Lost In Translation Quotes

We've searched our database for all the quotes and captions related to Lost In Translation. Here they are! All 100 of them:

Poetry is what gets lost in translation.
Robert Frost
There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other medium and will be lost.
Martha Graham
Books may look like nothing more than words on a page, but they are actually an infinitely complex imaginotransference technology that translates odd, inky squiggles into pictures inside your head.
Jasper Fforde (The Well of Lost Plots (Thursday Next, #3))
There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ... No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others
Martha Graham
The word 'translation' comes, etymologically, from the Latin for 'bearing across'. Having been borne across the world, we are translated men. It is normally supposed that something always gets lost in translation; I cling, obstinately to the notion that something can also be gained.
Salman Rushdie (Imaginary Homelands: Essays and Criticism 1981-1991)
The embroiling algorithm of happiness may leave many people bewildered or lost in translation while they snubbingly fall back on the smartphone, as a shield against intrusions from the outer world. ("Even if the world goes down, my mobile will save me")
Erik Pevernagie
Something may have been lost in translation, but it certainly wasn't love
Erich Segal (The Class)
Who can say if the thoughts you have in your mind as you read these words are the same thoughts I had in my mind as I typed them? We are different, you and I, and the qualia of our consciousnesses are as divergent as two stars at the ends of the universe. And yet, whatever has been lost in translation in the long journey of my thoughts through the maze of civilization to your mind, I think you do understand me, and you think you do understand me. Our minds managed to touch, if but briefly and imperfectly. Does that thought not make the universe seem just a bit kinder, a bit brighter, a bit warmer and more human? We live for such miracles.
Ken Liu (The Paper Menagerie and Other Stories)
On Writing: Aphorisms and Ten-Second Essays 1. A beginning ends what an end begins. 2. The despair of the blank page: it is so full. 3. In the head Art’s not democratic. I wait a long time to be a writer good enough even for myself. 4. The best time is stolen time. 5. All work is the avoidance of harder work. 6. When I am trying to write I turn on music so I can hear what is keeping me from hearing. 7. I envy music for being beyond words. But then, every word is beyond music. 8. Why would we write if we’d already heard what we wanted to hear? 9. The poem in the quarterly is sure to fail within two lines: flaccid, rhythmless, hopelessly dutiful. But I read poets from strange languages with freedom and pleasure because I can believe in all that has been lost in translation. Though all works, all acts, all languages are already translation. 10. Writer: how books read each other. 11. Idolaters of the great need to believe that what they love cannot fail them, adorers of camp, kitsch, trash that they cannot fail what they love. 12. If I didn’t spend so much time writing, I’d know a lot more. But I wouldn’t know anything. 13. If you’re Larkin or Bishop, one book a decade is enough. If you’re not? More than enough. 14. Writing is like washing windows in the sun. With every attempt to perfect clarity you make a new smear. 15. There are silences harder to take back than words. 16. Opacity gives way. Transparency is the mystery. 17. I need a much greater vocabulary to talk to you than to talk to myself. 18. Only half of writing is saying what you mean. The other half is preventing people from reading what they expected you to mean. 19. Believe stupid praise, deserve stupid criticism. 20. Writing a book is like doing a huge jigsaw puzzle, unendurably slow at first, almost self-propelled at the end. Actually, it’s more like doing a puzzle from a box in which several puzzles have been mixed. Starting out, you can’t tell whether a piece belongs to the puzzle at hand, or one you’ve already done, or will do in ten years, or will never do. 21. Minds go from intuition to articulation to self-defense, which is what they die of. 22. The dead are still writing. Every morning, somewhere, is a line, a passage, a whole book you are sure wasn’t there yesterday. 23. To feel an end is to discover that there had been a beginning. A parenthesis closes that we hadn’t realized was open). 24. There, all along, was what you wanted to say. But this is not what you wanted, is it, to have said it?
James Richardson
Having been borne across the world, we are translated men. It is normally supposed that something always gets lost in translation; I cling, obstinately, to the notion that something can also be gained.
Salman Rushdie
The unexpected connections we make might not last, yet stay with us forever
Sofia Coppola (Lost in Translation)
There is a vitality, a life force, a quickening that is translated through you into action, and there is only one of you in all time, this expression is unique, and if you block it, it will never exist through any other medium; and be lost. The world will not have it. It is not your business to determine how good it is, not how it compares with other expression. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open. No artist is pleased. There is no satisfaction whatever at any time. There is only a queer, divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.
Martha Graham
I’m really tired of people saying what is lost in translation. Look at what you gain. You gain three universes worth of books. It’s worth it to lose something in translation, if you can get a hundred more texts that are going to change your life.
Arshia Sattar
...unfortunately, it's true: time does heal. It will do so whether you like it or not, and there's nothing anyone can do about it. If you're not careful, time will take away everything that ever hurt you, everything you have ever lost, and replace it with knowledge. Time is a machine: it will convert your pain into experience. Raw data will be compiled, will be translated into a more comprehensible language. The individual events of your life will be transmuted into another substance called memory and in the mechanism something will be lost and you will never be able to reverse it, you will never again have the original moment back in its uncategorized, preprocessed state. It will force you to move on and you will not have a choice in the matter.
Charles Yu (How to Live Safely in a Science Fictional Universe)
When you translate the Bible with excessive literalism, you demythologize it. The possibility of a convincing reference to the individual's own spiritual experience is lost. (111)
Joseph Campbell (Thou Art That: Transforming Religious Metaphor)
Consider the Koran, for example; this wretched book was sufficient to start a world-religion, to satisfy the metaphysical needs of countless millions for twelve hundred years, to become the basis of their morality and of a remarkable contempt for death, and also to inspire them to bloody wars and the most extensive conquests. Much may be lost in translation, but I have not been able to discover in it one single idea of value.
Arthur Schopenhauer
I need to explain all this to Adam in private. I can't get McGillicuddy to explain it to him. Something will be lost in translation." "Well, excuse me that I can't look at him all googly-eyed," my brother said. "And he's liable to punch you," I said.
Jennifer Echols (Endless Summer (The Boys Next Door, #1-2))
Life is a series of events and sensations. Everything else is interpretation. Much is lost in translation and added in assumption / projection
Rasheed Ogunlaru
Through me is the way to the city of woe. Through me is the way to sorrow eternal. Through me is the way to the lost below. Justice moved my architect supernal. I was constructed by divine power, supreme wisdom, and love primordial. Before me no created things were. Save those eternal, and eternal I abide. Abandon all hope, you who enter.
Dante Alighieri (Inferno)
The more you know who you are and what you want, the less let things upset you
Sofia Coppola (Lost in Translation)
You can't go home again. Your childhood is lost. The friends of your youth are gone. Your present is slipping away from you. Nothing is ever the same.
