WEBVTT NOTE Created by CaptionSync from Automatic Sync Technologies www.automaticsync.com 00:00:00.786 --> 00:00:07.056 align:middle >> We just decided that because things take longer, time-space continuum is elastic, 00:00:07.646 --> 00:00:12.146 align:middle we're going to undo a part of our plan and renegotiate, 00:00:12.146 --> 00:00:15.926 align:middle so that we can have a Q&A right now, if that is desirable. 00:00:16.736 --> 00:00:17.726 align:middle >> Yeah. So we would -- 00:00:24.576 --> 00:00:26.546 align:middle >> Thank you so much. 00:00:29.066 --> 00:00:34.196 align:middle So now, we'll do preguntas y respuestas. 00:00:34.296 --> 00:00:35.826 align:middle Gracias. Q&A. 00:00:36.126 --> 00:00:42.606 align:middle So if you have a question, please raise your hand, levanten la mano, and I will come to you 00:00:42.606 --> 00:00:44.816 align:middle with the microphone and you can ask your question. 00:01:04.046 --> 00:01:08.866 align:middle >> So I -- This was -- It's from the enjoyable [inaudible] very interesting 00:01:09.446 --> 00:01:10.486 align:middle and [inaudible] switch that out. 00:01:11.196 --> 00:01:13.266 align:middle I wanted to go back to the Manifesto. 00:01:13.826 --> 00:01:19.616 align:middle So you talked about sort of stretching for making language uncomfortable 00:01:19.736 --> 00:01:22.606 align:middle and that the -- An act of persistence. 00:01:23.706 --> 00:01:28.126 align:middle But since 2016, I've been feeling very uncomfortable with language 00:01:29.186 --> 00:01:33.746 align:middle and with the relation of like power and the attacks on language we all see. 00:01:34.626 --> 00:01:38.776 align:middle So is it -- Do you feel that that's a tension in your Manifesto? 00:01:39.226 --> 00:01:42.746 align:middle Is it? Can you resist like new speak with more new speak? 00:01:45.401 --> 00:01:47.401 align:middle [ Laughter ] 00:01:47.786 --> 00:01:47.956 align:middle >> No. 00:01:50.056 --> 00:01:57.296 align:middle But if you heard our Manifesto as in some way proposing new speak as a form of resistance, 00:01:57.796 --> 00:02:02.536 align:middle we have some serious revision to do or I encourage you to actually read it 00:02:02.726 --> 00:02:05.816 align:middle because I don't -- I don't believe we intended it that way. 00:02:08.266 --> 00:02:17.456 align:middle I can say for ANTENA, I think, in saying that we see experimentation and criticality 00:02:17.456 --> 00:02:22.456 align:middle around language and thinking through language as having a capacity 00:02:22.836 --> 00:02:26.116 align:middle to reach beyond what we thought were our capabilities 00:02:26.116 --> 00:02:29.126 align:middle and what we thought were our borders and our limits. 00:02:29.126 --> 00:02:32.926 align:middle We see that as and that kind of like farthest reaching 00:02:32.956 --> 00:02:34.956 align:middle into the beyond of what is possible in language. 00:02:35.236 --> 00:02:41.366 align:middle We see that is actually completely connected to the very material concrete on the ground 00:02:41.366 --> 00:02:44.746 align:middle of realities that we struggle against everyday in terms of the ways 00:02:44.746 --> 00:02:47.746 align:middle that power is structured toward brutality 00:02:47.746 --> 00:02:51.786 align:middle and toward marginalizing almost every single person we care about in the world 00:02:52.116 --> 00:02:57.116 align:middle and having a negative impact on so many people that are so important in the world. 00:02:57.226 --> 00:03:02.336 align:middle So, for us, language elasticity and language experimentation is one way 00:03:02.796 --> 00:03:06.156 align:middle to break open the processes of listening to encourage us 00:03:06.516 --> 00:03:08.536 align:middle to hear differently and to make a different world. 00:03:11.336 --> 00:03:14.656 align:middle >> Yeah. And I'd also say that discomfortable writing isn't just 00:03:14.656 --> 00:03:17.896 align:middle about making someone else feel discomfortable. 