{"id":1,"date":"2020-09-25T11:13:21","date_gmt":"2020-09-25T09:13:21","guid":{"rendered":"https:\/\/lingua-franca.pl\/?p=1"},"modified":"2020-10-08T12:07:49","modified_gmt":"2020-10-08T10:07:49","slug":"witaj-swiecie","status":"publish","type":"post","link":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/","title":{"rendered":"Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\"><a href=\"https:\/\/www.wordswithoutborders.org\/dispatches\/\">WWB Daily<\/a><\/h1>\n\n\n\n<ul class=\"wp-block-list\"><li><a href=\"https:\/\/www.wordswithoutborders.org\/dispatches\/archives-by-category\/category\/interviews\">interviews<\/a><\/li><\/ul>\n\n\n\n<h2 class=\"wp-block-heading\"><a href=\"https:\/\/www.wordswithoutborders.org\/dispatches\/article\/hiding-in-plain-sight-carlos-fonseca-and-megan-mcdowell-on-translating-natu\">Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d<\/a><\/h2>\n\n\n\n<h5 class=\"wp-block-heading\">By&nbsp;<a href=\"https:\/\/www.wordswithoutborders.org\/contributor\/megan-mcdowell\">Megan McDowell<\/a><\/h5>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/www.wordswithoutborders.org\/static\/images\/uploads\/Carlos_Fonseca_Megan_McDowell_Natural_History.png\" alt=\"\"\/><figcaption>Carlos Fonseca (photo \u00a9 Rodrigo Ruiz) and Megan McDowell (photo \u00a9 Sebastian Escalona)<\/figcaption><\/figure>\n\n\n\n<p><br><em>Carlos Fonseca&#8217;s&nbsp;<\/em><a href=\"https:\/\/us.macmillan.com\/books\/9780374719869\" target=\"_blank\" rel=\"noreferrer noopener\">Natural History<\/a>&nbsp;<em>(Farrar, Straus and Giroux, 2020)&nbsp;is a singularly difficult book to describe. It\u2019s always hard to sum up an entire novel in a few words, but this one poses special difficulty. It has multiple, layered, sprawling stories, and the book is more about the journey than the destination. It\u2019s a philosophical novel of ideas, a story about art and theory in which language is of primary importance. It\u2019s about mimeticism and identity, about belief and nihilism,&nbsp;family and generational conflict. It calls to mind Georges Perec\u2019s idea of the novel as a puzzle that the reader must reconstruct, though Carlos ensures that the solution is always just out of reach.&nbsp;<\/em><\/p>\n\n\n\n<p><em>The process of translating&nbsp;<\/em>Natural History<em>&nbsp;was unique. Carlos is very interested in translation; he speaks great English and was very involved throughout, which may sound like a recipe for disaster but wasn\u2019t, because Carlos also put a lot of trust in me as a translator. He was always open to talking through issues with the text, and the translation and editing process became a kind of ongoing conversation between the two of us, and later also included Julia Ringo, our editor. As we worked on the book, I asked nitpicky questions focusing on very specific plot points, and also tried to tease out throughlines of ideas and arguments that undergirded the novel. One of the main lines of inquiry driving&nbsp;<\/em>Natural History&nbsp;<em>has to do with masks and camouflage, both in the animal kingdom and in society\u2014most of the main characters change names, languages, professions, and cultures over the course of their lives. The book is deeply concerned with the construction of identity: characters deliberately take on and throw off societal and cultural markers in order to shape their identities, or to hide them.&nbsp;<\/em><\/p>\n\n\n\n<p><em>This idea led, after the book was published in July, to the following conversation; Carlos started with the astute observation that translation is another kind of camouflage, and that our translation process had a lot to do with the content of the book we were translating. And we went from there.<\/em><\/p>\n\n\n\n<p><br><strong>Carlos Fonseca (CF):<\/strong>&nbsp;Hi, Megan. The other day, I was talking to Diego Azurdia, and he noticed something that led me to rethink&nbsp;<em>Natural History<\/em>&nbsp;a bit. He mentioned that the novel\u2019s interest in animal mimicry, camouflage, and dissemblance made it indirectly a novel about translation. I kept thinking about this idea and soon realized that he is absolutely right. In a way translation is another type of camouflage. The translator remains herself while becoming the author. As a translator, what do you think of this idea?