Heraclitus (The fragments of the work of Heraclitus of Ephesus on nature; translated from the Greek text of Bywater, with an introd. historical and critical)
Boys,” Lindsay agreed, nodding. “What doesn't get lost in translation?” “Things with the letter X in front of them,” Rachel posited. “Like X-Box. And X-rated movies.
Nenia Campbell (Fearscape (Horrorscape, #1))
Something gets lost when you translate. It's hard to keep straight. Perspective is every thing.
Aimee Mann
Sometimes I long to forget… It is painful to be conscious of two worlds.
Eva Hoffman (Lost in Translation: A Life in a New Language)
A woman should love with her mind. Let men love with their hearts.
Eva Hoffman (Lost in Translation: A Life in a New Language)
The more words I have, the more distinct, precise my perceptions become--and such lucidity is a form of joy.
Eva Hoffman (Lost in Translation: A Life in a New Language)
Every mother can easily imagine losing a child. Motherhood is always half loss anyway. The three-year-old is lost at five, the five-year-old at nine. We consort with ghosts, even as we sit and eat with, scold and kiss, their current corporeal forms. We speak to people who have vanished and, when they answer us, they do the same. Naturally, the information in these speeches is garbled in the translation.
Karen Joy Fowler (Black Glass)
When you stop to examine the way in which our words are formed and uttered, our sentences are hard-put to it to survive the disaster of their slobbery origins. The mechanical effort of conversation is nastier and more complicated than defecation. That corolla of bloated flesh, the mouth, which screws itself up to whistle, which sucks in breath, contorts itself, discharges all manner of viscous sounds across a fetid barrier of decaying teeth—how revolting! Yet that is what we are adjured to sublimate into an ideal. It's not easy. Since we are nothing but packages of tepid, half-rotted viscera, we shall always have trouble with sentiment. Being in love is nothing, its sticking together that's difficult. Feces on the other hand make no attempt to endure or grow. On this score we are far more unfortunate than shit; our frenzy to persist in ourpresent state—that's the unconscionable torture. Unquestionably we worship nothing more divine than our smell. All our misery comes from wanting at all costs to go on being Tom, Dick, or Harry, year in year out. This body of ours, this disguise put on by common jumping molecules, is in constant revolt against the abominable farce of having to endure. Our molecules, the dears, want to get lost in the universe as fast as they can! It makes them miserable to be nothing but 'us,' the jerks of infinity. We'd burst if we had the courage, day after day we come very close to it. The atomic torture we love so is locked up inside us by our pride.
Louis-Ferdinand Céline (Journey to the End of the Night)
The Forgotten Dialect of the Heart How astonishing it is that language can almost mean, and frightening that it does not quite. Love, we say, God, we say, Rome and Michiko, we write, and the words get it all wrong. We say bread and it means according to which nation. French has no word for home, and we have no word for strict pleasure. A people in northern India is dying out because their ancient tongue has no words for endearment. I dream of lost vocabularies that might express some of what we no longer can. Maybe the Etruscan texts would finally explain why the couples on their tombs are smiling. And maybe not. When the thousands of mysterious Sumerian tablets were translated, they seemed to be business records. But what if they are poems or psalms? My joy is the same as twelve Ethiopian goats standing silent in the morning light. O Lord, thou art slabs of salt and ingots of copper, as grand as ripe barley lithe under the wind's labor. Her breasts are six white oxen loaded with bolts of long-fibered Egyptian cotton. My love is a hundred pitchers of honey. Shiploads of thuya are what my body wants to say to your body. Giraffes are this desire in the dark. Perhaps the spiral Minoan script is not language but a map. What we feel most has no name but amber, archers, cinnamon, horses, and birds.
Jack Gilbert (The Great Fires)
There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.
Martha Graham
On the back part of the step, toward the right, I saw a small iridescent sphere of almost unbearable brilliance. At first I thought it was revolving; then I realised that this movement was an illusion created by the dizzying world it bounded. The Aleph's diameter was probably little more than an inch, but all space was there, actual and undiminished. Each thing (a mirror's face, let us say) was infinite things, since I distinctly saw it from every angle of the universe. I saw the teeming sea; I saw daybreak and nightfall; I saw the multitudes of America; I saw a silvery cobweb in the center of a black pyramid; I saw a splintered labyrinth (it was London); I saw, close up, unending eyes watching themselves in me as in a mirror; I saw all the mirrors on earth and none of them reflected me; I saw in a backyard of Soler Street the same tiles that thirty years before I'd seen in the entrance of a house in Fray Bentos; I saw bunches of grapes, snow, tobacco, lodes of metal, steam; I saw convex equatorial deserts and each one of their grains of sand; I saw a woman in Inverness whom I shall never forget; I saw her tangled hair, her tall figure, I saw the cancer in her breast; I saw a ring of baked mud in a sidewalk, where before there had been a tree; I saw a summer house in Adrogué and a copy of the first English translation of Pliny -- Philemon Holland's -- and all at the same time saw each letter on each page (as a boy, I used to marvel that the letters in a closed book did not get scrambled and lost overnight); I saw a sunset in Querétaro that seemed to reflect the colour of a rose in Bengal; I saw my empty bedroom; I saw in a closet in Alkmaar a terrestrial globe between two mirrors that multiplied it endlessly; I saw horses with flowing manes on a shore of the Caspian Sea at dawn; I saw the delicate bone structure of a hand; I saw the survivors of a battle sending out picture postcards; I saw in a showcase in Mirzapur a pack of Spanish playing cards; I saw the slanting shadows of ferns on a greenhouse floor; I saw tigers, pistons, bison, tides, and armies; I saw all the ants on the planet; I saw a Persian astrolabe; I saw in the drawer of a writing table (and the handwriting made me tremble) unbelievable, obscene, detailed letters, which Beatriz had written to Carlos Argentino; I saw a monument I worshipped in the Chacarita cemetery; I saw the rotted dust and bones that had once deliciously been Beatriz Viterbo; I saw the circulation of my own dark blood; I saw the coupling of love and the modification of death; I saw the Aleph from every point and angle, and in the Aleph I saw the earth and in the earth the Aleph and in the Aleph the earth; I saw my own face and my own bowels; I saw your face; and I felt dizzy and wept, for my eyes had seen that secret and conjectured object whose name is common to all men but which no man has looked upon -- the unimaginable universe. I felt infinite wonder, infinite pity.
