its translation The Hour of the Star, by Giovanni Pontiero (1992) and its retranslation by Benjamin Moser (2011).

Keywords:
Retranslation; Clarice Lispector; Giovanni Pontiero; Benjamin Moser

Authorship

Lenita Maria Rimoli Esteves

Universidade de São Paulo, São Paulo (SP), Brasil. lenitaesteves@usp.brUniversidade de São PauloBrazilSão Paulo, SP, BrazilUniversidade de São Paulo, São Paulo (SP), Brasil. lenitaesteves@usp.br

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Tables (7)

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Figura 1
As quatro obras publicadas no ano de 2012, formando o rosto da autora

Excerto A

Excerto B

Excerto C

Excerto D

Excerto E

Excerto F

Excerto G

Figura 1 As quatro obras publicadas no ano de 2012, formando o rosto da autora

Fonte: ESPOSITO 2015ESPOSITO, S. (2015). Passionate Acolytes: An Interview with Benjamin Moser. The Paris Review17 ago. Disponível em: Disponível em: http://www.theparisreview.org/blog/2015/08/17/passionate-acolytes-an-interview-with-benjamin-moser/ . Acesso em: 24 set. 2016.
http://www.theparisreview.org/blog/2015/...

Excerto A

Clarice Lispector	Rodrigo Pontiero	Benjamin Moser
Meu coração se esvaziou de todo desejo e reduz-se ao próprio último ou primeiro pulsar. A dor de dentes que perpassa esta história deu uma fisgada funda em plena boca nossa. Então eu canto algo agudo uma melodia sincopada e estridente - é a minha própria dor, eu que carrego o mundo e há falta de felicidade. Felicidade? Nunca vi palavra mais doida, inventada pelas nordestinas que andam por aí aos montes.	My heart has shed every desire and reduced itself to one final or initial beat. The toothache that passes through this narrative has given me a sharp twinge right in the mouth. I break out into a strident, high-pitched, syncopated melody. It is the sound of my own pain, of someone who carries this world where there is so little happiness. Happiness? I have never come across a more foolish word, invented by all those unfortunate girls from north-eastern Brazil.	My heart has emptied itself of every desire and been reduced to its own final or primary beat. The toothache that runs through this story has given me a sharp stab in the middle of our mouth. So high-pitched I sing a strident and syncopated melody - it's my own pain, I who carry the world and there is a lack of happiness. Happiness? I never saw a dumber word, invented by all those northeastern girls out there.
Como eu irei dizer agora, esta história será o resultado de uma visão gradual - há dois anos e meio venho aos poucos descobrindo os porquês. É visão da iminência de. De quê? Quem sabe se mais tarde saberei. Como que estou escrevendo na hora mesma em que sou lido. Só não inicio pelo fim que justificaria o começo - como a morte parece dizer sobre a vida - porque preciso registrar os fatos antecedentes (p. 11-12). 145 palavras	I should explain that this story will emerge from a gradual vision - for the past two and a half years I have slowly started discovering the whys and the wherefores. It is the vision of the imminence of... of what? Perhaps I shall find out later. Just as I am writing at the same time as I am being read. Only I do not start with the ending that would justify the beginning - as death appears to comment on life - because I must record the preceding events (p. 12). 167 palavras	As I'll now explain, this story will be the result from a gradual vision - for the last two and a half years I've been slowly discovering the whys. It's the vision of the imminence of. Of what? Maybe I'll figure it out later. Just as I'm writing at the very same time I'm being read. I only don't start with the end that would justify the beginning - as death seems to comment on life - because I have to record the preceding facts. (p. 3-4) 159 palavras

Excerto B

Clarice Lispector	Giovanni Pontiero	Benjamin Moser
(Ela me incomoda tanto que fiquei oco. Estou oco desta moça. E ela tanto mais me incomoda quanto menos reclama.) (p. 12). 20 palavras	(The girl worries me so much that I feel drained. She has drained me empty. And the less she demands, the more she worries me.) (p. 25). 25 palavras	(She makes me so uncomfortable that I feel hollow. I'm hollow of that girl. And the more uncomfortable she makes me the less she demands.) (p. 18) 25 palavras