<\/p>\n\n\n\n<p><br><strong>Megan McDowell (MM): I think there\u2019s something about translation that lends itself to metaphor. We\u2019re always using other images to talk about translation\u2014a bridge, a window, a piece of music. There\u2019s something inherently mysterious about what actually happens during the act of translation, and after all these years I\u2019ve been doing it, it\u2019s still hard to really explain, even though it\u2019s essentially an act of communication. What we\u2019re communicating, though, is someone else\u2019s art, so that makes it an act of multiple communication\u2014I have to understand and interpret your art, then successfully communicate it to readers. There\u2019s so much that could go wrong!<\/strong><\/p>\n\n\n\n<p><strong>The idea of translation as camouflage is one I hadn\u2019t thought of before, but there\u2019s part of it that rings true. As a translator I feel protected or shielded in a way\u2014I never make myself as vulnerable as the author does. I get to flex my creative muscles and engage with literature in ways that are stimulating and exciting, but always from a bit of a distance. My voice is there in the text, but only I will ever see it, because yes, I\u2019m doing impressions of the writer I\u2019m translating, channeling their voice. It\u2019s me but in disguise.<\/strong><\/p>\n\n\n\n<p><strong>I\u2019ve never really loved the idea that a translator\u2019s job is to be invisible, to make it seem like the book was written in English (in my case). I think we can trust readers a little more than that. My job is to guide the reading experience, to make it enjoyable or uncomfortable or poignant as the case may be. It\u2019s not just a matter of making myself invisible, but more like hiding in plain sight, like the animals that obsess Giovanna in&nbsp;<em>Natural History<\/em>.<\/strong><\/p>\n\n\n\n<p><strong>What about you? After participating in the translation process, do you feel like the English version is your book in disguise?<\/strong><\/p>\n\n\n\n<p><br><strong>CF:<\/strong>&nbsp;Yes, I always feel that the translation is at once the same book and yet something else. A copy of the original where some things have nonetheless slightly changed, a bit like the camouflaged animal that, despite resembling the environment, is an independent being in itself. In our case with&nbsp;<em>Natural History<\/em>&nbsp;this was literally true: we reworked the text, edited it, changed words.<\/p>\n\n\n\n<p>I strongly believe that writing is a process that never ends. It only gets interrupted by the moment of publication, so translation offers the possibility of going back to the writing pad\u2014only this time the writer is not alone but accompanied, and the work is performed in a language that is not his or her native tongue but a foreign one.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><br><em>\u201dCultural appropriation takes and silences, while translation gives voice and tries to genuinely understand.\u201d<\/em><br>&nbsp;<\/h4>\n\n\n\n<p>And this makes me think of something else that you mentioned: the idea that translation offers another way of finding oneself. Just as the chameleon gains its identity by its precise act of mimicry, the translator begins to build a style through the words of others. I recently read a wonderful piece that&nbsp;<a href=\"https:\/\/www.wordswithoutborders.org\/contributor\/lily-meyer\" target=\"_blank\" rel=\"noreferrer noopener\">Lily Meyer<\/a>&nbsp;wrote about your work, in which she points out something crucial. She highlights the fact that you have translated authors with very different styles\u2014<a href=\"https:\/\/www.wordswithoutborders.org\/contributor\/alejandro-zambra\" target=\"_blank\" rel=\"noreferrer noopener\">Alejandro Zambra<\/a>,&nbsp;<a href=\"https:\/\/www.wordswithoutborders.org\/contributor\/lina-meruane\" target=\"_blank\" rel=\"noreferrer noopener\">Lina Meruane<\/a>,&nbsp;<a href=\"https:\/\/www.wordswithoutborders.org\/contributor\/samanta-schweblin\" target=\"_blank\" rel=\"noreferrer noopener\">Samanta Schweblin<\/a>,&nbsp;<a href=\"https:\/\/www.wordswithoutborders.org\/contributor\/mariana-enriquez\" target=\"_blank\" rel=\"noreferrer noopener\">Mariana Enriquez<\/a>, just to name a few\u2014but nonetheless you have remained faithful to a very distinctive, unique style as a translator. I remember reading that piece and thinking: \u201cThat\u2019s right!