Jorge Luis Borges
I am fond of reminding my yoga students of the saying “It takes one to know one” when they become lost I condemnation and judgment of others. The world that we perceive is a reflection of our own states of mind and reveals our own level of consciousness. The world is little more than a Rorschach blot in which we see our own desire systems projected. We see what we want to see. (116)
Prem Prakash (The Yoga of Spiritual Devotion A Modern Translation of the Narada Bhakti Sutras (Transformational Bo)
The more you know who you are, and what you want, the less you let things upset you>> Lost in Translation
Stephanie Perkins
And maybe we got lost in translation Maybe I asked for too much But maybe this thing was a masterpiece 'til you tore it all up Running scared, I was there I remember it all too well
Taylor Swift
Anger can be borne - it can even be satisfying - if it can gather into words and explode in a storm, or a rapier-sharp attack. But without these means of ventilation, it only turns back inward, building and swirling like a head of stream - building to an impotent, murderous rage.
Eva Hoffman (Lost in Translation: A Life in a New Language)
When the web started, I used to get really grumpy with people because they put my poems up. They put my stories up. They put my stuff up on the web. I had this belief, which was completely erroneous, that if people put your stuff up on the web and you didn’t tell them to take it down, you would lose your copyright, which actually, is simply not true. And I also got very grumpy because I felt like they were pirating my stuff, that it was bad. And then I started to notice that two things seemed much more significant. One of which was… places where I was being pirated, particularly Russia where people were translating my stuff into Russian and spreading around into the world, I was selling more and more books. People were discovering me through being pirated. Then they were going out and buying the real books, and when a new book would come out in Russia, it would sell more and more copies. I thought this was fascinating, and I tried a few experiments. Some of them are quite hard, you know, persuading my publisher for example to take one of my books and put it out for free. We took “American Gods,” a book that was still selling and selling very well, and for a month they put it up completely free on their website. You could read it and you could download it. What happened was sales of my books, through independent bookstores, because that’s all we were measuring it through, went up the following month three hundred percent. I started to realize that actually, you’re not losing books. You’re not losing sales by having stuff out there. When I give a big talk now on these kinds of subjects and people say, “Well, what about the sales that I’m losing through having stuff copied, through having stuff floating out there?” I started asking audiences to just raise their hands for one question. Which is, I’d say, “Okay, do you have a favorite author?” They’d say, “Yes.” and I’d say, “Good. What I want is for everybody who discovered their favorite author by being lent a book, put up your hands.” And then, “Anybody who discovered your favorite author by walking into a bookstore and buying a book raise your hands.” And it’s probably about five, ten percent of the people who actually discovered an author who’s their favorite author, who is the person who they buy everything of. They buy the hardbacks and they treasure the fact that they got this author. Very few of them bought the book. They were lent it. They were given it. They did not pay for it, and that’s how they found their favorite author. And I thought, “You know, that’s really all this is. It’s people lending books. And you can’t look on that as a loss of sale. It’s not a lost sale, nobody who would have bought your book is not buying it because they can find it for free.” What you’re actually doing is advertising. You’re reaching more people, you’re raising awareness. Understanding that gave me a whole new idea of the shape of copyright and of what the web was doing. Because the biggest thing the web is doing is allowing people to hear things. Allowing people to read things. Allowing people to see things that they would never have otherwise seen. And I think, basically, that’s an incredibly good thing.
Neil Gaiman
Our words are often only vague, inadequate descriptions of our thoughts. Something gets lost in translation every time we try to express our thoughts in words. And when the other person hears our words, something gets lost in translation again, because words mean different things to different people. "A long time" may mean 10 hours to one person, but 10 days to another. So when a thought is formed in my brain, and my mouth expresses it in words, and your ears hear it, and your brain processes it, your brain and my brain never truly see exactly the same thing. Communication is always just an approximation.
Oliver Gaspirtz
It seemed to work at first. I tried hard to forget, but there remained inside me a vague knot-of-air kind of thing. And as time went by, the knot began to take on a clear and simple form, a form that I am able to put into words, like this: Death exists, not as the opposite but as a part of life. Translate into words, it's a cliche, but at the time I felt it not as words but as that knot of air inside me. Death exists - in a paperweight, in four red and white balls on a billiard table - and we go on living and breathing it into our lungs like fine dust. Until that time, I had understood death as something entirely separate from and independent of life. The hand of death is bound to take us, I had felt, but until the day it reaches out for us, it leaves us alone. This had seemed to me the simple, logical truth. Life is here, death is over there. I am here, not over there. The night Kizuki died, however, I lost the ability to see death (and life) in such simple terms. Death was not the opposite of life. It was already here, within my being, it had always been here, and no struggle would permit me to forget that... I lived through the following spring...with that kind knot of air in my chest, but I struggled all the while against becoming serious. Becoming serious was not the same thing as approaching truth, I sensed, however vaguely. But death was a fact, a serious fact, no matter how you looked at it. stuck inside this suffocating contradiction, I went on endlessly spinning in circles...In the midst of life, everything revolved around death.
Haruki Murakami (Norwegian Wood)
To be an adult is to be close to death.
Eva Hoffman (Lost in Translation: A Life in a New Language)
But in the end he didn't love her enough to fight for her.
Nicole Mones (Lost in Translation)
She’d ceased spying upon him, that was true, but the damage was done. Every time he sat at his desk, he could feel her eyes upon him, even though he knew very well she’d shut her curtains tight. But clearly, reality had very little to do with the matter, because all he had to do, it seemed, was glance at her window, and he lost an entire hour’s work. It happened thus: He looked at the window, because it was there, and he couldn’t very well never happen to glance upon it unless he also shut his curtains tight, which he was not willing to do, given the amount of time he spent in his office. So he saw the window, and he thought of her, because, really, what else would he think of upon seeing her bedroom window? At that point, annoyance set in, because A) she wasn’t worth the energy, B) she wasn’t even there, and C) he wasn’t getting any work done because of her. C always led into a bout of even deeper irritation, this time directed at himself, because D) he really ought to have better powers of concentration, E) it was just a stupid window, and F) if he was going to get agitated about a female, it ought to be one he at least liked. F was where he generally let out a loud growl and forced himself to get back to his translation. It usually worked for a minute or two, and then he’d look back up, and happen to see the window, and the whole bloody nonsense cycled back to the beginning.
Julia Quinn (What Happens in London (Bevelstoke, #2))
When my turn on the program comes, I am not nervous at all—because all this is happening out of time, out of space. I am, for a moment, a figure of my own fantasy, and I play my appointed role as if I were in the movies.
Eva Hoffman (Lost in Translation: A Life in a New Language)
Why would she pick tunics you don’t like?” “Because they had to ruin them,” she said, running her hand over her bare shoulder. Fitz cleared his throat. “I... wouldn’t call that ruined.” He didn’t say what he would call it, though, and it made her with her Polyglot ability worked for translating Cute Boy so she could figure out if that was suppose to be a compliment. It kinda felt like one.
