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Spanish to English: Isabel II, una historia de misoginia y venganza General field: Art/Literary Detailed field: Journalism
Source text - Spanish Isabel II, una historia de misoginia y venganza
Herminia Luque es la ganadora de la tercera edición del Premio Edhasa de Narrativas Históricas por La reina del exilio, una novela sobre la microcorte parisina que estableció Isabel II en su exilio. En la obra, las protagonistas son la monarca y las mujeres que la rodeaban (ayudantas, lectoras, aprendices) en un mundo profundamente desigual.
La historia arranca en 1882 en la capital francesa con la llegada a la corte de Julio Ucedo, un personaje donjuanesco que trae consigo unos papeles que amenazan con comprometer de nuevo la imagen moral de Isabel.
En La reina del exilio, explica Luque, se entremezclan dos tramas: por un lado la protagonizada por el seductor Uceda, que se abrirá camino hasta llegar a su objetivo, la reina, y por otro lado la difícil vida de Teresa, una huérfana que lucha por sobrevivir en un mundo que no le ofrece demasiadas oportunidades. Teresa llegará a la corte de Isabel II de la mano de Elena Sanz, un personaje que existió en la vida real y que fue amante de Alfonso XII y madre de dos hijos suyos, hasta el punto de ser considerada por la propia Isabel como su "nuera ante dios".
¿Por qué Isabel II en el exilio como tema? “He sido una gran lectora de las biografías que le ha dedicado Isabel Burdiel a la monarca y siempre me ha fascinado la complejidad de ese periodo. Es cierto que tuvo más sombras que luces, pero no fue tan nefasto como parece. Isabel ha sido muy maltratada por la historiografía y la literatura”.
Translation - English Isabella II, a Story of Misogyny and Vengeance
Herminia Luque is the winner of the Third Edition of the Edhasa Historical Narrative Award for her novel The Queen of Exile, a story about the microcourt established by Isabella II during her exile in Paris. The story is led by the queen and the women who surround her (assistants, readers, apprentices) in a profoundly unequal world.
The story begins in 1882, in the French capital, when a “don juanesque” character named Julio Ucedo comes to Isabella’s court with documents that threaten to compromise the queen’s moral image once again.
In The Queen of Exile two plots come together, explains Luque – one is led by the seductive Ucedo, who will do anything in his power to make his way towards his objective, the queen; and the other plot describes the difficult journey through life of an orphan, Teresa, who is trying to survive in a world that doesn’t give her many opportunities. Teresa joins Isabella II’s court through Elena Sanz, a character that existed in real life and was a lover of Alfonso XII and the mother of two of his children. Isabella considered her a “daughter-in-law in the eyes of God.”
Why choose Isabella II in exile as your theme? “I am a huge fan of the biographies Isabel Burdiel has written in honor of the monarch, and I have always been fascinated by the complexity of that period. It’s true there were more drawbacks than benefits, but it was not as grim as it seems. Isabella has been gravely mistreated in literature and historiography.”
English to Spanish: Kafka's Last Trial General field: Art/Literary Detailed field: Journalism
Source text - English Kafka’s Last Trial
By Elif Batuman
Published: September 22, 2010
During his lifetime, Franz Kafka burned an estimated 90 percent of his work. After his death at age 41, in 1924, a letter was discovered in his desk in Prague, addressed to his friend Max Brod. “Dearest Max,” it began. “My last request: Everything I leave behind me . . . in the way of diaries, manuscripts, letters (my own and others’), sketches and so on, to be burned unread.” Less than two months later, Brod, disregarding Kafka’s request, signed an agreement to prepare a posthumous edition of Kafka’s unpublished novels.
“The Trial” came out in 1925, followed by “The Castle” (1926) and “Amerika” (1927). In 1939, carrying a suitcase stuffed with Kafka’s papers, Brod set out for Palestine on the last train to leave Prague, five minutes before the Nazis closed the Czech border. Thanks largely to Brod’s efforts, Kafka’s slim, enigmatic corpus was gradually recognized as one of the great monuments of 20th-century literature.
The contents of Brod’s suitcase, meanwhile, became subject to more than 50 years of legal wrangling. While about two-thirds of the Kafka estate eventually found its way to Oxford’s Bodleian Library, the remainder — believed to comprise drawings, travel diaries, letters and drafts — stayed in Brod’s possession until his death in Israel in 1968, when it passed to his secretary and presumed lover, Esther Hoffe.
After Hoffe’s death in late 2007, at age 101, the National Library of Israel challenged the legality of her will, which bequeaths the materials to her two septuagenarian daughters, Eva Hoffe and Ruth Wiesler. The library is claiming a right to the papers under the terms of Brod’s will.
The case has dragged on for more than two years. If the court finds in the sisters’ favor, they will be free to follow Eva’s stated plan to sell some or all of the papers to the German Literature Archive in Marbach. They will also be free to keep whatever they don’t sell in their multiple Swiss and Israeli bank vaults and in the Tel Aviv apartment that Eva shares with an untold number of cats.
Translation - Spanish El último juicio de Kafka
Por Elif Batuman
Publicado: 22 de septiembre del 2010
A lo largo de su vida, Franz Kafka quemó aproximadamente un 90% de sus obras. Después de su muerte a los 41 años, en 1924, se descubrió una carta dentro de su escritorio en Praga, dirigida a su amigo Max Brod. “Queridísimo Max,” comenzaba. “Mi última petición: que todo lo que queda de mí . . . en forma de diarios, manuscritos, cartas (mías y de otros), dibujos, etc. sea quemado sin ser leído.” Menos de dos meses después, Brod, ignorando la petición de su amigo, firmó un acuerdo para realizar una edición póstuma de las novelas sin publicar de Kafka.
