site.btaCroatian Translator Banovic: Translators Shape the Image of a Nation’s Literature Abroad

A translator of literature has to be proactive and visible and aware that they are responsible for shaping the image of a nation’s literature, Ksenija Banovic, who has translated some of the most popular Bulgarian books into Croatian, said in an interview to BTA.

Ksenija has translated Georgi Gospodinov’s "Natural Novel" (co-authored with Tatiana Dunkova), "Physics of Sadness" and "Time Shelter", Alek Popov’s "Mission London" and "Mythology of Transition", Zachary Karabashliev’s "18% Grey", Vera Mutafchieva’s "The Case of Cem" and "Alcibiades the Great" and other contemporary works by Bulgarian writers. This year will also see the publication of her first translation of a children's book - "Lupo and Tumba" by Petya Kokudeva. 

Ksenija's love for the Bulgarian language was born at the University of Zagreb, where she studied Croatian Philology.

"At university I studied Croatian language and literature, but I had to choose Bulgarian or Slovenian as an elective course. I am originally from Bosnia and Herzegovina and the dialect is more similar to Bulgarian than Slovenian. My inner compass has always pointed east," says Ksenija. "In 1998-1999, I went on an exchange programme to the Southwest University in Blagoevgrad and for me Bulgaria was love at first sight. I felt at home and the moment I came back to Croatia, I realized that my heart and soul remained in those latitudes. I had a jetlag of the soul, as my favourite author (Georgi) Gospodinov puts it." 

Ksenija made her first translation from Bulgarian in co-authorship with her lecturer and mentor from Sofia University, Tatiana Dunkova. The two translated Georgi Gospodinov's "Natural Novel" together in 2005. This is also the first translation of Bulgarian literature in Croatia since 1964.

"So this translation very quickly won (Croatian) critics and audiences. This is how we broke the ice for Bulgarian authors", Ksenija notes. "After that, I translated Mission London by Alek Popov. Those paved the way for other Bulgarian authors s to translate. After about 30 years of silence on our part, it is now much easier to offer new authors because the first two were a great success. For example, the first edition of “Mission London” sold out in three weeks."

She said the success of contemporary Bulgarian novels in Croatia gives a chance for older, classic Bulgarian works to be translated as well. "So I suggested Vera Mutafchieva’s “The Case of Cem” and “Alcibiades the Great”. I can say that I am pleased with the reception. Bulgarian authors have drawn much interest," she says.

For Ksenija, working on a translation does not start with the translation itself - there is also a stage of wooing publishers and proving that this book is worth translating.

"Imagine what it is like to have no published Bulgarian authors for 30 years. When I was a student, there was not even a specialization in Bulgarian language and literature (in Croatian universities), while now there is a Department of Bulgarian Language and Literature (at the University of Zagreb)," says Ksenija. "I used to go to antique shops to ask if there were any Bulgarian books. They looked at me in amazement and asked - are you crazy, what Bulgarian?"

That's why, she says, it was difficult to break into the Croatian market with the first Bulgarian book after such a long period. A key role in this breakthrough was played by editor Roman Simic, who knew Georgi Gospodinov and his work personally and helped Ksenija convince a publishing house to publish his first novel in Croatian.

"My mentor and teacher Tatiana Dunkova told me that the first ten years you work for your name, and then your name works for you. And indeed, when the first ten years were up, a publishing house called me and wanted to work with me on the publication of Zachary Karabashliev's novel “18% Grey”. That was the first time they approached me," she notes.

The very process of translating a novel is filled with all sorts of emotions, which is why Ksenija finds it important to select books and make them interesting for herself. However, sometimes "untranslatable" words appear in the texts and this is the biggest challenge in the translation process.

"In every translation you immerse yourself in a new topic and new terminology, something you wouldn't otherwise explore, but it leaves a lasting mark in the translation. So you have to be responsible to the text."

She said that a translator of literature must be proactive and visible and be aware that they are responsible for shaping the image of a nation’s literature. This, she said, is a shared responsibility that also belongs to the publishing house. That is why Ksenija chooses her publishers carefully and makes sure that the books continue to make their way after the translation is completed.

She says that for her the translation of a book does not end with the translation itself. She prefers to participate in the promotion of the books she has translated.

"I make efforts with journalists. I get them to read the book and write something for a radio or TV show and talk about the translations," she notes. "(I make an effort) for festival organizers to invite the authors, which is also very important because the audience can experience the author live. Then success is certain."

Ksenija notes that in Croatia there is an increasing focus on the translator's role in presenting the book in society and mentioning the translators' name when talking about the book in general.

"At the Croatian Literary Translators Association we work hard for the visibility of the translator and I can say that in the last few years we have raised journalists who write literary reviews," she notes. "In the past it was often just the name of the author, the title of the novel, the publisher, but not the translator. And would we be reading world literature without the translators? Of course not."

She adds that the way is gradually being paved for putting the translator's name on the cover of books.

"A few years ago there was talk that you couldn't include the translator's name on the cover, but I think we are gradually getting closer to that because before a translator's name wasn't even on the title page, but at the very back," Ksenija explains. "But we're the ones setting the standards, right? If we don't fight for ourselves, then who will?"