Presentation - Iñaki Aldekoa

The aim of the conferences, the corresponding papers of which are presented here, was to take stock of ourselves at the crossroads between translation and creativity. The two activities have often been separated, each one to its own, with their working tools – languages – fleeing from the inevitable links between the two, as if they had nothing to do with each other. Thanks to those seminars in which we took part during the summer, we at least know that the translator of literature is closer to creativity than to mere mimesis.

But what does this relationship between translation and creativity consist of? To answer this question translators of literature and creators were brought together with the idea of having a detailed debate about their concerns and opinions. One of the conclusions reached is evident: both translator and creators are writers. If what prevails in the world of the creator are calls for freedom, the translator more humbly purveys professional knowledge. Of course, opting for the profession or trade has certain fundamental advantages over the loquacious creator, but that creator is needed. And, when I talk about a profession or trade, I am inevitably referring to the richness and suitability of language – the fundamental tool of the writer. The profession of the translator is many-faceted. But in any case, despite all those resources being fundamental to the basic preparation of a translator, they are not sufficient when making that sea-change to a new universal literature and transferring the wealth thereof to our own language to be understood and appreciated.

The result taken shape as a consequence of this in-depth debate is the taking on board of a new literary form, while preserving a certain creativity. Why, otherwise, would they talk so of this version or of that edition? All these concerns and questions have brought writers to that crossroads between translation and creativity. There are those who wish to bind themselves to the original text and those who, in turn, believe that translation has to be accessible and comprehensible to today’s reader. For the former - in their translation - it is impossible to reveal the charm of the original text; the latter, on the other hand, responds with a gist of a text that is always translatable. They are the two extremes pulling the rope representing the ubiquitous tensions of translation. And, along the road, we have to have writing and creativity anew.