Mizrahi

Marking it Up–Sami Berdugo’s “A Competition” in English

by

Haim Watzman

Every translator’s been there (and I was, just this week). A client says he showed your work to someone else, who proceeded to mark it up with improvements. The client deduces that you gave him a bad translation. Go convince him that there can be two good translations of a single text.

The final product will differ depending on a range of strategic and practical choices that every text forces a translator to make.

“No one can tell [the translator] how Homer affected the Greeks, but there are those who can tell him how Homer affects them,” wrote Matthew Arnold, decrying some of his contemporary translators of the ancient Greek classics. Guernica has published “A Competition,” a short story by Sami Berdugo, giving me the opportunity to say something about how the story (published on-line in Hebrew by Ynet in two parts, here and here) affected me, and how Dan Ofri’s translation affected me, and how those two experiences differed.

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In Praise of Hegemony: Mizrahi Culture in Israel

by

Haim Watzman

Is the cultural freedom of marginal and minority groups violated by the promotion of a standard central culture by a state or society? In contemporary sociology and cultural theory, “central” and “standard”—more often called “hegemonic”—are dirty words. Such scholarship, veering from the descriptive into the prescriptive, seeks to rescue the lost and oppressed voices of marginal groups and to defend them against the dictatorship of the official, mainstream culture.

Erez Biton and the Andalusian Orchestra
Erez Biton and the Andalusian Orchestra
I encounter this view frequently in scholarly works that I translate. Right now I’m pondering it as I work on the introduction to a book on the poetry of Israel’s Mizrahim—that is, of Israeli Jews whose origins lie in the Arab world—by Yochai Oppenheimer, a poet and writer about poetry.

Indisputably, when Mizrahi Jews arrived in Israel in the great wave of immigration in the 1950s, they encountered a central Zionist culture that believed itself to represent the only viable future for the Jewish people. That culture rejected Jewish religious tradition, and drew considerable inspiration from modern Europe. It viewed the Orient, and its Jews in particular, as a backward and primitive place. Therefore, its leaders and doers were not, for the most part, interested in fostering or respecting the native culture of the new immigrants. Instead, it sought to assimilate the Arab Jews and make them into Hebrew-speaking moderns.

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