\u201d<\/p>\n\n\n\n<p>How can it be that a translator finds her voice through the voices of others? How can we speak of style beyond the old-fashioned notion of the authorial voice? I like this idea of finding oneself precisely when one attempts to become another. Almost all of the characters in&nbsp;<em>Natural History<\/em>&nbsp;behave like that. In a way it is almost an ethical and political stance against solipsism, against cultural self-sufficiency.<\/p>\n\n\n\n<p><br><strong>MM: I absolutely agree that writing is a never-ending process! A text is never finished, and that\u2019s why I feel that the translation is a continuation, the next step in a long process. It\u2019s a performed reading, and also a chance to revisit the text editorially. When you think about it that way, it\u2019s so reductive to talk about what\u2019s \u201clost in translation,\u201d when actually so much is gained!<\/strong><\/p>\n\n\n\n<p><strong>I\u2019ve talked elsewhere about how being a twin has given me a kind of language for or comfort with translation, because when you\u2019re a twin you always in some way define yourself in relation to someone else: you have to assert your individualism and identity, but not on your own. You\u2019re always looking into a kind of imperfect mirror. I feel like that\u2019s what my translations do: they find their identity and stand on their own, but they start out being a piece of something else\u2014they shared a womb, so to speak, with the original. Another part of this is that when you\u2019re a twin, you become comfortable or accustomed very early on to using the words \u201cwe\u201d and \u201cus,\u201d and the first-person singular feels a little strange. When I\u2019m working on a translation, I do that too\u2014I talk about \u201cour text,\u201d and I\u2019m not always sure where my contribution starts and the author\u2019s ends.<\/strong><\/p>\n\n\n\n<p><strong>The question of style is a really interesting one. When I translate I\u2019m certainly not trying to inject my own style; I\u2019m always asking the question of what\u2019s best for the text. There are moments when the translation calls for \u201ccreativity\u201d and I have to create the writer\u2019s voice in less-than-literal ways. That\u2019s why I like to work with the same writers over the course of their careers in English\u2014the more I work with them, the better I can inhabit and enact their voices. One thing I liked about that essay of Lily Meyer\u2019s is that she recognizes that translators do have egos and subjectivities and personal stories, and that the act of translation is more complicated than the humble act of subservience it\u2019s often made out to be. In fact, it\u2019s an act of hubris! she says. I agree, and the flip side is that you feel a strong sense of responsibility\u2014it\u2019s scary to write someone else\u2019s book!\u2014and a complicated sense of ownership.<\/strong><\/p>\n\n\n\n<p><strong>I could go on, but I wanted to ask you about the different voices you use in your book\u2014I think you were inspired by writers you admire, no? Could you talk a little about that?<\/strong><\/p>\n\n\n\n<p><br><strong>CF:&nbsp;<\/strong>I had forgotten you have a twin! Yes, that works perfectly within the questions regarding repetitions and differences that&nbsp;<em>Natural History<\/em>&nbsp;posits. If I had thought about it, maybe I would have made Giovanna a twin.