Susanna Basso writes for Asymptote on how her translation process has developed over the course of her career. Translated from the Italian by Matilda Colarossi.
Translating is beautiful in autumn, when the days are short and I need to turn my desk lamp on earlier. Natural light distracts me a little; it lights up the room, all of the other books, the furniture, the curtains . . . Here, in this circle of white light that isolates me, we are truly alone, the sentences and I. For every book I have translated, I could tell you what was happening inside this room and in the outside world. This would, I imagine, be anything but interesting, and yet my life has accompanied the life of the words I have looked up, and it has, for me, not been easy to keep them in check.
As a young woman I translated while in a little white room with no wardrobe, on a bare table, and near a phone that kept interrupting me, that kept dragging me outside to the thousands of things that I had asked others to expect of me. I had yet to come to terms with the slowness translation imposes; I remember trying to invent ways to go faster. I was convinced that experience would make me faster. I would often get frustrated. I would find almost every text repetitive, almost every author a little bit wordy.
Then I discovered that experience does not, in any way, make translation faster, but it does heal impatience and our need for the phone to ring.
At the time, I remember, I was fresh out of university and full of literary enthusiasm, and I swathed the words of the Brontë sisters in my own voice. I experienced the difficulty of having to combine the spontaneity of the simple letters between the sisters and their friends, and the intense richness of those extraordinarily captive and yet free women.