“one of my earliest memories,” wrote John Ashbery in New York magazine 1980,
“is of trying to peel off the wallpaper in my room,
not out of animosity
but because it seemed there must be something fascinating
behind its galleons and globes and telescopes”
this reminds me of Samuel Beckett who described in a letter
his own aspirations toward language
“to bore hole after hole in it until what cowers behind it seeps through”
dear Antigone: you also are someone keeping faith with a deeply other organization that lies just beneath what we see or what we say
to quote Kreon you are autonomos a word made up of autos “self” and nomos “law”
autonomy sounds like a kind of freedom
but you aren’t interested in freedom
your plan
is to sew yourself into your own shroud using the tiniest of stitches
the task of the translator of antigone anne carson
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Decorative Sunday: Paste Paper Edition
In 1942, Harvard University Press printed 250 copies of Decorated Book Papers: Being an Account of the Designs and Fashions by the bookbinder, author, and creator and collector of decorative papers, Rosamond Bowditch Loring. Published by the Harvard College Library Department of Printing and Graphic Arts in Cambridge, Massachusetts, the 234 sale copies of the first edition sold out within months, despite the “then considerable price of ten dollars” and the economic stressors of the war. In addition to eight plates reproducing examples of 18th century decorative papers, the first edition includes twenty-five samples tipped in, many of which are from the author’s own extensive collection.
While Loring collected a variety of a decorative papers, the examples shown here are from the chapter on paste papers, Loring’s area of creative specialization. The sample papers included in this chapter are all Loring’s own work, or that of her student, Veronica Ruzicka, who bound the first edition (it is worthy to note that Ruzicka is the daughter of illustrator, wood engraver, and type designer Rudolph Ruzicka, whose work we have highlighted several times). Ruzicka also contributed an essay when a second edition of the book was finally published by Harvard University Press in 1952, along with Dard Hunter and Walter Muir Whitehall.
Rosamond Loring (May 2, 1889 – September 17, 1950) studied book binding under Mary Crease Sears at the Sears School of Bookbinding in Boston. Sears, about a decade older than Loring, had had to battle to learn the trade; women were barred from the Bookbinders Union but most commercial binderies were happy to hire women for particular tasks, such as sewing sheets, but maintained a strict separation of roles, preventing employees from learning the whole binding process from start to finish. Eventually, Ms. Sears secured an apprenticeship in France to complete her studies and opened her binding school in Boston shortly after, training several generations of women binders. While studying under Sears, Loring became frustrated with the lack of options for quality endpapers and became determined to make her own, which she sold to other binders at Ms. Sears’s studio. Her first major commercial commission was for the Houghton Mifflin publication of The Antigone of Sophocles, translated by John J. Chapman (Boston, 1930).
Our copy of Decorated Book Papers is a gift of Dick Schoen.
-Olivia Hickner, Special Collections Graduate Intern
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IT'S APRIL 14TH. THERE GOES JANUS TO BE BURIED ALIVE.
thank you to @fangirlwriting-stories and @lifewithoutrainydays for betaing this monster and/or egging me on! My love for Greek theatre, Greek tragedies, absurdist theatre, terrible puns, and pointed character studies have all combined into this: the Antigone AU, 13k of dialogue, monologue, and Remus waxing less-than-poetic about whatever the hell he wants. Is it an AU? Is it canon? Is it plausible to perform onstage? We just don't know.
the prologue/semi-explanation for what I'm doing (in poem form, what??) can be found here: the task of the translation. If you're curious about all of the other translations of Antigone I referenced, links to them can be found under the cut!
Brief, simple overview of Antigone's scenes and structure: here, if you want to get an idea of what's going on but don't want to read the full play.