00:03:17.896 --> 00:03:22.856 align:middle It's also about embracing your own discomfort and your own vulnerability, 00:03:23.186 --> 00:03:25.586 align:middle your own capacity for mistake and error. 00:03:25.876 --> 00:03:29.796 align:middle And none of those things could be said of number one. 00:03:44.236 --> 00:03:44.696 align:middle >> Mucho gusto. 00:03:44.696 --> 00:03:45.476 align:middle Me llamo Tony. 00:03:45.476 --> 00:03:46.806 align:middle It's a pleasure to talk to you. 00:03:46.806 --> 00:03:49.036 align:middle I interviewed her before she came out here last week. 00:03:49.036 --> 00:03:50.526 align:middle I work for Arizona Public Media. 00:03:50.866 --> 00:03:51.776 align:middle So I'm a journalist. 00:03:52.516 --> 00:03:54.766 align:middle [ Laughter ] 00:03:55.266 --> 00:03:57.216 align:middle But I'm one of the good guys, right? 00:03:57.216 --> 00:04:02.566 align:middle NPR, PBS. But I'm just curious in what context was somebody trying 00:04:02.566 --> 00:04:05.006 align:middle to get you to define what poetry is? 00:04:05.216 --> 00:04:12.976 align:middle ¿En qué contexto fue que alguien quería que dijeras exactamente qué es la poesía? 00:04:13.326 --> 00:04:14.766 align:middle >> Exactly in your work. 00:04:15.136 --> 00:04:16.636 align:middle Yes, sometimes a journalist -- 00:04:19.916 --> 00:04:23.686 align:middle -- in Mexico, some journalists are very bad paid. 00:04:24.306 --> 00:04:32.146 align:middle And well, they even make you an interview without reading the book 00:04:32.146 --> 00:04:38.076 align:middle and the most quickly question is oh, what is poetry, please? 00:04:39.626 --> 00:04:43.746 align:middle So, or which is your inspiration? 00:04:43.746 --> 00:04:48.656 align:middle Like if you have only one answer, no? 00:04:49.366 --> 00:04:53.416 align:middle So, I mean, it's like the cliché questions. 00:04:54.586 --> 00:04:57.496 align:middle He made a wonderful work in the radio. 00:04:58.026 --> 00:04:58.736 align:middle Thank you, Tony. 00:04:58.936 --> 00:04:59.866 align:middle >> I appreciate it, thank you. 00:04:59.916 --> 00:05:02.836 align:middle I wasn't looking for credit, but I just wanted -- 00:05:03.516 --> 00:05:14.206 align:middle [ Laughter ] 00:05:14.706 --> 00:05:16.826 align:middle >> I had a question for John. 00:05:17.536 --> 00:05:21.386 align:middle When I was reading your bio, I saw that you're a knitter. 00:05:21.936 --> 00:05:23.946 align:middle >> That's actually me. 00:05:24.076 --> 00:05:25.626 align:middle >> Oh, I'm sorry. 00:05:25.856 --> 00:05:27.356 align:middle Oh, well. I knit. 00:05:27.356 --> 00:05:31.786 align:middle >> A lot of people can't tell us apart. 00:05:31.786 --> 00:05:32.246 align:middle [ Laughter ] 00:05:32.246 --> 00:05:32.776 align:middle >> Nothing. 00:05:33.076 --> 00:05:36.106 align:middle I was crossing my fingers for another male knitter. 00:05:37.516 --> 00:05:40.546 align:middle [ Laughter ] 00:05:41.046 --> 00:05:41.696 align:middle >> I'll teach you, JP. 00:05:41.696 --> 00:05:42.336 align:middle I'll teach you. 00:05:43.516 --> 00:05:49.176 align:middle [ Laugher ] 00:05:49.676 --> 00:05:51.956 align:middle >> I know some, so come talk to me after. 00:05:51.956 --> 00:06:00.826 align:middle >> I wanted to ask if that played a role in your work at all with poetry and translation. 00:06:00.826 --> 00:06:02.876 align:middle >> Yeah, it totally does. 00:06:02.876 --> 00:06:04.846 align:middle I love -- I also make handmade books. 00:06:04.846 --> 00:06:07.076 align:middle I love working with my hands. 00:06:07.076 --> 00:06:07.916 align:middle I love manual labor. 00:06:07.916 --> 00:06:11.496 align:middle I love things that poetry feels very sometimes hard to grasp and like hard 00:06:11.496 --> 00:06:12.856 align:middle to hang on to and it's ephemeral. 