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baby, pointing at the light fixture over the table and signing "on": o.*

my sister: we actually can't turn that light on right now, because the lightbulb inside is burnt out! it needs a new one.

baby: ighbu.

sister: yes, lightbulb! granddaddy said after we eat he's going to climb up there on a ladder and change it, and then the light will come on!

baby: gadada! adda, uuu! ighbu o!

sister: exactly!

baby, signing "on" and pointing at the light and then my dad, with increasing urgency: GADADA ADDA UUUU. O.

my sister: we're going to finish eating first though, ok?

baby: nonono. O. gadada adda uuu.

[a split second goes by]

baby, pointing to himself: ba. adda uuu. ighbu.

me: you're going to climb the ladder and change the lightbulb yourself?

baby: dzyeah. *pointing to the buckle where he is buckled into the high chair* ububu.

me: unbuckle you? so you can change the lightbulb?

baby, highly businesslike: dzyeah.

je vais laisser la communauté parler:

“La sirena y el pescador,” Elisa Chavez.

Hey all! This poem is part of my chapbook Miss Translated, which I produced in a limited run as Town Hall Seattle’s Spring 2017 artist-in-residence. The main conceit behind this work is that to accurately portray my relationship with Spanish, I have to explore the pain and ambiguity of not speaking the language of my grandparents and ancestors. As a result, these poems are bilingual … sort of. Each one is translated into English incorrectly.

and something about…blood? and transformation?  oooh yikes.  she didn’t want legs in the spanish version did she.  and it was a painful process.

First, I should tell you my experience of reading this. I didn’t even look at the English at first, because I didn’t know that the mistranslation was the point, and of course I didn’t need it. So I read the whole poem in Spanish and thought it was really sad and moving. Then I looked at the English and my eyebrows went right up to my hairline. Why the hell would you translate it this way, I thought. 

Then I read the caption and realized that this is a genius way of demonstrating how translation into English can be an act of colonization and violence.

I would translate the first two lines as “The mermaid rose from the sea / To see the dry world.” They’re very neutral lines. She was curious about the dry world, so she went to check it out. That’s a very different connotation from the mistranslation, which tells you that the mermaid preferred the land to the sea.

The second two lines I would say mean “She found a fisherman on the beach / this beautiful fish without a net.” She’s the one with agency here, not the fisherman, and she thinks of herself as a free fish, unconstrained by a net, not as a fish without a home.

The next three lines by my lights read “She had a gleaming tail; scales / that covered her breasts, arms, and face / and a wake of lacy waves.” Again, it’s from her perspective, not the fisherman’s, and she thinks of herself as having a gleaming rather than oily tail, a lacy wake rather than a frothing one.

Next stanza: “The fisherman caught her by the tail / and cut it in half.” From her point of view, the fisherman has committed a sudden and senseless mutilation. Then he goes, “’Now,’ he said to her, ‘you have legs. / Why don’t you walk?’” It’s almost like an accusation. You have legs now, why don’t you just get up and walk?

My read on the next stanza is: “The mermaid began to sing to the sea / for aid, her blood transforming / the sand of the beach into rainbows.” The sea is her home, not the land, and she’s crying out to her home in pain as she bleeds.

Then the poem ends with “She sang to the fisherman, ‘I forgive you, I forgive you, I forgive you.’”

The reason this mistranslation is so brilliant is that it takes a story about a mermaid trying to forgive a man who’s committed senseless violence against her, and turns it into a story about a man who uplifts a woman to a better life out of the kindness of his heart. And the thing is, that’s exactly what happens to so many stories from colonized cultures when they’re adapted by the oppressor. Translation into English, and further the cultural language of the oppressor, can be an act of violence and erasure rather than one of respect.

"English has more phonemes than many languages, with around 44, depending on which variety of English you speak. It has an unusually large set of vowel sounds – there are around 11. According to WALS, most spoken languages only have between five to six vowel sounds. This is part of the reason that English spelling is fiendishly complicated, because it has inherited five letters for vowels from the Roman alphabet and speakers have to make them work for more than twice that number of sounds.

die Welt = world

die Umwelt = environment

ver = prefix to indicate something difficult or negative, a change that leads to deterioration or even destruction that is difficult to reverse or to undo, or a strong negative change of the mental state of a person

der Müll = garbage, trash, rubbish, litter

-ung = -ing

die Vermüllung = littering

ver- = see before

zweifeln = to doubt

-ung = see before

die Verzweiflung = despair, exasperation, desperation

das Monster = monster

das Wort = word

der Groll = grudge, anger, malice, rancor

die Imitation = imitation

un- = un-, in-

fähig = able

-keit = -ility

die Unfähigkeit = inability

die Fehde = feud

der Handschuh = glove

der Fehdehandschuh = gauntlet

der Wurf = throw

Monsterwortbildungsunfähigkeitsangstverzweiflungsrückzugsecke

Monster=monster // wort=word // bildung(s)=formation

unfähigkeit (s)=incabability  // angst=anxiety

verzweiflung(s)=desperation  // rückzug(s)=retreat // ecke=corner

Monsterwortbildungsgespür

Monster = monster 

Wort = word 

Bildung(s) = formation

Gespür = intuition

• irren = to become lost (also: to err, to be mistaken; to wander, to stray)

• der Garten = garden

der Irrgarten = maze, knot garden

• be- = prefix with a variety of functions: ¹as part of a compound word, it denotes a processing or change of state; ²as part of a compound word, it denotes a touch; ³as part of a compound word, it denotes a more intensive preoccupation with or thematization of something; ⁴it forms from a noun an adjective with a pseudo-participle form because the corresponding verb does not exist; ⁵as a prefix, it forms a transitive verb from a previously intransitive verb; ⁶as a prefix of a verb, it shifts the focus and thus changes the sentence structure

• lustig = funny

• -ung = suffix turning an adjective/adverb into a noun

die Belustigung = amusement, entertainment, merriment

When you boink two (or more, see above) words together, they can either adhere as-is (see: Sprach-Irrgarten), or they get one (or sometimes two) letters in between, the so-called Fugenelement (Fuge = gap or seam between two things like for example tiles; Element = element) ¹

As a matter of fact, Fugenelement contains a Fugenelement! The “n” in the middle!

It can also be an “s” (Belustigung-s-Beitrag), or an “es” (Tag-es-Zeit), or an “n” (Fehde-n-Handschuh), or an “en” (Held-en-Reise), or even an “er” (Kind-er-Garten yes really), or heck, even an “ens” Schmerz-ens-Geld, which we all deserve at this point)

(your choice if you wanna think of these elements as lube or condoms. For the boinking.)

BUT WAIT! Sometimes the boinking goes so hard that the first word gets SHORTENED! For example “Schulmeister” = Schul(e)-Meister

This has been a Fugenelementsschulmeisterklugscheißerei.

—-

¹ The above Wikipedia article is a German language article; when you click to see it in more languages, this is what you get:

As a matter of fact, it is! The Fugen-S is often a genitive of the original first word, sometimes it’s the plural (Gänsebraten = Gans (goose) -> Gänse (geese) + Braten (roast)), and sometimes they’re something else entirely!

Here are some proceedings of the Greenlandic parliament, the Inatsisartut, which are conducted in Greenlandic.

Here is a radio show in Greenlandic, from Kalaallit Nunaata Radioa.

taqʷšəblu (Vi Hilbert) speaking Lushootseed! She was the last fluent heritage speaker of the language, and did a lot of conservation work and education for it.