Shannon Messenger (Flashback (Keeper of the Lost Cities, #7))
That as a human being I'm not necessarily static, but... evolving. That I'm supposed to grow and develop, just like the physical world, the planet, the universe.
Nicole Mones (Lost in Translation)
There is a vitality, a life force, an energy, a quickening, that is translated through you into action, and because there is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other medium and will be lost. MARTHA GRAHAM
Julia Cameron (The Artist's Way: A Spiritual Path to Higher Creativity)
Tell me about a complicated man, Muse, tell me how he wandered and was lost... ...And where he went, and who he met, the pain He suffered on the sea, and how he worked To bring his men back home." - Emily Wilson Translation of Homer's Odyssey
Homer (The Odyssey)
If there was one thing she knew by then, by age twenty-two, it was that she had to get far away and stay away. Here in his world she was trapped in an intolerable corner, which seemed to grow tighter and tighter each year. And now no place in America felt right.
Nicole Mones (Lost in Translation)
He tended to think that when the Bible condemned something practically everyone did, whether it be tossing oneself off or eating pork, there was likely some nuance that had been lost either to history or to translation. And then he didn’t think about it anymore.
Cat Sebastian (It Takes Two to Tumble (Seducing the Sedgwicks, #1))
Like 90 percent of the television they watch, it comes from the south and is shown dubbed into Yiddish. It concerns the adventures of a pair of children with Jewish names who look like they might be part Indian and have no visible parents. They do have a crystalline magical dragon scale that they wish on in order to travel to a land of pastel dragons, each distinguished by its color and its particular brand of imbecility. Little by little, the children spend more and more time with their magical dragon scale until one day they travel off to the land of rainbow idiocy and never return; their bodies are found by the night manager of their cheap flop, each with a bullet in the back of the head. Maybe, Landsman thinks, something gets lost in the translation.
Michael Chabon (The Yiddish Policemen's Union)
A civilization is integral and healthy to the extent [that] it is founded on the "invisible" or "underlying" religion, the religio perennis, that is, to the extent [that] its expressions or forms are transparent to the Non-Formal and tend toward the Origin, thus conveying the recollection of a lost Paradise, but also - and with all the more reason - the presentiment of a timeless Beatitude. For the Origin is at once within us and before us; time is but a spiral movement around a motionless Center.
Frithjof Schuon (Light on the Ancient Worlds: A New Translation with Selected Letters (Library of Perennial Philosophy))
The dirty little secret of genomics is that we still know next to nothing about how a genome translates into the particularities of a living and breathing individual. If
Svante Pääbo (Neanderthal Man: In Search of Lost Genomes)
It judged me, that crucifix, and I hated it. I imagined it twisting my words and whispering its translation in her ear.
Pip Williams (The Dictionary of Lost Words)
Did you really love her? Did you really enter her heart and mind? Or did the two of you always remain outside each other?
Nicole Mones (Lost in Translation)
We are duplicitous, we're blind- and it is hard to live, trusting only in life: earthly life is a murky translation from the divine original; the general thought is clear but the primordial music is missing in its words. . . What are passions? Mistakes in the translation. What is love? A rhyme lost in transmission to our discordant language. . . It's time for me to take up the original!
Vladimir Nabokov (The Tragedy of Mister Morn)
When they kiss, Alex can hear a half-remembered old proverb from catechism, mixed up between translations of the book: “Come, hijo mío, de la miel, porque es buena, and the honeycomb, sweet to thy taste.” He wonders what Santa Chiara would think of them, a lost David and Jonathan, turning slowly on the spot. He brings Henry’s hand to his mouth and kisses the little knob of his knuckle, the skin over the blue vein there, bloodlines, pulses, the old blood kept in perpetuity within these walls, and he thinks, Father, Son, and Holy Spirit, amen.
Casey McQuiston (Red, White & Royal Blue)
So this is one of those times when life is just handing you something, telling you what to do, which way to go. So enjoy it. It'll be fun. I guarantee. I can't guarantee we'll find the goddamn thing, but it'll be interesting. Then if we do find it - if we do- the payoff's huge.
Nicole Mones (Lost in Translation)
She looked up at him with those eyes, and Dougan experienced a pang of love so intense and ferocious it felt as though it didn't belong in this holy room. He began the incantation he remembered from watching once from behind his mother's skirts when he was young. 'Ye are blood of my blood, and bone of my bone. I give ye my body, that we two might be one. I give ye my spirit, 'til our life shall be done.' Farah needed a bit of prompting to remember all the words, but she said them with such fervency that Dougan was touched. Slipping a ring of a willow herb vine onto her finger, he recited the sacred olde vows with perfect clarity, but translated them into English for her sake. 'I made ye my heart At the rising of the moon. To love and honor, Through all our lives. May we be reborn, May our souls meet and know. And love again. And remember.' She looked lost and mystified for a moment, then announced, "Me, too.
Kerrigan Byrne (The Highwayman (Victorian Rebels, #1))
I would ask the reader to pause for a moment and ponder the statistics. Statistics are mere numbers; they need to be translated into human experience. What would a 90 percent mortality rate mean to the survivors and their society? The Black Death in Europe at its worst carried off 30 to 60 percent of the population. That was devastating enough. But the mortality rate wasn’t high enough to destroy European civilization. A 90 percent mortality rate is high enough: It does not just kill people; it annihilates societies; it destroys languages, religions, histories, and cultures. It chokes off the transmission of knowledge from one generation to the next. The survivors are deprived of that vital human connection to their past; they are robbed of their stories, their music and dance, their spiritual practices and beliefs—they are stripped of their very identity.
Douglas Preston (The Lost City of the Monkey God)
Everything looks different. The houses are all these wild colors. The light is strange. It smells primeval. You're on Mars." "You are talking about driving?" Lin attempted to clarify. "About wanderlust," she answered.
Nicole Mones (Lost in Translation)
I have become—as I’m sure everyone does who has left his or her country—someone else. Someone who has translated myself into other cultural codes. Firstly in order to survive, and then to go beyond survival and forge a future for myself. And since it is a generally acknowledged idea that something is lost in translation, it should come as no surprise that we unlearn—at least partially—what we used to be, to make room for what we have become.