00:06:12.856 --> 00:06:16.016 align:middle And it's hard to sit quietly with myself, like I'm not talented at that. 00:06:16.176 --> 00:06:21.886 align:middle So anything I can do that feels concrete and repetitive, like you start the knitting pattern 00:06:21.886 --> 00:06:26.146 align:middle and then you knit and then you have a thing and it's an actual thing that people might use. 00:06:26.296 --> 00:06:28.596 align:middle So that is very pleasurable to me. 00:06:28.596 --> 00:06:30.476 align:middle I love to knit at poetry readings. 00:06:30.476 --> 00:06:34.116 align:middle I almost would even knit at my own reading, if it were socially acceptable. 00:06:34.116 --> 00:06:35.396 align:middle I actually have my knitting with me. 00:06:35.816 --> 00:06:38.026 align:middle So yeah. It's definitely connected. 00:06:38.026 --> 00:06:40.456 align:middle And thinking about sort of how to construct a container, 00:06:40.456 --> 00:06:42.396 align:middle like a knitting pattern is a kind of container. 00:06:42.716 --> 00:06:44.696 align:middle And then, how to work into that container. 00:06:45.026 --> 00:06:48.166 align:middle And I also, I knit a lot of places that I go in the world. 00:06:48.166 --> 00:06:52.496 align:middle And so I think that the experiences that have while I'm knitting a particular item 00:06:52.496 --> 00:06:55.516 align:middle for a particular person, then get into that item, you know? 00:06:55.596 --> 00:06:59.886 align:middle So if I'm at a particular reading, then that person's work gets into the scarf, 00:06:59.886 --> 00:07:02.486 align:middle or the wrist cuffs, or the whatever it is I'm making. 00:07:02.776 --> 00:07:06.696 align:middle And I think of poetry in that way also is a kind of cumulative process where all 00:07:06.696 --> 00:07:11.826 align:middle of the experiences we have, all of the language experiences we have kind of filter into the poem 00:07:12.216 --> 00:07:16.876 align:middle and all of our cross-language experiences filter into our approach to translation. 00:07:17.216 --> 00:07:19.516 align:middle So, yes. And thank you for that great question. 00:07:19.876 --> 00:07:20.406 align:middle >> Great question. 00:07:24.166 --> 00:07:25.496 align:middle >> Hello. First things first. 00:07:25.586 --> 00:07:27.766 align:middle I want to say thank you, y gracias por estar. 00:07:27.766 --> 00:07:32.696 align:middle Yeah, I've been looking forward to this for quite some time. 00:07:33.236 --> 00:07:36.956 align:middle What you said about supporting young translators, I just want to vouch for you all. 00:07:37.176 --> 00:07:41.366 align:middle You have helped me twice, even though we never actually met, but you've helped me in big ways. 00:07:41.366 --> 00:07:41.916 align:middle >> Who are you? 00:07:42.186 --> 00:07:43.556 align:middle What's your name? 00:07:43.766 --> 00:07:44.106 align:middle >> I'm Brian. 00:07:44.106 --> 00:07:44.486 align:middle >> Oh, hey! 00:07:44.836 --> 00:07:45.286 align:middle >> Yeah. [Inaudible]. 00:07:45.286 --> 00:07:47.266 align:middle >> Your book is so beautiful. 00:07:47.266 --> 00:07:47.596 align:middle >> Thank you. 00:07:47.696 --> 00:07:51.676 align:middle So in any case, I just want to say they're not lying. 00:07:51.726 --> 00:07:54.326 align:middle They do help out, even without -- Even without knowing you. 00:07:54.486 --> 00:07:56.776 align:middle So thank you for the work that you do. 00:07:57.056 --> 00:08:01.296 align:middle [Inaudible] inspiration that's been for me especially the last couple of years [inaudible]. 00:08:02.216 --> 00:08:07.246 align:middle I'd like to hear you all talk a little bit about the process of co-translation between you two, 00:08:07.246 --> 00:08:09.976 align:middle but also in the process of translating with the living author. 00:08:09.976 --> 00:08:16.546 align:middle Yeah, I just think that even between just you and the author, there's so many things going on. 00:08:16.546 --> 00:08:19.396 align:middle When you add in a third person, I can't even imagine. 