El proceso se publicó en 1925, seguido de El castillo (1926) y El desaparecido (1927). En 1939, llevando una valija repleta de los papeles de Kafka, Brod tomó el último tren de Praga con destino a Palestina, cinco minutos antes de que los nazis cerraran la frontera checa. Gracias en gran parte a los esfuerzos de Brod, el corpus escaso y enigmático de Kafka poco a poco llegó a ser reconocido como uno de los monumentos literarios más importantes del siglo XX.
Entretanto, el contenido de la valija de Brod suscitó más de 50 años de batallas legales. Alrededor de dos tercios del patrimonio de Kafka llegó eventualmente a la biblioteca Bodleiana de la Universidad de Oxford, y lo demás — supuestamente conformado por una colección de dibujos, diarios de viajes, cartas y borradores — se mantuvo en posesión de Brod hasta su muerte en Israel en 1968, cuando pasó a manos de su secretaria y presunta amante, Esther Hoffe.
Al morir Hoffe con 101 años a finales del 2007, la Biblioteca Nacional de Israel desafió la legalidad de su testamento, que le lega los materiales a sus dos hijas septuagenarias, Eva Hoffe y Ruth Wiesler. La biblioteca está reclamando derecho a los papeles basándose en términos del testamento de Brod.
El caso se ha extendido más de dos años. Si la corte falla a favor de las hermanas, serían libres de llevar a cabo el plan que ha propuesto Eva, de vender algunos o todos los papeles al Archivo de literatura alemana de Marbach. También tendrían la libertad de conservar todo lo que no vendan en una de las muchas bóvedas bancarias que tienen en Suiza e Israel, o en el apartamento de Eva en Tel Aviv, el cual comparte con innumerables gatos.
Spanish to English: Pedro Páramo de Juan Rulfo (extracto) General field: Art/Literary Detailed field: Poetry & Literature
Source text - Spanish Sobre los campos del valle de Comala está cayendo la lluvia. Una lluvia menuda, extraña para estas tierras que sólo saben de aguaceros. Es domingo. De Apango han bajado los indios con sus rosarios de manzanillas, su romero, sus manojos de tomillo. No han traído ocote porque el ocote está mojado, y ni tierra de encino porque también está mojada por el mucho llover. Tienden sus yerbas en el suelo, bajo los arcos del portal, y esperan.
La lluvia sigue cayendo sobre los charcos.
Entre los surcos, donde está naciendo el maíz, corre el agua en ríos. Los hombres no han venido hoy al mercado, ocupados en romper los surcos para que el agua busque nuevos cauces y no arrastre la milpa tierna. Andan en grupos, navegando, en la tierra anegada, bajo la lluvia, quebrando con sus palas los blandos terrones, ligando con sus manos la milpa y tratando de protegerla para que crezca sin trabajo.
Afuera seguía lloviendo. Los indios se habían ido. Era lunes y el valle de Comala seguía anegándose en lluvia.
Los vientos siguieron soplando todos esos días. Esos vientos que habían traído las lluvias. La lluvia se había ido; pero el viento se quedó. Allá en los campos la milpa oreó sus hojas y se acostó sobre los surcos para defenderse del viento. De día era pasadero; retorcía las yedras y hacía crujir las tejas en los tejados; pero de noche gemía, gemía largamente. Pabellones de nubes pasaban en silencio por el cielo como si caminaran rozando la tierra.
Translation - English Over the fields of the Comala valley rain is falling. A menial rain, alien to this land that only knows downpours. It’s Sunday. The Indians have descended from Apango with their beaded rosaries, their rosemary and bundles of thyme. They haven’t brought pine because all the pine is wet, nor did they bring oak mulch because it is also wet from the recent heavy rains. They lay out their herbs on the ground, under the arched portal, and they wait.
Rain continues to fall over puddles of water.
Between furrows, where new corn is rising, water runs like rivers. The men haven’t come to the market today, as they are busy breaking furrows to help the running water find a new riverbed and stop dragging the young corn away. They navigate in groups over the flooded land, in the rain, using their shovels to break soft mounds of earth, using their hands to patch the cornfield back together, trying to protect it, so it may grow with no effort.
Outside it continued to rain. The Indians left. It was now Monday and the Comala valley was still drowning in rain.
The wind continued to blow all those days. Those winds that came with the rain. The rain had gone, but the wind remained. Out in the cornfields, the corn vented its leaves and laid down in the furrows to defend itself from the wind. During the day it wasn’t so bad – it tangled ivies and made roof shingles rattle; but at night it moaned and groaned endlessly. Banks of clouds silently rolled across the sky as if they dragged their feet, caressing the earth.
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Translation education
Other - University of Massachusetts Boston
Experience
Years of experience: 6. Registered at ProZ.com: May 2020.
Ashley Jones-Lewis believes communication is key in maintaining a healthy and inclusive society. Fluent in both English and Spanish, she can translate in both directions. She is a talented translator and writer, with a great ability for research.
Ashley has translated for large companies, making environmental protection, recycling and training materials available in Spanish as well as English. She has also worked with youth empowerment NGOs, to help them fill positions with bilingual or Spanish-speaking candidates throughout the organization. Current projects include creating subtitles for TED talks, in English and Spanish. She specializes in the legal field.
She is experienced, and constantly finding ways to refine her translation skills through courses, seminars and conferences. Recently, she completed an English – Spanish Translation Certification Program through the University of Massachusetts Boston. She has also received higher education through courses from the English B.A. (emphasis in translation) at the University of Costa Rica.