Négar Djavadi (Disoriental)
We do know, however that almost no animal routinely kills prey animal on an indiscriminate basis. The only wild animal I’ve seen who will sometimes violate this rule is the coyote. Most of the time a coyote eats the animals he kills, but occasionally coyotes will go on a lamb-killing spree, killing twenty and eating only one. I believe it’s possible coyotes have lost some of their economy of behavior by living in close proximity to humans and overabundant food supplies. A coyote that kills twenty lambs and eats only one isn’t going to have to trek a hundred miles to find more lambs next week. Any sheep rancher will have several hundred other lambs that will be just as easy to catch later on, and the coyote knows it. Wild coyotes have probably lost the knowledge that you shouldn't waste food or energy.
Temple Grandin (Animals in Translation: Using the Mysteries of Autism to Decode Animal Behavior (A Harvest Book))
We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable rights, that among these are life, liberty, and the pursuit of happiness. According to the science of biology, people were not ‘created’. They have evolved. And they certainly did not evolve to be ‘equal’. The idea of equality is inextricably intertwined with the idea of creation. The Americans got the idea of equality from Christianity, which argues that every person has a divinely created soul, and that all souls are equal before God. However, if we do not believe in the Christian myths about God, creation and souls, what does it mean that all people are ‘equal’? Evolution is based on difference, not on equality. Every person carries a somewhat different genetic code, and is exposed from birth to different environmental influences. This leads to the development of different qualities that carry with them different chances of survival. ‘Created equal’ should therefore be translated into ‘evolved differently’. Just as people were never created, neither, according to the science of biology, is there a ‘Creator’ who ‘endows’ them with anything. There is only a blind evolutionary process, devoid of any purpose, leading to the birth of individuals. ‘Endowed by their creator’ should be translated simply into ‘born’. Equally, there are no such things as rights in biology. There are only organs, abilities and characteristics. Birds fly not because they have a right to fly, but because they have wings. And it’s not true that these organs, abilities and characteristics are ‘unalienable’. Many of them undergo constant mutations, and may well be completely lost over time. The ostrich is a bird that lost its ability to fly. So ‘unalienable rights’ should be translated into ‘mutable characteristics’. And what are the characteristics that evolved in humans? ‘Life’, certainly. But ‘liberty’? There is no such thing in biology. Just like equality, rights and limited liability companies, liberty is something that people invented and that exists only in their imagination. From a biological viewpoint, it is meaningless to say that humans in democratic societies are free, whereas humans in dictatorships are unfree. And what about ‘happiness’? So far biological research has failed to come up with a clear definition of happiness or a way to measure it objectively. Most biological studies acknowledge only the existence of pleasure, which is more easily defined and measured. So ‘life, liberty, and the pursuit of happiness’ should be translated into ‘life and the pursuit of pleasure’. So here is that line from the American Declaration of Independence translated into biological terms: We hold these truths to be self-evident, that all men evolved differently, that they are born with certain mutable characteristics, and that among these are life and the pursuit of pleasure.
Yuval Noah Harari (Sapiens: A Brief History of Humankind)
There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. … No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.
Martha Graham
VACILANDO v. Traveling when the experience itself is more important than the destination. The best laid plans are not usually conducive to spontaneous adventures. Not sure where to go? Great! Throw the map and the plans out the window, and follow your heart for a while instead. verb
Ella Frances Sanders (Lost in Translation: An Illustrated Compendium of Untranslatable Words from Around the World)
my generation is filled with lovers who will never know the true meaning of love relationships that feel more like a prison term and a happiness that is simply a delusion my generation, filled with chaos no peace, it’s difficult, it’s complicated it’s nothing, it hurts, it gets worse
R.H. Sin (I hope this reaches her in time)
While he was cautiously preambling, I tried to form a picture of all he did each day to earn his calories, all his grimaces and promises, pretty much like my own . . . And then to amuse myself, I imagined him all naked at his altar . . . It's a good habit to get into: when somebody comes to see you, quick reduce him to nakedness, and you'll see through him in a flash, regardless of who it is, you will instantly discern the underlying reality, namely an enormous, hungry maggot. It's good sleight-of-the-imagination. His lousy prestige vanishes, evaporates. Once you've got him naked you'll be dealing with nothing more than a bragging pretentious beggar, talking drivel of one kind or another. It's a test that nothing can withstand. In a moment you'll know where you are at. There wont be anything left but ideas, and there's nothing frightening about ideas. With ideas nothing is lost, everything can be straightened out. Whereas it's sometimes hard to stand up to the prestige of a man with his clothes on. Nasty smells and mysteries cling to his clothes.
Louis-Ferdinand Céline (Journey to the End of the Night)
Dear Jim." The writing grew suddenly blurred and misty. And she had lost him again--had lost him again! At the sight of the familiar childish nickname all the hopelessness of her bereavement came over her afresh, and she put out her hands in blind desperation, as though the weight of the earth-clods that lay above him were pressing on her heart. Presently she took up the paper again and went on reading: "I am to be shot at sunrise to-morrow. So if I am to keep at all my promise to tell you everything, I must keep it now. But, after all, there is not much need of explanations between you and me. We always understood each other without many words, even when we were little things. "And so, you see, my dear, you had no need to break your heart over that old story of the blow. It was a hard hit, of course; but I have had plenty of others as hard, and yet I have managed to get over them,--even to pay back a few of them,--and here I am still, like the mackerel in our nursery-book (I forget its name), 'Alive and kicking, oh!' This is my last kick, though; and then, tomorrow morning, and--'Finita la Commedia!' You and I will translate that: 'The variety show is over'; and will give thanks to the gods that they have had, at least, so much mercy on us. It is not much, but it is something; and for this and all other blessings may we be truly thankful! "About that same tomorrow morning, I want both you and Martini to understand clearly that I am quite happy and satisfied, and could ask no better thing of Fate. Tell that to Martini as a message from me; he is a good fellow and a good comrade, and he will understand. You see, dear, I know that the stick-in-the-mud people are doing us a good turn and themselves a bad one by going back to secret trials and executions so soon, and I know that if you who are left stand together steadily and hit hard, you will see great things. As for me, I shall go out into the courtyard with as light a heart as any child starting home for the holidays. I have done my share of the work, and this death-sentence is the proof that I have done it thoroughly. They kill me because they are afraid of me; and what more can any man's heart desire? "It desires just one thing more, though. A man who is going to die has a right to a personal fancy, and mine is that you should see why I have always been such a sulky brute to you, and so slow to forget old scores. Of course, though, you understand why, and I tell you only for the pleasure of writing the words. I loved you, Gemma, when you were an ugly little girl in a gingham frock, with a scratchy tucker and your hair in a pig-tail down your back; and I love you still. Do you remember that day when I kissed your hand, and when you so piteously begged me 'never to do that again'? It was a scoundrelly trick to play, I know; but you must forgive that; and now I kiss the paper where I have written your name. So I have kissed you twice, and both times without your consent. "That is all. Good-bye, my dear" Then am I A happy fly, If I live Or if I die
Ethel Lilian Voynich
How do you know when the Sarows is coming?" hummed Lila as she made her way down the ship's narrow hall, fingertips skimming either wall for balance. Right about the, Alucard's warning about Jasta was coming back in full force. "Never challenge that one to a drinking contest. Or a sword fight. Or anything else you might lose. Because you will." The boat rocked beneath her fee. Or maybe she was the one rocking. Hell. Lila was slight, but not short of practice, and even so, she'd never had so much trouble holding her liquor. When she got to her room, she found Kell hunched over the Inheritor, examining the markings on its side. "Hello, handsome," she said, bracing herself in the doorway. Kell looked up, a smile halfway to his lips before it fell away. "You're drunk," he said, giver her a long, appraising look. "And you're not wearing any shoes." "Your powers of observation are astonishing." Lila looked down at her bare feet. "I lost them." "How do you lose shoes?" Lila crinkled her brow. "I bet them. I lost." Kell rose. "To who?" A tiny hiccup. "Jasta." Kell sighed. "Stay here." He slipped past her into the hall, a hand alighting on her waist and then, too soon, the touch was gone. Lila make her way to the bed and collapsed onto it, scooping up the discarded Inheritor and holding it up to the light. The spindle at the cylinder's base was sharp enough to cut, and she turned the device carefully between her fingers, squinting to make out the words wrapped around it. Rosin, read one side. Cason, read the other. Lila frowned, mouthing the words as Kell reappeared in the doorway. "Give-- and Take," he translated, tossing her the boots. She sat up too fast, winced. "How did you manage that?" "I simply explained that she couldn't have them-- they wouldn't have fit-- and then I gave her mine." Lila looked down at Kell's bare feet, and burst into laughter.