00:08:19.486 --> 00:08:23.306 align:middle And I would like to hear you to sort of talk through that. 00:08:23.306 --> 00:08:23.846 align:middle >> Esa risa. 00:08:30.396 --> 00:08:34.656 align:middle Alguna vez le pregunté a, creo que fue a ti, Jen -- 00:08:37.476 --> 00:08:43.936 align:middle -- que me llama la atención que de todo lo que Jen ha traducido, 00:08:43.936 --> 00:08:51.716 align:middle solamente veo que se trata de escritores o escritoras vivas, 00:08:52.206 --> 00:08:55.736 align:middle y ella tuvo una respuesta al respecto. 00:08:56.376 --> 00:09:06.296 align:middle Yo no sé, JP, si en tu trabajo de traducción previo a Antena has traducido poetas no vivos, 00:09:07.366 --> 00:09:07.916 align:middle ¿no? 00:09:08.066 --> 00:09:10.386 align:middle Y, ¿por qué sí y por qué no? 00:09:11.556 --> 00:09:16.636 align:middle Pero sí, el proceso es muy latoso. 00:09:17.846 --> 00:09:26.026 align:middle La cantidad de emails que yo tengo de la traducción de Ivory Black y de Onioncloth, 00:09:26.276 --> 00:09:32.956 align:middle tuve que comprar más tiempo en Google, más más capacidad. 00:09:39.476 --> 00:09:47.166 align:middle >> So this is a question that I've thought about asking Jen, that it really has -- 00:09:47.296 --> 00:09:54.636 align:middle It's astonishing to me or it's really come to my attention that all of, all that I've seen 00:09:54.636 --> 00:10:00.326 align:middle of the work that she's done as a translator has only been living writers, 00:10:00.326 --> 00:10:02.506 align:middle living female writers in particular. 00:10:02.506 --> 00:10:08.606 align:middle And I once asked her about this and I don't know if this is the case for you JP, 00:10:08.606 --> 00:10:13.196 align:middle if you in your work before co-translating through Antena, 00:10:13.636 --> 00:10:19.346 align:middle if you have ever translated none living writers because perhaps you have 00:10:19.796 --> 00:10:23.896 align:middle and perhaps you haven't, but this can be a very -- 00:10:23.896 --> 00:10:29.686 align:middle Translating living writers can be a very pain in the ass process. 00:10:29.886 --> 00:10:32.086 align:middle That's how I interpreted latoso. 00:10:32.326 --> 00:10:39.546 align:middle If I think about the hundreds of emails that have come back and forth between us 00:10:39.546 --> 00:10:46.076 align:middle in the process of translating Ivory Black or Tela de sevoya, I mean, 00:10:46.136 --> 00:10:48.506 align:middle I had to buy more time on Google. 00:10:49.226 --> 00:10:51.226 align:middle [ Laughter ] 00:10:51.436 --> 00:10:57.646 align:middle >> So I would say I was translating before I met Jen, but working with Jen 00:10:57.966 --> 00:11:02.436 align:middle on translation has completely changed my translation process. 00:11:02.436 --> 00:11:03.376 align:middle >> Because I'm so latosa. 00:11:03.746 --> 00:11:04.966 align:middle >> Yo no dije eso, I didn't say that. 00:11:04.966 --> 00:11:05.396 align:middle >> She, she is. 00:11:05.396 --> 00:11:07.996 align:middle >> Myriam sí dice eso. 00:11:08.486 --> 00:11:09.666 align:middle I didn't say that. 00:11:09.666 --> 00:11:15.736 align:middle What I would say, we actually -- I think one of the first times that we co-translated, 00:11:16.196 --> 00:11:18.746 align:middle and sure Jen will correct me and tell me that there was a time prior to that 00:11:18.816 --> 00:11:25.906 align:middle when we also co-translated, but the one that's really coming to mind is we did a set of -- 00:11:25.906 --> 00:11:30.016 align:middle We translated a set of poems about what we were talking about as NAFTA poetics. 00:11:30.166 --> 00:11:35.566 align:middle So instead of poets from Mexico and from the US, who -- 00:11:35.566 --> 00:11:41.276 align:middle And also from other places in Central America and other diasporic spaces and who were, 00:11:41.466 --> 00:11:45.976 align:middle in some way, writing around or through the kind of free trade era. 00:11:46.506 --> 00:11:50.796 align:middle And that was -- Doing translations from English of experimental work by Latinx authors 00:11:50.796 --> 00:11:55.536 align:middle in the US into Spanish, translating authors from Spanish into English and vice versa. 