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Af bestu lyst 4 With the best appetite, Heida B. Pezzoni himself wrote about the literary merit of the work and the nonsense of imposing on it a moral reading:. Elucidating whether the banning of Lolita is fair or not seems to me no less petty than condemning the novel because it tells of an affair between a young girl and an older man. Are we spying through a keyhole or are we clearheaded readers, conscious of it being literary fiction?
For my part, I would like to say now that I see in Lolita nothing but that: a work of fiction, the architecture of which attests to such prowess that we cannot help but read it. Whoever knows, at least in general terms, what pornography is, will not for an instant associate the idea to Lolita.
Pezzoni, 69 [ii]. It is by no means surprising that in his remarks Pezzoni should avoid referring to his role as translator of the novel, for he asked that his edition be published under the pseudonym Enrique Tejedor. In it was bought by Editorial Grijalbo, and in by Anagrama, which published it until The Grijalbo and Anagrama editions are not, however, exact copies of the translation Pezzoni did for Sur, despite Enrique Tejedor being the only translator credited in both cases.
The modifications, some of which will be analyzed in the following pages, are significant and affect not only the style but the integrity of the work in question. In , Anagrama published a new translation of Lolita , attributed to Francesc Roca. It is surprising that, despite such an array of prestigious authors, there is almost no information available about him. His edition of Lolita includes no paratexts, and neither has the translator given any interviews, nor are there any academic papers or articles allegedly penned by him. The translation of Lolita must be considered form its two dimensions: that of content and that of form.
The statements only reinforce that which the novel itself makes clear: that style lies at the heart of the text. Our second hypothesis is that the new translation by Roca, in which he appears as the only translator, must display novel solutions to the translation problems posed by the source text. There are full sections missing both in the Grijalbo edition and in the Anagrama edition, and the text has been modified to make sense without them. At the same time, there are minor differences between those editions.
The paragraph is indicative of the general treatment given to the original translation.
National Identity, Collaboration and Cultural Adaptation
This information is not consigned anywhere in the editions considered. We must, therefore, speak of two or even three renditions of Lolita into Spanish attributed to Enrique Tejedor. The first one, published by Sur, is entirely the work and responsibility of Enrique Pezzoni.
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The second one and its modified version, published by Grijalbo and Anagrama respectively, are so only in part. The very first lines of the novel. Pezzoni makes use of hyperbaton to preserve the rhythm and symmetry of the original and to compensate the loss of alliteration incidentally, this is the same strategy used by Nabokov in his translation of the novel into Russian. The most accurate measurement is the one used in Grijalbo and Anagrama. The parenthesis may seem insubstantial but it comprises the only words Humbert will devote to his mother in the introduction. The choice is creative and subjective.
The word seems to function as an adjective in the original, not as a noun. Pezzoni always aimed to reinvent the visions of the world as they appeared in the original in his own versions Pezzoni, , but the numerous omissions present in those later editions necessarily hinder said recreation. It is unfortunate that it should be those editions that have circulated for so many decades among Spanish speakers, and that they should be the ones that the average reader associates with Enrique Pezzoni. Literary retranslation is an enriching activity and, in many cases, a necessary one. He takes for granted that all the indispensible information concerning the translation of the novel is included in the book it is in, and said book makes no reference to its first Spanish translator.
It is right for flaws to be mended in later editions, but it is also right for those editions to highlight the virtues of that previous translation.
Giving visibility to the translation history of a novel is paramount if we are ever to find a solution to the problem that Pezzoni already identified as most troubling and prevalent in the life of the literary translator back in ; the lack of recognition as creator to which he is subject Pezzoni, Ocampo, Panesi, 5. Tullio, 6. Pezzoni, Ayora, Hurtado Albir, Berman,