“Reading Garcia Marquez for me means necessarily reading Salehs Almani’s translations. The Palestinian-Syrian translator gave us almost a 100 translations of Latin-American+ Spanish & Portuguese titles, including Juan Rulfo, Saramago, Galeano, Vargas Llosa, Allende & Angel Asturias
In the ’70’s he went to Spain to study medicine, but then did the right thing and switched to a literature major. He returned to Syria and began translating some of Marquez’s short stories, then he completed his first novel-translation, the masterpiece NO ONE WRITES THE COLONEL
I been researching the impact of Almani on how millions of Arabic readers perceived Latin-American literature. His service is greatly acknowledged, but I am fascinated with how he managed translating these grand names, recreating their styles and differences
It’s a key shift in 70’s & onwards. Arabic literary translation was ruled by Anglo, Franco, & Russian lit’s. U see that influence on modern Ar fiction (read @AboulelaHosam on Faulkner in Ar). We already had magical realism, & finally encountered a whole formulated archetype of it
Gringos tried to ruin magical realism for the rest of us, with their exotic stupid gaze. But magical realism is the nights, is maqamat, is non-linear, is decolonial storytelling at its best. This is why it’s loved all across the global south. some thanks r due to the Almani’s!””
To be born means being compelled to choose an era, a place, a life. To exist here, now, means to lose the possibility of being countless other potential selves...once being born, there is no turning back. And I think that's exactly why the fantasy worlds so strongly represent our hopes and yearning. They illustrate a world of lost possibilities for us.
| Hayao Miyazaki