<\/p>\n\n\n\n<p>Regarding the different voices you mention, I think you are right. Several years ago I had a sort of revelation while reading Guillermo Cabrera Infante\u2019s wonderful novel&nbsp;<em>Tres Tristes Tigres<\/em>&nbsp;(translated into English by Donald Gardner and&nbsp;<a href=\"https:\/\/www.wordswithoutborders.org\/contributor\/suzanne-jill-levine\" target=\"_blank\" rel=\"noreferrer noopener\">Suzanne Jill Levine<\/a>&nbsp;as&nbsp;<em>Three Trapped Tigers<\/em>). In one of the main sections of this highly ludic novel, Cabrera Infante rewrites the same story using the styles of eight or nine famous authors of the Cuban tradition: Severo Sarduy, Lydia Cabrera, Jos\u00e9 Mart\u00ed, Alejo Carpentier, and even Jos\u00e9 Lezama Lima, among others. This act of literary ventriloquism struck me as a particularly interesting way of defying one of the holy tenets of literature: the belief in the personal, singular voice of the author. Cabrera Infante seemed to believe that it was possible to find oneself through the voice of the other.<\/p>\n\n\n\n<p>Years later, when I started writing&nbsp;<em>Natural History<\/em>, I remembered his strategy and decided that it might be a good way of approaching a text that was implicitly about imitation, about mimicry. I decided to write each of the parts of the novel in a style borrowed from authors that I admire. One really doesn\u2019t have to worry too much about finding a voice of one\u2019s own; the singularity always ends up coming through even when one tries to imitate. I guess in a way it relates to what you said: you find your style as a translator when you try to remain faithful to the original text.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><br><em>\u201dTranslation is never a mere act of faithful copying but rather a conversation.\u201d<\/em><br>&nbsp;<\/h4>\n\n\n\n<p>For me this all presupposes a sort of ethical gesture. Recently the whole debate concerning cultural appropriation has become quite heated. I understand where it is coming from and respect it, but I still believe that fiction is always a movement toward the other. An attempt to understand the other that undermines any sort of solipsism. I am afraid that the rise of autofiction might lead to a sort of identitarian insularity of the sort that says, \u201cI can speak of myself and only myself.\u201d<\/p>\n\n\n\n<p>Instead, I think fiction must always try to bridge the distance between myself and others, and it is in that sense that translation strikes me as a perfect example of how to think beyond cultural appropriation.&nbsp;<em>Natural History<\/em>, as you say, is just as much yours as it is mine, and in that possibility of commingling voices lies the possibility of a new community.<\/p>\n\n\n\n<p><br><strong>MM: I really want to ask you whose voices you were imitating, but I\u2019ll refrain!<\/strong><\/p>\n\n\n\n<p><strong>Small point: I always cringe a little when people talk about translation in terms of \u201cfaithfulness,\u201d and I really try to move away from that and promote a more atheistic and polyamorous idea of translation. I kid, but I really do feel like the consistent invocation of the word \u201cfaithful\u201d paints a picture of a subservient acolyte bowing her head and sacrificing for the good of the other until she disappears. Instead, I think the idea is of a translator in constant conversation with and about the text: a give-and-take in which writer and hypothetical reader are also interlocutors.<\/strong><\/p>\n\n\n\n<p><strong>But yes, we can be atheists and also ethical! I like your way of framing translation as an ethical gesture. I think you\u2019re right that translation can be seen as an opposing force to cultural appropriation; like most things, it\u2019s about power dynamics. Cultural appropriation takes and silences, while translation gives voice and tries to genuinely understand.