Excerto C

Clarice Lispector	Giovanni Pontiero	Benjamin Moser
Será que eu enriqueceria este relato se usasse alguns difíceis termos técnicos? Mas aí é que está: esta história não tem nenhuma técnica, nem de estilo, ela é ao deus-dará. Eu que também mancharia por nada deste mundo com palavras brilhantes e falsas uma vida parca como a da datilógrafa. Durante o dia eu faço, como todos, gestos despercebidos por mim mesmo. Pois um dos gestos mais despercebido é esta história de que não tenho culpa e que sai como sair (p. 36). 81 palavras	Perhaps I should enhance this story if I were to introduce some difficult technical terms? But that is the problem: this story has no technique, not even in matters of style. It has been written at random. Nothing would persuade me to contaminate with brilliant, mendacious words, a life as frugal as that of my typist. During the day, like everyone else, I make gestures that are unobserved even by me. One of the most unobserved gestures is this story, which comes out as it will, independent of me (p. 35-36) 92 palavras	Would it enrich this story if I used some difficult technical terms? But there's the rub: this story has no technique, nor style; it lives from hand to mouth. I who also wouldn't stain for anything in this world with shimmering and false words a life as meager as the typist's. During the day I make, like everyone else, gestures I don't even notice myself. And one of the gestures I notice the least is this story of which I'm not guilty and which turns out however it turns out (p. 28) 90 palavras

Excerto D

Clarice Lispector	Giovanni Pontiero	Benjamin Moser
Talvez a nordestina já tivesse chegado à conclusão de que vida incomoda bastante, alma que não cabe bem no corpo, mesmo alma rala como a sua. Imaginavazinha, toda supersticiosa, que se por acaso viesse alguma vez a sentir um gosto bem bom de viver - se desencantaria de súbito de princesa que era e se transformaria em bicho rasteiro (p.32) 58 palavras	Perhaps the girl from the North-east has already come to the conclusion that life is troublesome, a soul that doesn't quite match its body, even a delicate soul like hers. Being very superstitious, the girl imagined that if she should ever begin to enjoy life, the spell would be broken. She would cease to be a princess and become transformed into an insect. (p. 31) 63 palavras	Maybe the northeastern girl had already concluded that life is extremely uncomfortable, a soul that doesn't quite fit into the body, even a flimsy soul like hers. In her little superstitious imaginings, she thought that if by any chance she ever got a nice good taste for living - she'd suddenly cease to be the princess she was and be transformed into vermin. (p. 23-24). 64 palavras

Excerto E

Clarice Lispector	Giovanni Pontiero	Benjamin Moser
Por falar em novidades, a moça um dia viu num botequim um homem tão, tão, tão bonito que queria tê-lo em casa. Deveria ser como - como ter uma grande esmeralda-esmeralda-esmeralda num estojo aberto. Intocável. Pela aliança viu que ele era casado. Como casar com-com-com um ser que era para-para-para ser visto, gaguejava ela em seu pensamento. Morreria de vergonha de comer na frente dele porque ele era bonito além do possível equilíbrio de uma pessoa. (p. 41) 76 palavras	Speaking of novelties, one day the girl saw a man in a snack bar who was so amazingly good-looking that she would have loved to take him home. It would be like - like possessing a large emerald - emerald - emerald displayed in a jewel box. Forbidden to touch. The ring on his finger suggested that he was married. How could one marry - marry - marry a man who was only meant to be seen - seen - seen, she stammered in her mind. She would die of shame were she in his presence, for he was much too good-looking by far. (p. 40-41) 97 palavras	Speaking of novelties, the girl one day saw in a corner bar a man so, so, so good-looking that - that she wanted to have him at home. It would be, like - like having a big emerald-emerald-emerald in an open jewel box. Untouchable. From the ring she saw he was married. How to marry-marry-marry a being who was only to-to-to be seen, she stammered in her thoughts. She'd die of embarrassment to eat in front of him because he was good looking beyond any person's possible balance. (p. 32) 89 palavras