00:11:55.996 --> 00:12:01.166 align:middle And that was supposed to come out in an anthology previously that is not coming out of 00:12:01.166 --> 00:12:04.656 align:middle that anthology, but we actually -- Antena Aire has a book coming 00:12:04.656 --> 00:12:06.896 align:middle out in 2020 from the operating system. 00:12:07.256 --> 00:12:13.006 align:middle So that section that we did about 10 poets will be included in that anthology 00:12:13.006 --> 00:12:19.846 align:middle and that was the first time when I really remember sending back, you know, from one poem, 00:12:20.226 --> 00:12:23.846 align:middle 25 drafts back and forth and back and forth and back and forth with -- 00:12:24.496 --> 00:12:26.196 align:middle If you don't know how to use track changes 00:12:26.196 --> 00:12:29.276 align:middle and comments very efficiently, you can't work with Jen. 00:12:29.306 --> 00:12:30.146 align:middle >> But I'll teach you. 00:12:30.426 --> 00:12:31.466 align:middle >> Yeah. She'll teach you. 00:12:31.816 --> 00:12:37.336 align:middle >> And, but really, I mean that detail oriented approach is something that is a great gift 00:12:37.596 --> 00:12:42.276 align:middle and it's something that I take with me now into all of the projects that I do, 00:12:42.356 --> 00:12:46.246 align:middle understanding the many layers of revision, the many layers of dialogue 00:12:46.246 --> 00:12:48.956 align:middle and conversation as part and parcel, right? 00:12:49.806 --> 00:12:53.536 align:middle And you can tell, when the work is done, the kind of strength that it has 00:12:53.536 --> 00:12:55.886 align:middle and the force that it has because of that. 00:12:55.886 --> 00:12:59.466 align:middle >> Y no dijiste si es traducido a algún autor que no esté vivo. 00:12:59.466 --> 00:13:02.256 align:middle >> Oh, and you didn't say if you translated any non-living author. 00:13:02.306 --> 00:13:04.436 align:middle Yes, I have. 00:13:04.996 --> 00:13:10.346 align:middle But I prefer to translate and this actually came out of conversations with Jen, long, long ago, 00:13:11.546 --> 00:13:16.836 align:middle to make a decision to translate authors that belong to my own generation 00:13:16.836 --> 00:13:18.256 align:middle and authors with whom I share something. 00:13:18.416 --> 00:13:25.866 align:middle So I'm often translating queer authors of my same age range and that tends to be who I work 00:13:25.866 --> 00:13:32.146 align:middle with because, as Jen told me 13 years ago, you know, you develop a relationship with folks 00:13:32.146 --> 00:13:34.166 align:middle over years and years and decades. 00:13:34.816 --> 00:13:41.246 align:middle And if you create this kind of relationships of reciprocity with those individuals, it nurtures 00:13:41.986 --> 00:13:44.456 align:middle and it works all kinds of magic in the world. 00:13:44.546 --> 00:13:44.666 align:middle So -- 00:13:45.416 --> 00:13:52.576 align:middle >> And if you don't know Sara Uribe's work as translated by JP, you should begin to know it 00:13:52.576 --> 00:13:54.346 align:middle because it's right over there and you should definitely write 00:13:54.346 --> 00:13:56.056 align:middle that book because it's really amazing. 00:13:56.196 --> 00:13:56.716 align:middle The other -- 00:13:57.436 --> 00:14:00.806 align:middle >> And thank you for considering me your generation. 00:14:01.516 --> 00:14:04.666 align:middle [ Laughter ] 00:14:05.166 --> 00:14:07.436 align:middle >> The other thing of working with the living writer is just 00:14:07.436 --> 00:14:11.366 align:middle so that people don't get the wrong impression is that it's not that Myriam is 00:14:11.366 --> 00:14:14.756 align:middle like the final word of all final words about how the work creates. 00:14:14.756 --> 00:14:20.356 align:middle And part of what translating does is it helps us to see how multiple every single line is 00:14:20.356 --> 00:14:24.316 align:middle in a poem or how multiple every single poem is and how impossible it is to express 00:14:24.316 --> 00:14:26.156 align:middle that multiplicity in the translation. 