<\/strong><\/p>\n\n\n\n<p><strong>Your previous answer has two inherent conceptualizations of the act of narrating: first, as a way of \u201cfinding yourself,\u201d that is, looking inward, and conversely as a \u201cmovement toward the other\u201d or looking outward, and maybe all fiction combines these two gestures to varying degrees. Autofiction, yes, would be at one end of the spectrum, and I also have my reservations about the genre. So much of human communication has to do with the stories we tell and listen to, and when there\u2019s that sense you refer to that we can only tell our own stories, or we only WANT to tell our own stories, yes, we turn solipsistic and we lose empathy. There\u2019s a question in here about legitimacy\u2014who has the right to tell stories, and whose stories can they tell? Whose voices should be heard, and what do they have the right to talk about? But I guess any writer and most readers will answer that question by saying nothing is off the table if you tell the story the right way.<\/strong><\/p>\n\n\n\n<p><strong>I\u2019m probably not the only translator who suffers from imposter syndrome. Much of becoming a translator has to do with getting comfortable in this role of telling someone else\u2019s story, and with the idea that you&nbsp;<em>can<\/em>&nbsp;and&nbsp;<em>should<\/em>. Do you ever question your role as a writer that way? Do you worry about the ethics of the stories you tell?&nbsp;<\/strong><\/p>\n\n\n\n<p><br><strong>CF<\/strong>: I love your idea that nothing is off the table if you tell the story the right way. I completely agree with it: when we are given certain stories\u2014by chance, by inspiration, or by any other demon\u2014what matters is what we then do to deserve these stories. And that happens at the level of writing. It is at the level of writing that ethics unfolds. The same story could be told unethically or ethically depending on the capacity of the author to attentively understand what is politically at stake. Nothing is determined beforehand.&nbsp;<a href=\"https:\/\/www.wordswithoutborders.org\/contributor\/w.-g.-sebald\" target=\"_blank\" rel=\"noreferrer noopener\">W. G. Sebald<\/a>, for example, was able to depict Jewish suffering brilliantly without being Jewish himself. Nothing predetermines the stories we can tell but our own writing capacity, which is ultimately, as you say, a capacity for empathy.<\/p>\n\n\n\n<p>&nbsp;And this ties neatly, I think, to what you say regarding translation. I agree: translation is never a mere act of faithful copying but rather a conversation, a moment in which two writers attentively attempt a sort of attunement between two worlds. When writing, I never think of ethics as something exterior to the text, but rather as something immanent within it: any good writing is ethical, because it is the product of an attentive portrayal of the world. That is what I like, for example, about Sebald\u2019s or Rachel Cusk\u2019s narrators: they show that storytelling begins with the gesture of forgetting oneself and listening.<\/p>\n\n\n\n<p><br><strong>MM: Forgetting oneself and listening! I can also think of no better way of describing the act of translating.<\/strong><\/p>\n\n\n\n<p><em><strong>Carlos Fonseca<\/strong>&nbsp;was born in San Jos\u00e9, Costa Rica, and spent half of his childhood and adolescence in Puerto Rico. In 2016, he was named one of the twenty best Latin American writers born in the 1980s at the Guadalajara Book Fair, and in 2017, he was included in the Bogot\u00e139 list of the best Latin American writers under forty. He is the author of the novel&nbsp;<\/em>Colonel&nbsp;L\u00e1grimas<em>, and in 2018, he won the National Prize for Literature in Costa Rica for his book of essays,&nbsp;<\/em>La lucidez del miope<em>. He teaches at Trinity College, Cambridge, and lives in London.