V.E. Schwab (A Conjuring of Light (Shades of Magic, #3))
He read a lot, but what he read, and not just that but everything he saw, films and paintings, he translated into feeling. And this feeling, which could not immediately be expressed in words, not yet and maybe never, that formless mass of sentiments, impressions, observations — that was his way of thinking. You could circle around it with words, but there always remained far more that was not expressed than was. And later, too, a certain resentment would take possession of him, toward those people who demanded precise answers, or pretended to be able to give them. It was, on the contrary, the very mystery of everything that was so attractive. You should not want to impose too much order on it. If you did, something would be lost irrevocably. That mysteries can become more mysterious if you think about them with precision and method, he did not yet know. He felt at home in his sentimental chaos. To chart it you had to be an adult, but then you were at once labelled, finished, and in effect already a little dead.
Cees Nooteboom (Rituals)
L’éternité ne fut jamais perdue. Ce qui nous a manqué Fut plutôt de savoir La traduire en journées, En ciels, en paysages, En paroles pour d’autres, En gestes vérifiables. Mais la garder pour nous N’était pas difficile Et les moments étaient présents Où nous paraissait clair Que nous étions l’éternité. Eternity never was lost. What we did not know was how to translate it into days, skies, landscapes, into words for others, authentic gestures. But holding on to it for ourselves, that was not difficult, and there were moments when it seemed clear to us we ourselves were eternity. Translation by Denise Levertov
Guillevic
There is a finely translated epigram in the greek anthology which admirably expresses this state of mind, this acceptance of loss as unatoned for, even tho the lost element might be one's self: 'A shipwrecked sailor, buried on this coast, bids you set sail. Full many a gallant bark, when we were lost, weathered the gal.
William James (Pragmatism: A New Name for Some Old Ways of Thinking)
It [the trip] captured five very long hours. If you want to know why, it is because Grandfather is Grandfather first and a driver second. He made us lost often and became on his nerves. I had to translate his anger into useful information for the hero. "Fuck," Grandfather said. I said, "He says that if you look at the statues, you can see that some no longer endure. Those are where Communist statues used to be." "Fucking fuck, fuck!" Grandfather shouted. "Oh," I said, "he wants you to know that that building, that building, and that building are all important." "Why?" the hero inquired. "Fuck!" Grandfather said. "He cannot remember," I said.
Jonathan Safran Foer (Everything is Illuminated)
No, I’m no patriot, nor was I ever allowed to be. And yet, the country of my childhood lives within me with a primacy that is a form of love. It lives within me despite my knowledge of our marginality, and its primitive, unpretty emotions. Is it blind and self-deceptive of me to hold on to its memory? I think it would be blind and self-deceptive not to. All it has given me is the world, but that is enough. It has fed me language, percep- tions, sounds, the human kind .... no geometry of landscape, no haze in the air, will live in us as intensely as the landscapes that we saw as the fi rst, and to which we gave ourselves wholly, without reservation.
Eva Hoffman (Lost in Translation: A Life in a New Language)
Maman had been a gifted writer. Pari has read every word Maman had written in French and every poem she had translated from Farsi as well. The power and beauty of her writing was undeniable. But if the account Maman had given of her life in the interview was a lie, then where did the images of her work come from? Where was the wellspring for words that were honest and lovely and brutal and sad? Was she merely a gifted trickster? A magician, with a pen for a wand, able to move an audience by conjuring emotions she had never known herself? Was that even possible? Pari does not know—she does not know. And that, perhaps, may have been Maman’s true intent, to shift the ground beneath Pari’s feet. To intentionally unsteady and upend her, to turn her into a stranger to herself, to heave the weight of doubt on her mind, on all Pari thought she knew of her life, to make her feel as lost as if she were wandering through a desert at night, surrounded by darkness and the unknown, the truth elusive, like a single tiny glint of light in the distance flickering on and off, forever moving, receding.
Khaled Hosseini (And the Mountains Echoed)
I want to tell A Story, Every Story, everything all at once, not anything in particular that might be said through the words I know, and I try to roll all sounds into one, to accumulate more and more syllables, as if they might make a Möbius strip of language in which everything, everything is contained. There is a hidden rule even in this game, though - that the sounds have to resemble real syllables, that they can't disintegrate into brute noise, for then I wouldn't be talking at all. I want articulation - but articulation that says the whole world at once.
Eva Hoffman (Lost in Translation: A Life in a New Language)
I confessed that I had a burning desire to be excellent, but no faith that I could be. Martha said to me, very quietly: “There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. As for you, Agnes, you have so far used about one-third of your talent.” “But,” I said, “when I see my work I take for granted what other people value in it. I see only its ineptitude, inorganic flaws, and crudities. I am not pleased or satisfied.” “No artist is pleased.” “But then there is no satisfaction?” “No satisfaction whatever at any time,” she cried out passionately. “There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.