00:14:26.386 --> 00:14:29.516 align:middle So it's not like I would get stuck on something or we would get stuck on something 00:14:29.516 --> 00:14:32.216 align:middle and say to Myriam so what's this and she would tell us and then we would do that. 00:14:32.686 --> 00:14:36.926 align:middle It's about the process of conversation and you or me, as a translator I have 00:14:36.926 --> 00:14:39.676 align:middle to be willing to own my reading of that work. 00:14:39.736 --> 00:14:43.796 align:middle So it's also really -- It's a lesson in humility and in listening to someone else's reading 00:14:43.796 --> 00:14:46.446 align:middle but it's also a lesson in being willing to take responsibility 00:14:46.566 --> 00:14:48.436 align:middle for the things that I say in the world. 00:14:52.826 --> 00:14:53.346 align:middle >> Alright, one more. 00:14:55.536 --> 00:15:00.216 align:middle >> Hola, muchas gracias para sus palabras ricas. 00:15:00.466 --> 00:15:06.096 align:middle Tengo una pregunta sobre la lengua judio. 00:15:06.096 --> 00:15:06.996 align:middle I don't know. 00:15:06.996 --> 00:15:14.496 align:middle There was a language you all were talking about that is potentially dying out and I really, 00:15:14.496 --> 00:15:18.386 align:middle really wanted to hear about that because I don't know of it. 00:15:18.386 --> 00:15:20.636 align:middle And again, thank you so much. 00:15:20.636 --> 00:15:25.706 align:middle I was moved very much by your poetry and by your translations, I started crying. 00:15:25.706 --> 00:15:26.566 align:middle So thank you. 00:15:26.566 --> 00:15:27.896 align:middle Yeah. Y me llamo Raquel. 00:15:29.146 --> 00:15:29.946 align:middle >> Gracias, Raquel. 00:15:30.076 --> 00:15:31.916 align:middle ¿Me ayudan, por favor? 00:15:32.536 --> 00:15:32.726 align:middle >> Claro. 00:15:35.246 --> 00:15:40.846 align:middle >> El -- Ayer hablamos de eso en el Museo de Historia Judía. 00:15:41.466 --> 00:15:48.766 align:middle El judeoespañol es la lengua que se hablaba a finales del siglo 15 en España. 00:15:51.066 --> 00:15:54.736 align:middle Y es muy cercana al español contemporáneo, 00:15:55.646 --> 00:16:05.696 align:middle pero es una lengua a la que se le metieron palabras de toda la diáspora que fue 00:16:06.296 --> 00:16:11.176 align:middle acomodándose en distintos países europeos y en distintas lenguas. 00:16:19.526 --> 00:16:23.166 align:middle >> So yesterday we were talking about this at the Jewish History Museum. 00:16:23.366 --> 00:16:28.296 align:middle So judeoespañol is a language that was spoken 00:16:28.546 --> 00:16:31.386 align:middle in the 15th century, starting in the 15th century. 00:16:31.386 --> 00:16:38.086 align:middle It's pretty close to contemporary Spanish, but it's a language that has taken 00:16:38.086 --> 00:16:47.366 align:middle on many different aspects of the Jewish diaspora and has taken on elements 00:16:47.456 --> 00:16:51.656 align:middle of different European countries and a number of different languages. 00:16:54.066 --> 00:16:58.856 align:middle >> El judeoespañol nace de esa herida, de la herida de la expulsión, 00:16:58.856 --> 00:17:03.666 align:middle y queda viva en diversos países. 00:17:04.486 --> 00:17:09.566 align:middle Creo que la mayor influencia la tiene del turco. 00:17:10.346 --> 00:17:16.726 align:middle Hay muchísimas palabras en turco que no se parecen en nada al español contemporáneo. 00:17:19.306 --> 00:17:27.596 align:middle Y en ese sentido, lo que hicimos colaborando para traducir Tela de sevoya, 00:17:28.076 --> 00:17:32.776 align:middle pues claro que necesitaba muchas aclaraciones. 00:17:33.716 --> 00:17:40.166 align:middle Y también tiene muchos falsos amigos, lo que se llama en traducción falsos amigos. 00:17:41.636 --> 00:17:47.166 align:middle Por ejemplo, biervo, no es verbo sino palabra. 00:17:47.796 --> 00:17:52.666 align:middle Se parece más a la palabra verbo, pero es en realidad palabra. 