Antigonick by Anne Carson: plain-text pdf (contains the original 'task of the translator' as a prologue), illustrated pdf, readthrough ft Anne Carson (read in English, despite the Swedish intro. Definitely a strange production, and not for everyone)
Antigone trans. Don Taylor: pdf, stage production by National Theatre (starring Jodie Whittaker and Chris Eccleston. costs about $11 to rent, but well worth it), interviews with cast and clips from that show (Youtube, free)
Antigone trans. Paul Woodruff: pdf
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the vampire diaries 1.09 // the task of the translator of antigone
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antigonick, by anne carson
with a deeply other organization that lies just beneath what we see or what we say
to quote Kreon you are autonomos
a word made up of autos "self" and nomos "law"
autonomy sounds like a kind of freedom
but you aren't interested in freedom
your plan
is to sew yourself into your own shroud using the tiniest of stitches
how to translate this?
I take inspiration from John Cage who, when asked
how he composed 4'33", answered
"I built it up gradually out of many small pieces of silence"
Antigone, you do not,
any more than John Cage, aspire to a condition of silence
you want us to listen to the sound of what happens
when everything normal/musical/careful/conventional or pious is taken away
oh sister and daughter of Oidipous,
who can be innocent in dealing with you
there was never a blank slate
we were always already anxious about you
perhaps you know that Ingeborg Bachmann poem
from the last years of her life that begins
"I lose my screams"
dear Antigone,
I take it as the task of the translator to forbid that you should ever lose your screams
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even just the translator's introduction is a fascinating cross-section of storytelling process in translation, as George Herbert Palmer says right off, "In putting forth this ancient masterpiece in an English dress, I wish to assert for my rendering the least possible originality." which is so wildly different from Anne Carson, whose entire translation is adaptive, rendering it as the stage director would — but then Palmer also states that "The translator of the Antigone is the manager of a dramatic action." so perhaps the two translative mindsets, separated by a hundred and thirteen years, aren't as diametrically opposite as their initial intentions may make it seem. Palmer defends his approach with the explanation, "The translator who will render as much as is permitted to ordinary powers is wise in deciding which of the two elements he will subordinate and which put uppermost. Shall he fix his reader's mind on the sweep of the tragedy, or on its wealthy, wayward, and subtle verbalities?" and "Dear Antigone," writes Carson, "I take it as the task of the translator to forbid that you should ever lose your screams." the two are more the same than they are opposed, much as it may not at first seem true. Palmer chooses tragedy over language, and Carson chooses the screams.
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I just want you to know that your Antigonick posts are making me want to read it so badly. The story of Antigone both hurts and fascinates me on a personal level. I can already tell Anne Carson will rip my heart out, but that's why I want to read it.
It’s really good! Achingly painful but funny in this sardonic kind of way. “I take it as the task of the translator to forbid that you should ever lose your screams” is really touching.
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sophokles tr. by anne carson, antigonick // hino matsuri, vampire knight // anne carson, the task of the translator of antigone
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“Antigone, you do not, / any more than John Cage, aspire to a condition of silence […]”
“the task of the translator of antigone,” Carson
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I keep returning to Brecht
who made you do the whole play with a door strapped to your back
a door can have diverse meanings
I stand outside your door
the odd thing is, you stand outside your door too
that door has no inside
or if it has an inside, you are the one person who cannot enter it
for the family who lives there, things have gone irretrievably wrong
“the task of the translator of antigone” - Anne Carson
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the poet to his lover, césar vallejo (trans. clayton eshleman) // the task of the translator of antigone, anne carson // the burial at thebes, seamus heaney.
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Sophokles tr. by Anne Carson, Antigonick // Anne Carson, The Task of the Translator of Antigone
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oh sister and daughter of Oidipous,
who can be innocent in dealing with you
there was never a blank slate
we were always already anxious about you
perhaps you know the Ingeborg Bachmann poem
from the last years of her life that begins
"I lose my screams"
dear Antigone,
I take it as the task of the translator
to forbid that you should ever lose your screams
— Antigonick, Anne Carson
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"I lose my screams"
dear Antigone,
I take it as the task of the translator
to forbid that you should ever lose your screams
Anne Carson
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