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1、Death in VeniceBy THOMAS MANNA NEW TRANSLATION BY MICHAEL HENRY HEIMWITH AN INTRODUCTION BY MICHAEL CUNNINGHAMIntroductionMICHAEL CUNNINGHAMAll novels are translations, even in their original languages. This has been revealed to me over time, as I've worked with the various de
2、dicated (and inevitably underpaid) people who have agreed to translate my own books. When I started working with translators, I couldn't help noticing that many of the problems that vexed themquestions of nuance, resonance, and tone, as well as the rhythms of the sentences the
3、mselves‐were familiar to me. I'd worried over the same things when I wrote the book in the first place. It dawned on me, gradually, that I was a translator, too. I had taken the raw material of the book in question and translated it into language.Every writer of course works d
4、ifferently, but I suspect that most novels begin in their writers' minds as confusions of images, impulses, scattered meanings, devotions, grudges, fixations, and sonic vague sort of plot, to name just a few. A novel in its earliest form, before it begins to be rendered into l
5、anguage, is a cloud of sorts that hovers over the writer's head, a mystery born with clues to its own meanings but also, at its heart, insoluble. One hopes‐a novel is inevitably an expression of unreasonable hopes‐that the finished book will contain not only characters and sce
6、nes but a certain larger truth, though that truth, whatever it may be, is impossible to express fully in words. It has to do with the fact that writer and reader both know, beneath the level of active consciousness, something about being alive and being mortal, and that that s
7、omething, when we try to express it, inevitably eludes us. We are creatures whose innate knowledge exceeds that which can be articulated. Although language is enormously powerful, it is concrete, and so it can't help but miniaturize, to a certain extent, that which we simply k
8、now. All the writers I respect want to write a book so penetr
