Forms of Self-Translation

What is it about?

This chapter takes as its point of departure the notion that a ‘translational identity’ is fundamental to a body of contemporary narratives written by authors who have been variously described as ‘migrant’, ‘diasporic’ and, more recently, ‘transnational’ (Seyhan 2001) and ‘translingual’ (Kellman 2003). The cultural self-identification of such authors is often represented through a rhetoric of ‘in-betweenness’ or hybridity. A number of recent studies have highlighted how these authors draw on their own experience as migrants from one culture to another to reflect on what is means to be ‘translated’ both geographically and textually. It will be argued that the term ‘self-translation’ alerts us to the subjectivities involved in this process and reminds us that when we discuss implications of ‘translation’ in literary texts, it is never simply a discussion of language transfer: rather it is often a pointer to the problematization of identities. Focusing on the work of Algerian-born Amara Lakhous, described as the ‘new face of Italian fiction’, this case study will illustrate how translingual writers, in their attempt to navigate between languages and social contexts associated with these languages, provide an opportunity to reflect on identity construction in border situations, especially those created by the socio-political and cultural processes of globalisation. Lakhous’ texts all have an interesting linguistic history: Scontro di civiltà per un ascensore a piazza Vittorio (2006, Clash of Civilizations over an Elevator in Piazza Vittorio) was originally written in Arabic, and then rewritten in Italian, while Divorzio all’islamica a viale Marconi (2010, Divorce Islamic Style) and Contesa per un maialino italianissimo a San Salvario (2013, Dispute Over a Very Italian Piglet) were both written in Italian and then re-written in Arabic. The ‘going back and forth’ between languages is very important to him and central in challenging stereotypical representations of fixed national, regional or local identity. A defining characteristic of Lakhous’ style is his polylingualism: the languages and dialects spoken by his characters mark the differences and the similarities between the heterogeneous but nevertheless coherent community formed by migrants and the apparently homogenous community of the host nation, which is revealed as lacking social and political coherence. It is argued that Lakhous’ polyphonic narratives emphasise the ways in which language and culture shape identity, while demonstrating the need to challenge simplistic assumptions of citizenship, national and cultural identity in the context of an increasingly multi-ethnic, multilingual and multicultural Italian society.

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