Agnes de Mille (Martha: The Life and Work of Martha Graham- A Biography)
Lost, is it, buried? One more missing piece? But nothing's lost. Or else: all is translation And every bit of us is lost in it (Or found — I wander through the ruin of S Now and then, wondering at the peacefulness) And in that loss a self-effacing tree, Color of context, imperceptibly Rustling with its angel, turns the waste To shade and fiber, milk and memory.
James Merrill
When you read The Arabian Nights you accept Islam. You accept the fables woven by generations as if they were by one single author or, better still, as if they had no author. And in fact they have one and none. Something so worked on, so polished by generations is no longer associated with and individual. In Kafka's case, it's possible that his fables are now part of human memory. What happened to Quixote could happen to to them. Let's say that all the copies of Quixote, in Spanish and in translation, were lost. The figure of Don Quixote would remain in human memory. I think that the idea of a frightening trial that goes on forever, which is at the core of The Castle and The Trial (both books that Kafka, of course, never wanted to publish because he knew they were unfinished), is now grown infinite, is now part of human memory and can now be rewritten under different titles and feature different circumstances. Kafka's work now forms a part of human memory.
Jorge Luis Borges (Conversations, Volume 1)
Because I tried all those voice options, of course. Haven’t you?” She looked at him expectantly, as if scrolling through all the language and voice options in the GPS was a total must. “Frankly? It didn’t occur to me. I stuck with the first one.” She rolled her eyes. “There’s one in Klingon. I used to have it on when I drove my geekier friends to the yearly Star Trek conventions in Vegas. They’d translate for me.” He wasn’t sure which part of her statement was more disturbing to him: the friends that spoke Klingon, or the yearly visits to Star Trek conventions. Or that she had geekier friends. Finally he opted for one. “You have friends that speak Klingon?” She shook her head. “No. Not fluently, no. It helped a lot that from LA to Vegas is for the most part a straight line. You really don’t want to get lost in the Mojave Desert with a handful of bickering Klingons and Vulcans who can achieve global domination with a laptop but can’t figure out how to change a tire on the car.
Elle Aycart (Heavy Issues (Bowen Boys, #2))
The convert will understand. How do they translate ºyw in your English interpretation?” “Atom,” said the convert. “You don’t find that strange, considering atoms were unknown in the sixth century?” The convert chewed her lip. “I never thought of that,” she said. “You’re right. There’s no way atom is the original meaning of that word.” “Ah.” Vikram held up two fingers in a sign of benediction. He looked, Alif thought, like some demonic caricature of a saint. “But it is. In the twentieth century, atom became the original meaning of ºyw, because an atom was the tiniest object known to man. Then man split the atom. Today, the original meaning might be hadron. But why stop there? Tomorrow, it might be quark. In a hundred years, some vanishingly small object so foreign to the human mind that only Adam remembers its name. Each of those will be the original meaning of ºyw.” Alif snorted. “That’s impossible. ºyw must refer to some fundamental thing. It’s attached to an object.” “Yes it is. The smallest indivisible particle. That is the meaning packaged in the word. No part of it lifts out—it does not mean smallest, nor indivisible, nor particle, but all those things at once. Thus, in man’s infancy, ºyw was a grain of sand. Then a mote of dust. Then a cell. Then a molecule. Then an atom. And so on. Man’s knowledge of the universe may grow, but ºyw does not change.” “That’s . . .” The convert trailed off, looking lost. “Miraculous. Indeed.
G. Willow Wilson (Alif the Unseen)
Words accrue and lose meaning through a semantic mobility dependent on the community in which they thrive, and these meanings cannot be divorced from bodily sensation and emotion. Slang emerges among a circle of speakers. Irony requires double consciousness, reading one meaning and understanding another. Elegant prose involves a feeling for the rhythms and the music of sentences, a product of the sensual pleasure a writer takes in the sounds of words and the varying metric beats of sentences. Creative translation must take all this into account. If a meaning is lost in one sentence, it might be gained or added to the next one. Such considerations are not strictly logical. They do not involve a step-by-step plan but come from the translator’s felt understanding of the two languages involved. Rodney
Siri Hustvedt (A Woman Looking at Men Looking at Women: Essays on Art, Sex, and the Mind)
Time is a machine: it will convert your pain into experience. Raw data will be compiled, will be translated into a more comprehensible language. The individual events of your life will be transmuted into another substance called memory and in the mechanism something will be lost and you will never be able to reverse it, you will never again have the original moment back in its uncategorized, unprocessed state. It will force you to move on and you will not have a choice in the matter.
Charles Yu (How to Live Safely in a Science Fictional Universe)
There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. No artist is pleased. There is no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and m akes us more alive than the others.
Martha Graham (Martha Graham)
The moment you know, you destroy all poetry. The moment you know, and think that you know, you have created a barrier between yourself and that which is. Then everything is distorted. Then you don’t hear with your ears, you translate. Then you don’t see with your eyes, you interpret. Then you don’t experience with your heart, you think that you experience. Then all possibility of meeting with existence in immediacy, in intimacy, is lost. You have fallen apart. This is the original sin. And this is the whole story, the biblical story of Adam and Eve eating the fruit of the tree of knowledge. Once they have eaten the fruit of knowledge they are driven out of paradise. Not that somebody drove them out, not that God ordered them to get out of paradise, they themselves fell. Knowing they were no more innocent, knowing they were separate from existence, knowing they were egos…knowing created such a barrier, an iron barrier. You ask me, “What is innocence?” Vomit knowledge! The fruit of the tree of knowledge has to be vomited. That’s what meditation is all about. Throw it out of your system: it is poison, pure poison. Live without knowledge, knowing that “I don’t know.” Function out of this state of not knowing and you will know what beauty is. Socrates
Osho (The Book of Wisdom: The Heart of Tibetan Buddhism. Commentaries on Atisha's Seven Points of Mind Training)
When they kiss, Alex can hear a half-remembered proverb from catechism, mixed up between translations of the book: “Come, hijo mío, de la miel, porque es buena, and the honeycomb, sweet to thy taste.” He wonders what Santa Chiara would think of them, a lost David and Jonathan, turning slowly on the spot. He brings Henry’s hand to his mouth and kisses the little knob of his knuckle, the skin over the blue vein there, bloodlines, pulses, the old blood kept in perpetuity within these walls, and he thinks, Father, Son, and Holy Spirit, amen.
Casey McQuiston (Red, White & Royal Blue)
A Japanese woman friend whose infant son died seven days into his life - no detectable reason - just the small breathing becoming nothing until it disappeared, told me that in Japan, there is a two-term word - “mizugo” - which translates loosely to “water children.” Children who did not live long enough to enter the world as we live in it. In Japan, there are rituals for mothers and families, practices and prayers for the water children. There are shrines where a person can visit and deliver words and love and offerings to the water children.