<\/em><\/p>\n\n\n\n<p>Related Reading:<\/p>\n\n\n\n<p><a href=\"https:\/\/www.wordswithoutborders.org\/article\/may-2017-food-the-art-and-horror-of-the-argentine-asado-mariana-enriquez?src=naturalhistory\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>&#8220;The Art and Horror of the Argentine Asado&#8221; by Mariana Enriquez, translated by Megan McDowell<\/strong><\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/www.wordswithoutborders.org\/article\/april-2019-chile-behind-closed-doors-outing-the-new-narrative-lina-meruane?src=naturalhistory\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>&#8220;Behind Closed Doors: Outing the Chilean Narrative&#8221; by Lina Meruane<\/strong><\/a><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.wordswithoutborders.org\/dispatches\/article\/alejandro-zambra-on-his-next-book-the-protests-in-chile-victor-meadowcroft?src=naturalhistory\" target=\"_blank\" rel=\"noreferrer noopener\">Alejandro Zambra on His Latest Book, the Protests in Chile, and Giving Away His Personal Library<\/a><\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><small>Published Sep 14, 2020&nbsp;&nbsp;&nbsp;Copyright 2020 Megan McDowell<\/small><\/p>\n","protected":false},"excerpt":{"rendered":"<p>WWB Daily interviews Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d By&nbsp;Megan McDowell Carlos Fonseca&#8217;s&nbsp;Natural History&nbsp;(Farrar, Straus and Giroux, 2020)&nbsp;is a singularly difficult book to describe. It\u2019s always hard to sum up an entire novel in a few words, but this one poses special difficulty. It has multiple, layered, sprawling\u2026 <span class=\"read-more\"><a href=\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/\">Read More &raquo;<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1","post","type-post","status-publish","format-standard","hentry","category-bez-kategorii"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d - ATA certified translator - t\u0142umacz przysi\u0119g\u0142y angielskiego<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d - ATA certified translator - t\u0142umacz przysi\u0119g\u0142y angielskiego\" \/>\n<meta property=\"og:description\" content=\"WWB Daily interviews Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d By&nbsp;Megan McDowell Carlos Fonseca&#8217;s&nbsp;Natural History&nbsp;(Farrar, Straus and Giroux, 2020)&nbsp;is a singularly difficult book to describe. It\u2019s always hard to sum up an entire novel in a few words, but this one poses special difficulty. It has multiple, layered, sprawling\u2026 Read More &raquo;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/\" \/>\n<meta property=\"og:site_name\" content=\"ATA certified translator - t\u0142umacz przysi\u0119g\u0142y angielskiego\" \/>\n<meta property=\"article:published_time\" content=\"2020-09-25T09:13:21+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-10-08T10:07:49+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.wordswithoutborders.org\/static\/images\/uploads\/Carlos_Fonseca_Megan_McDowell_Natural_History.png\" \/>\n<meta name=\"author\" content=\"kaczoroa\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"kaczoroa\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/\"},\"author\":{\"name\":\"kaczoroa\",\"@id\":\"https:\/\/lingua-franca.pl\/#\/schema\/person\/d46f8927d5e0abbc3221fadb87d0c240\"},\"headline\":\"Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d\",\"datePublished\":\"2020-09-25T09:13:21+00:00\",\"dateModified\":\"2020-10-08T10:07:49+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/\"},\"wordCount\":2913,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/lingua-franca.pl\/#organization\"},\"image\":{\"@id\":\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.wordswithoutborders.org\/static\/images\/uploads\/Carlos_Fonseca_Megan_McDowell_Natural_History.png\",\"articleSection\":[\"Bez kategorii\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/\",\"url\":\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/\",\"name\":\"Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d - ATA certified translator - t\u0142umacz przysi\u0119g\u0142y