Rachelle Okawa
NEH Group Project Description
M贸nica G. Ayuso, Professor of English, CSU, Bakersfield
Rachelle Okawa, Lecturer, Comparative World Literature & Classics, CSULB
A Comparative Reading of Rosario Ferr茅鈥檚 鈥淓l Cuento Envenenado鈥� and 鈥淭he Poisoned Story鈥�
Rosario Ferr茅 has been a self-translator since the mid-eighties. For just as long, criticism of her work has been snarled in an essentialism that assumes that language embodies the values of the culture from which it derives, that words transmit a cultural essence regardless of the context in which they are used. Following this logic, English and Spanish are binary systems in locked opposition, irreconcilable with one another. This backdrop fuels a gamut of harsh arguments by Ferr茅鈥檚 critics, who take her to task for caving into a cozy sell-out by publishing in English first to gain the largest market for literary discussions of any kind.
But current theories of translation (Derrida; 1985; Borges, 1932, 鈥淭he Homeric Versions鈥�) and of self-translation (Hokenson and Munson, 2014; Byrkjeland, 2014; Cordingley, 2013) allow us to consider Ferr茅 a privileged author, a self-translator, who complicates the relationship between English and Spanish, the original and the translation, the source text and the target text, the monolingual and the bilingual reader.
We proposed a reading of 鈥淓l Cuento Envenenado鈥� (1986) and its twin, 鈥淭he Poisoned Story鈥� (1991), in a complex, theory-informed, complementary relationship that, rendering it bilingual, seeks to find continuities and textual intersections across languages rather than differences, thus reversing the trend to understand translation not as a loss but as a gain. We interpreted allusions to G贸ngora in the luxuriant Latinate adjectives (a distinct source of baroque embellishment) in 鈥淓l Cuento Envenenado鈥�, sound devices (like consonance and alliteration), as well as typographical manipulations that impact dialogism and social heteroglossia in 鈥淭he Poisoned Story鈥� as instances of recreation, revision, and rewriting (Anselmi, 2013). Thus, neither of these texts is privileged in spite of the fact that many give the Spanish version the status of 鈥渙riginal鈥� simply because it was written first.
With the aid of paratexts (prefaces, essays on translation, and interviews), we recovered the two versions as one textual space that shows Ferr茅鈥檚 evolution from the writer she was in the eighties when she wrote 鈥淓l Cuento Envenenado鈥濃€攚hen she was mostly preoccupied by the position of women in Puerto Rican society鈥攖o the postcolonial writer she became in the nineties and beyond, when, more securely established, she conceived of 鈥淭he Poisoned Story鈥� as a story of increased opacity and resistance that shows Puerto Rico as a Caribbean nation marked by two distinctive languages, neither of which is privileged over the other.
