American - Writer | July 15, 1947 -
Often, the idea that there can be a wide range of translations of one text doesn't occur to people - or that a translation could be bad, very bad, and unfaithful to the original.
Lydia Davis
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Ordering is difficult. It's like arranging pieces of music in a concert: What do you put first? What do you put after the intermission? I want the reader to be sort of surprised, to come to each story freshly.
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My stories are sometimes closer to poems or meditations, but often there is at least a little narrative in them.
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I do see an interest in writing for Twitter. While publishers still do love the novel and people do still like to sink into one, the very quick form is appealing because of the pace of life.
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I would recommend, definitely, developing a 'day job' that you like - don't expect to make money writing!
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I think the close work I do as a translator pays off in my writing - I'm always searching for multiple ways to say things.
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I never dream in French, but certain French words seem better or more fun than English words - like 'pois chiches' for chick peas!
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I don't pare down much. I write the beginning of a story in a notebook and it comes out very close to what it will be in the end. There is not much deliberateness about it.
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I am basically the sort of person who has stage-fright teaching. I kind of creep into a classroom. I'm not an anecdote-teller, either, although I often wish I were.
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I started writing the one-sentence stories when I was translating 'Swann's Way.' There were two reasons. I had almost no time to do my own writing, but didn't want to stop. And it was a reaction to Proust's very long sentences.
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I don't like to hurt people's feelings, and I don't like to knock other writers as a matter of principle.
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I've gotten very alert not just to mixed metaphor but to any writing mistake.
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