angielskiego\",\"isPartOf\":{\"@id\":\"https:\/\/lingua-franca.pl\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.wordswithoutborders.org\/static\/images\/uploads\/Carlos_Fonseca_Megan_McDowell_Natural_History.png\",\"datePublished\":\"2020-09-25T09:13:21+00:00\",\"dateModified\":\"2020-10-08T10:07:49+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#primaryimage\",\"url\":\"https:\/\/www.wordswithoutborders.org\/static\/images\/uploads\/Carlos_Fonseca_Megan_McDowell_Natural_History.png\",\"contentUrl\":\"https:\/\/www.wordswithoutborders.org\/static\/images\/uploads\/Carlos_Fonseca_Megan_McDowell_Natural_History.png\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/lingua-franca.pl\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/lingua-franca.pl\/#website\",\"url\":\"https:\/\/lingua-franca.pl\/\",\"name\":\"ATA certified translator\",\"description\":\"ATA-certified translator T\u0142umacz przysi\u0119g\u0142y j\u0119zyka angielskiego - TP\/619\/05\",\"publisher\":{\"@id\":\"https:\/\/lingua-franca.pl\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/lingua-franca.pl\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/lingua-franca.pl\/#organization\",\"name\":\"ATA certified translator\",\"url\":\"https:\/\/lingua-franca.pl\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/lingua-franca.pl\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/lingua-franca.pl\/wp-content\/uploads\/2020\/10\/ATA_header-e1711383606457.png\",\"contentUrl\":\"https:\/\/lingua-franca.pl\/wp-content\/uploads\/2020\/10\/ATA_header-e1711383606457.png\",\"width\":600,\"height\":118,\"caption\":\"ATA certified translator\"},\"image\":{\"@id\":\"https:\/\/lingua-franca.pl\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.linkedin.com\/in\/linguistwithpolish\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/lingua-franca.pl\/#\/schema\/person\/d46f8927d5e0abbc3221fadb87d0c240\",\"name\":\"kaczoroa\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/lingua-franca.pl\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/b56e73d0fa55a6c793b28b5a9ec041cc78e71944ed0aa2a312f477aac3dd9739?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/b56e73d0fa55a6c793b28b5a9ec041cc78e71944ed0aa2a312f477aac3dd9739?s=96&d=mm&r=g\",\"caption\":\"kaczoroa\"},\"sameAs\":[\"https:\/\/lingua-franca.pl\"],\"url\":\"https:\/\/lingua-franca.pl\/index.php\/author\/kaczoroa\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d - ATA certified translator - t\u0142umacz przysi\u0119g\u0142y angielskiego","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/","og_locale":"en_US","og_type":"article","og_title":"Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d - ATA certified translator - t\u0142umacz przysi\u0119g\u0142y angielskiego","og_description":"WWB Daily interviews Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d By&nbsp;Megan McDowell Carlos Fonseca&#8217;s&nbsp;Natural History&nbsp;(Farrar, Straus and Giroux, 2020)&nbsp;is a singularly difficult book to describe. It\u2019s always hard to sum up an entire novel in a few words, but this one poses special difficulty. It has multiple, layered, sprawling\u2026 Read More &raquo;","og_url":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/","og_site_name":"ATA certified translator - t\u0142umacz przysi\u0119g\u0142y angielskiego","article_published_time":"2020-09-25T09:13:21+00:00","article_modified_time":"2020-10-08T10:07:49+00:00","og_image":[{"url":"https:\/\/www.wordswithoutborders.org\/static\/images\/uploads\/Carlos_Fonseca_Megan_McDowell_Natural_History.png","type":"","width":"","height":""}],"author":"kaczoroa","twitter_card":"summary_large_image","twitter_misc":{"Written by":"kaczoroa","Est. reading time":"14 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#article","isPartOf":{"@id":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/"},"author":{"name":"kaczoroa","@id":"https:\/\/lingua-franca.pl\/#\/schema\/person\/d46f8927d5e0abbc3221fadb87d0c240"},"headline":"Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d","datePublished":"2020-09-25T09:13:21+00:00","dateModified":"2020-10-08T10:07:49+00:00","mainEntityOfPage":{"@id":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/"},"wordCount":2913,"commentCount":0,"publisher":{"@id":"https:\/\/lingua-franca.pl\/#organization"},"image":{"@id":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#primaryimage"},"thumbnailUrl":"https:\/\/www.wordswithoutborders.org\/static\/images\/uploads\/Carlos_Fonseca_Megan_McDowell_Natural_History.png","articleSection":["Bez