by J. D. Harlock
Editor’s note: This piece is part of the series Perspectives in Translation, where creators discuss the many facets and challenges of translating fiction. The terms “source language” and “target language” will be used throughout this series.
Even though Modern Standard Arabic (MSA) is taught in curriculums all over the Arab world, we only use it as a formality. This is why it’s difficult for speakers of particular Arabic dialects to understand others without knowing their distinctive syntax and semantics. Local variations tend to vary based on a combination of historical, socioeconomic, and political factors, with some so far removed from MSA that some experts now categorize them as separate languages. When translating science fiction and fantasy into Arabic, these circumstances pose unique problems.
Recently, I was part of the team that translated Volume One of Crestar and the Knight Stallion. In contrast to the typical assignment I received in Beirut, this superhero graphic novel targeted a diverse readership of Arabs. Readjusting my approach to that audience taught me valuable lessons on translating speculative fiction into languages where dialects should be factored into how certain words, phrases, interactions, and scenes should be communicated.
Lesson #1: Write a Preface for the Translation
A common fixture of academic translations that I think should be used for creative works is the inclusion of a preface written by the translator(s). This preface should delve into your approach to the material (i.e., it should elaborate on the purpose behind the endeavor and its target audience, challenges during the process and their solutions, and relevant background information). Not only will a preface clarify the intentions behind any significant liberties taken, but it will also provide the historical background necessary for readers to understand the socio-cultural nuances that were navigated. It’s especially useful for speculative fiction, as lore tends to be a product of the time and place it was written. Only so much subtext, context, and worldbuilding can be preserved in translation without requiring it to be outright spelled out to readers in other languages somewhere in the finished text.
Lesson #2: When There Is No Consensus, Default to the Traditional Conventions
Debate is a normal part of the translation process, even when you’re not working as a team. But so are deadlines. As soon as it reaches a point where everyone—from the original writer to the publisher—has had their say in the matter without anyone budging on their position, then it’s clear no one will change their minds. This back-and-forth can test your patience when attempting to figure out how to get “technobabble” across to the average reader in a language without similar tropes. To complete the project within the timeframe and budget allotted (and not to stir any unintended controversy), the safest option is to use the diction approved by a widely recognized authoritative establishment. In my case, it’s usually MSA as regulated by the Supreme Council of the Arabic Language in Algeria, the Academy of the Arabic Language in Cairo, the Iraqi Academy of Sciences, the Jordan Academy of Arabic, the Academy of the Arabic Language in Libya, the Academy of the Arabic Language in Rabat, Arab Academy of Damascus, or Bayt al-Hikma Foundation.
Lesson #3: Accept That There’s No Way to Capture Everyone’s Experience with the Arabic Language
Arabic is a language spoken by over 400 million Middle Easterners and counting. In addition to the plethora of regional variations that evolve over time, new varieties of the language are now spoken exclusively by a diaspora of hundreds of thousands worldwide. This fact alone should make it clear that no translation can cater to the requirements of Arabic readers without sacrificing authenticity in favor of using MSA.
Adding to your troubles is that accuracy isn’t feasible in some instances, as large swathes of the Arab world don’t have access to the internet to be researched on. Some dialects can also be hard to understand for most readers, especially when it comes to words borrowed from foreign languages to describe technological innovations that are subject to phonetic changes. It’s best to combine the dialect and MSA to make it clear to readers what the character’s background is meant to be—while also being perfectly legible to most readers who can only understand the text in MSA.
Lesson #4: Add Annotations to Avoid Disruption
Some ideas don’t travel well without requiring a significant rewrite of the original text to factor in the context needed for newcomers to be fully immersed in the tale. Unfortunately, doing so could compromise narrative progression, which will invariably diminish the overall quality of the final product. In light of this issue, I recommend using annotations such as footnotes or endnotes to properly maintain the story’s pace. In my experience with translating speculative fiction, footnotes come in handy to explain minor worldbuilding elements that aren’t worth covering in an introduction, while endnotes are more suited for elaborate explanations of the lore that weren’t factored into major decisions in the translator’s approach.
Lesson #5: A Dedicated Glossary Streamlines Terminology Management
Oftentimes, the transliterated word from the text’s original language is better suited for translation. Take, for example, the names of American brands. Listing a fast-food chain in the glossary with a description of it is less time-consuming than figuring out the local equivalent. Glossaries come in handy in SFF in this regard, specifically when preserving neologisms, as it’s best to have the term transliterated and then defined more in-depth in the glossary than it is to toil for hours coming up with a new one.
Conclusion
The complex interplays between MSA and its various dialects show the importance of the strategic use of the entirety of a translator’s toolkit. They also highlight the time and cost-effective approaches that find a balance between working within the constraints provided and trying to preserve the artistic integrity of the original text. Of course, no translation can fully encapsulate the diversity of Arabic readers, but a thoughtful approach ensures that the original work’s essence resonates in any language.
Explore more articles in Perspectives in Translation
J. D. Harlock is an Eisner-nominated SWANA American writer, researcher, editor, and academic pursuing a doctoral degree at the University of St. Andrews, whose writing has been featured in The Cincinnati Review, Strange Horizons, Nightmare Magazine, The Griffith Review, Queen’s Quarterly, and New York University’s Library of Arabic Literature. You can find him on Bluesky, Facebook, Instagram, LinkedIn, and Twitter.