Excerto F

Clarice Lispector	Giovanni Pontiero	Benjamin Moser
Eles não sabiam como se passeia. Andaram sob a chuva grossa e pararam diante da vitrine de uma loja de ferragem onde estavam expostos atrás do vidro canos, latas, parafusos grandes e pregos. E Macabéa, com medo de que o silêncio já significasse ruptura, disse ao recém-namorado. - Eu gosto tanto de parafuso e prego, e o senhor? Da segunda vez que se encontraram caía uma chuva fininha que ensopava os ossos. Sem nem ao menos se darem as mãos caminhavam na chuva que na cara de Macabéa parecia lágrimas escorrendo.	Neither of them knew much about walking out together. They walked under the heavy rain and lingered in front an ironmongers that boasted a wide selection of metal tubes, containers, nuts and bolts. Macabéa, afraid that the silence between them might be a warning of imminent separation, remarked to her newly-found boy-friend. - I love nuts and bolts. What about you? The second time they met, the rain had settled into a steady drizzle and soaked them to the skin. Without even as holding hands, they walked under the drizzle, the water streaming like tears down Macabéa's face.	They didn't know how to take a walk. They walked through the heavy rain and stopped in front of a hardware store where the window display featured piping, tin cans, large bolts and nails. And Macabéa, afraid that the silence might already mean separation, said to her new boyfriend: - I just love bolts and nails, what about you, sir? The second time they met a soft drizzle was falling that soaked them to the bone. Without even holding hands they walked in the rain that on Macabéa's face looked like flowing tears.
Da terceira vez em que se encontraram - pois não é que estava chovendo? - o rapaz, irritado e perdendo o leve verniz de finura que o padrasto a custo lhe ensinara, disse-lhe? - Você também só sabe é mesmo chover! - Desculpe. (p. 43-44). 129 palavras	The third time they met - Well now, if it isn't raining? The youth, suddenly dropping that superficial veneer of politeness that his stepfather had inculcated with some effort, snapped at her: - All you seem to bring is the rain! - I'm sorry. (p. 43-44). 138 palavras	The third time they met - wouldn't you know it was raining? - the guy, irritated and losing the light varnish of politeness that his stepfather had taught him with great effort, said: - All you ever do is rain! - I'm sorry. (p. 35) 131 palavras.

Excerto G

Clarice Lispector	Giovanni Pontiero	Benjamin Moser
E uma vez os dois foram ao Jardim Zoológico, ela pagando a própria entrada. Teve muito espanto ao ver os bichos. Tinha medo e não os entendia: Por que viviam? Mas quando viu a massa compacta, grossa, preta e roliça do rinoceronte que se movia em câmara lenta, teve tanto medo que se mijou toda. O rinoceronte lhe pareceu um erro de Deus, que me perdoe por favor, sim? Mas não pensara em Deus nenhum, era apenas um modo de. Com a graça de alguma divindade, Olímpico nada percebeu e ela disse a ele. - Estou molhada porque me sentei no banco molhado. (p.54-55). 101 palavras	On one occasion they visited the Zoological Gardens and Macabéa paid for her own entrance ticket. She was terrified when she saw the animals in their cages. They terrified her and she couldn't make out what they were: why did they exist? When she spotted the rhinoceros, a solid, compact, black shape that moved in slow motion, she got such a shock that she wet her knickers. The rhinoceros was surely one of God's mistakes, she thought, begging His pardon for such blasphemy. She didn't have any special God in mind, it was simply a way of expressing herself. By some divine intervention, Olímpico didn't appear to notice anything was wrong. She made up a story: - I am wet because I sat on a damp bench. (p. 54-55) 126 palavras	And once they went to the zoo, she paying her own way. She was shocked to see the animals. She was afraid and didn't understand them: why did they live? When she saw the compact, thick, black and chubby mass of the rhinoceros which was moving in slow motion she was so afraid she wet her pants. The rhinoceros looked to her like an error of God, please forgive, me, okay? But she hadn't thought of any God, it was just a way of. By the grace of some deity, Olímpico didn't notice and she said to him: - I'm wet because I sat on a wet bench. (45-46). 107 palavras.

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A DISCUSSION ABOUT THE PRACTICE OF RETRANSLATION BASED ON THE CASE OF CLARICE LISPECTOR'S WORKS REPUBLICATIONS ABROAD

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