kategorii"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/","url":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/","name":"Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d - ATA certified translator - t\u0142umacz przysi\u0119g\u0142y angielskiego","isPartOf":{"@id":"https:\/\/lingua-franca.pl\/#website"},"primaryImageOfPage":{"@id":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#primaryimage"},"image":{"@id":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#primaryimage"},"thumbnailUrl":"https:\/\/www.wordswithoutborders.org\/static\/images\/uploads\/Carlos_Fonseca_Megan_McDowell_Natural_History.png","datePublished":"2020-09-25T09:13:21+00:00","dateModified":"2020-10-08T10:07:49+00:00","breadcrumb":{"@id":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#primaryimage","url":"https:\/\/www.wordswithoutborders.org\/static\/images\/uploads\/Carlos_Fonseca_Megan_McDowell_Natural_History.png","contentUrl":"https:\/\/www.wordswithoutborders.org\/static\/images\/uploads\/Carlos_Fonseca_Megan_McDowell_Natural_History.png"},{"@type":"BreadcrumbList","@id":"https:\/\/lingua-franca.pl\/index.php\/2020\/09\/25\/witaj-swiecie\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/lingua-franca.pl\/"},{"@type":"ListItem","position":2,"name":"Hiding in Plain Sight: Carlos Fonseca and Megan McDowell on Translating \u201cNatural History\u201d"}]},{"@type":"WebSite","@id":"https:\/\/lingua-franca.pl\/#website","url":"https:\/\/lingua-franca.pl\/","name":"ATA certified translator","description":"ATA-certified translator T\u0142umacz przysi\u0119g\u0142y j\u0119zyka angielskiego - TP\/619\/05","publisher":{"@id":"https:\/\/lingua-franca.pl\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/lingua-franca.pl\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/lingua-franca.pl\/#organization","name":"ATA certified translator","url":"https:\/\/lingua-franca.pl\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/lingua-franca.pl\/#\/schema\/logo\/image\/","url":"https:\/\/lingua-franca.pl\/wp-content\/uploads\/2020\/10\/ATA_header-e1711383606457.png","contentUrl":"https:\/\/lingua-franca.pl\/wp-content\/uploads\/2020\/10\/ATA_header-e1711383606457.png","width":600,"height":118,"caption":"ATA certified translator"},"image":{"@id":"https:\/\/lingua-franca.pl\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.linkedin.com\/in\/linguistwithpolish\/"]},{"@type":"Person","@id":"https:\/\/lingua-franca.pl\/#\/schema\/person\/d46f8927d5e0abbc3221fadb87d0c240","name":"kaczoroa","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/lingua-franca.pl\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/b56e73d0fa55a6c793b28b5a9ec041cc78e71944ed0aa2a312f477aac3dd9739?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/b56e73d0fa55a6c793b28b5a9ec041cc78e71944ed0aa2a312f477aac3dd9739?s=96&d=mm&r=g","caption":"kaczoroa"},"sameAs":["https:\/\/lingua-franca.pl"],"url":"https:\/\/lingua-franca.pl\/index.php\/author\/kaczoroa\/"}]}},"_links":{"self":[{"href":"https:\/\/lingua-franca.pl\/index.php\/wp-json\/wp\/v2\/posts\/1","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lingua-franca.pl\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lingua-franca.pl\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lingua-franca.pl\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/lingua-franca.pl\/index.php\/wp-json\/wp\/v2\/comments?post=1"}],"version-history":[{"count":1,"href":"https:\/\/lingua-franca.pl\/index.php\/wp-json\/wp\/v2\/posts\/1\/revisions"}],"predecessor-version":[{"id":126,"href":"https:\/\/lingua-franca.pl\/index.php\/wp-json\/wp\/v2\/posts\/1\/revisions\/126"}],"wp:attachment":[{"href":"https:\/\/lingua-franca.pl\/index.php\/wp-json\/wp\/v2\/media?parent=1"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lingua-franca.pl\/index.php\/wp-json\/wp\/v2\/categories?post=1"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lingua-franca.pl\/index.php\/wp-json\/wp\/v2\/tags?post=1"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}