00:17:57.166 --> 00:18:06.816 align:middle >> So Judeo Spanish, judeoespañol, is born out of that wound of expulsion and it remains alive 00:18:07.026 --> 00:18:13.476 align:middle in a variety of different countries, and perhaps its greatest influence has been a 00:18:13.476 --> 00:18:14.236 align:middle Turkish influence. 00:18:14.236 --> 00:18:20.356 align:middle There is a tremendous number of Turkish words in that language that are more similar, 00:18:20.356 --> 00:18:26.126 align:middle that don't actually have any resemblance at all to what we know of as contemporary Spanish. 00:18:26.716 --> 00:18:31.906 align:middle So, in that sense, it was very important when we were working on the collaborative translation 00:18:31.906 --> 00:18:36.486 align:middle of Tela de sevoya to have a very active collaboration amongst the three of us 00:18:36.556 --> 00:18:40.226 align:middle because that language needed a tremendous amount of clarifying. 00:18:40.226 --> 00:18:44.146 align:middle There are many many false friends, as we call them, false cognates, 00:18:45.606 --> 00:18:48.266 align:middle in that might come up in the translation. 00:18:48.266 --> 00:18:51.226 align:middle So, for example, the word biervo, 00:18:51.646 --> 00:18:56.286 align:middle which you might think means verbo or verb, does not mean that. 00:18:56.286 --> 00:18:57.356 align:middle It means word. 00:18:57.466 --> 00:19:01.656 align:middle So even though it sounds like verb, it means word. 00:19:04.196 --> 00:19:07.386 align:middle So there are two things we didn't do because we ran out of time. 00:19:08.186 --> 00:19:12.906 align:middle So I'm going to tell you about one of them very briefly, and then we're going 00:19:12.906 --> 00:19:17.436 align:middle to do the other one because it's a 30 second poem, in Ladino, 00:19:17.596 --> 00:19:21.216 align:middle and I would like to close the evening with that poem, it's very quick. 00:19:21.556 --> 00:19:27.246 align:middle What JP and I did not do was make ourselves wildly vulnerable in front of you. 00:19:27.726 --> 00:19:33.976 align:middle We do a practice that we think of as interpretive improvised poem making 00:19:34.286 --> 00:19:37.306 align:middle and I'm really sorry we didn't get to do it for a range of different reasons 00:19:37.306 --> 00:19:38.846 align:middle and eventually we will at another point. 00:19:38.936 --> 00:19:43.526 align:middle But we basically use consecutive interpretation which is what I was just doing with Myriam, 00:19:43.526 --> 00:19:47.856 align:middle where she speaks in Spanish, there's a pause, I say what she said in English. 00:19:48.136 --> 00:19:51.416 align:middle But we use the great probability or error. 00:19:51.416 --> 00:19:52.066 align:middle It's right here, Myriam. 00:19:52.066 --> 00:19:53.106 align:middle Está acá. 00:19:53.416 --> 00:19:54.136 align:middle Aquí lo tengo. 00:19:54.616 --> 00:19:57.156 align:middle The great probability of error with memory. 00:19:57.156 --> 00:19:59.896 align:middle If you go on too long and you don't take good notes, 00:20:00.216 --> 00:20:02.186 align:middle you can't remember to interpret consecutively. 00:20:02.186 --> 00:20:07.776 align:middle And also, if the person is using a wildly weird use of language, as in poetry, 00:20:07.776 --> 00:20:10.186 align:middle it's almost impossible to do consecutive interpretation. 00:20:10.596 --> 00:20:12.076 align:middle So we do that to each other on purpose. 00:20:12.406 --> 00:20:17.196 align:middle We read poem and or improvised poems and go on at great length, and don't allow ourselves 00:20:17.236 --> 00:20:20.256 align:middle to look at our previous notes and then we create a poem out of that. 00:20:20.436 --> 00:20:23.606 align:middle So that is what you will hopefully see at another point in the future. 00:20:23.946 --> 00:20:28.256 align:middle But the other thing that we did not do was read this poem which is from a book 00:20:28.256 --> 00:20:31.486 align:middle of poems that Myriam wrote in Latino.