Lidia Yuknavitch (The Chronology of Water)
What I tried to make clear in Good Calories, Bad Calories was that nutrition and obesity research lost its way after the Second World War with the evaporation of the European community of scientists and physicians that did pioneering work in those disciplines. It has since resisted all attempts to correct it. As a result, the individuals involved in this research have not only wasted decades of time, and effort, and money but have done incalculable damage along the way. Their beliefs have remained imperious to an ever-growing body of evidence that refutes them while being embraced by public-health authorities and translated into precisely the wrong advice about what to eat and, more important, what not to eat if we want to maintain a healthy weight and live a long and healthy life.
Gary Taubes (Why We Get Fat: And What to Do About It)
you are an exit wound the extra shot of tequila the tangled knot of hair that has to be cut out you are the cell phone ringing in a hushed theatre pebble wedged in the sole of a boot the bloody hangnail you are, just this once you are flip flops in a thunderstorm the boy’s lost erection a pen gone dry you are my father’s nightmare my mother’s mirage you are a manic high which is to say: you are a bad idea you are herpes despite the condom you are, I know better you are pieces of cork floating in the wine glass you are the morning after whose name I can’t remember still in my bed the hole in my rain boots vibrator with no batteries you are, shut up and kiss me you are naked wearing socks mascara bleeding down laughing cheeks you are the wrong guy buying me a drink you are the typo in an otherwise brilliant novel sweetalk into unprotected sex the married coworker my stubbed toe you are not new or uncommon not brilliant or beautiful you are a bad idea rock star in the back seat of a taxi burned popcorn top shelf, at half price you are everything I want you are a poem I cannot write a word I cannot translate you are an exit wound a name I cannot bring myself to say aloud
Jeanann Verlee
Every year there was an important poetry contest at the fair of ‘Ukaz, just outside Mecca, and the winning poems were embroidered in gold on fine black cloth and hung on the walls of the Kabah. Muhammad’s followers would, therefore, have been able to pick up verbal signals in the text that are lost in translation. They found that themes, words, phrases, and sound patterns recurred again and again—like the variations in a piece of music, which subtly amplify the original melody, and add layer upon layer of complexity. The Qur’an was deliberately repetitive; its ideas, images, and stories were bound together by these internal echoes, which reinforced its central teaching with instructive shifts of emphasis. They linked passages that initially seemed separate, and integrated the different strands of the text, as one verse delicately qualified and supplemented others. The Qur’an was not imparting factual information that could be conveyed instantaneously. Like Muhammad, listeners had to absorb its teachings slowly; their understanding would grow more profound and mature over time, and the rich, allusive language and rhythms of the Qur’an helped them to slow down their mental processes and enter a different mode of consciousness.
Karen Armstrong (Muhammad: A Prophet for Our Time)
There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ...
Martha Graham
It was under English trees that I meditated on that lost labyrinth: I pictured it perfect and inviolate on the secret summit of a mountain; I pictured its outlines blurred by rice paddies, or underwater; I pictured it as infinite—a labyrinth not of octagonal pavillions and paths that turn back upon themselves, but of rivers and provinces and kingdoms....I imagined a labyrinth of labyrinths, a maze of mazes, a twisting, turning, ever-widening labyrinth that contained both past and future and somehow implied the stars. Absorbed in those illusory imaginings, I forgot that I was a pursued man; I felt myself, for an indefinite while, the abstract perceiver of the world. The vague, living countryside, the moon, the remains of the day did their work in me; so did the gently downward road, which forestalled all possibility of weariness. The evening was near, yet infinite.
Jorge Luis Borges (El jardín de los senderos que se bifurcan)
Nora had read about multiverses and knew a bit about Gestalt psychology. About how human brains take complex information about the world and simplify it, so that when a human looks at a tree it translates the intricately complex mass of leaves and branches into this thing called ‘tree’. To be a human was to continually dumb the world down into an understandable story that keeps things simple. She knew that everything humans see is a simplification. A human sees the world in three dimensions. That is a simplification. Humans are fundamentally limited, generalising creatures, living on auto-pilot, who straighten out curved streets in their minds, which explains why they get lost all the time.
Matt Haig (The Midnight Library)
Unfortunately, it's true: time does heal. It will do so whether you like it or not, and there's nothing anyone can do about it. If you're not careful, time will take away everything that ever hurt you, everything you have ever lost, and replace it with knowledge. Time is a machine: it will convert your pain into experience. Raw data will be compiled, will be translated into a more comprehensible language. The individual events of your life will be transmuted into another substance called memory and in the mechanism something will be lost and you will never be able to reverse it, you will never again have the original moment back in its uncategorized, preprocessed state. It will force you to move on and you will not have a choice in the matter.
Charles Yu (How to Live Safely in a Science Fictional Universe)
All this was only, in my father's estimation, a means; the end was the Earthly Paradise, the translation of William Morris's 'News from Nowhere' into 'News from Somewhere.' Then Whitman's sense of abounding joy in his own and all creation's sensuality would sweep away the paltry backwaters of bourgeois morality; the horrors of industrial ugliness which Ruskin so eloquently denounced would dissolve, and die forgotten as a dream (phrases from hymns still washed about in my father's mind) as slums were transformed into garden cities, and the belching smoke of hateful furnaces into the cool elegance of electric power. As for the ferocious ravings of my namesake, Carlyle, about the pettifogging nature of modern industrial man's pursuits and expectations -- all that would be corrected as he was induced to spend ever more of his increasing leisure in cultural and craft activities; in the enjoyment of music, literature and art. It was pefectly true -- a point that Will Straughan was liable to bring up at the Saturday evening gatherings -- that on the present form the new citizenry might be expected to have a marked preference for dog-racing over chamber music or readings from 'Paradise Lost,' but, my father would loftily point out, education would change all that. Education was, in fact, the lynchpin of the whole operation; the means whereby the Old Adam of the Saturday night booze-up, and fondness for Marie Lloyd in preference to Beatrice Webb, would be cast off, and the New Man be born as potential fodder for third Programmes yet to come.
Malcolm Muggeridge (Chronicles of Wasted Time)
We do know, however that almost no animal routinely kills prey animal on an indiscriminate basis. The only wild animal I’ve seen who will sometimes violate this rule is the coyote. Most of the time a coyote eats the animals he kills, but occasionally coyotes will go on a lamb-killing spree, killing twenty and eating only one. I believe it’s possible coyotes have lost some of their economy of behavior by living in close proximity to humans and overabundant food supplies. A coyote that kills twenty lambs and eats only one isn’t going to have to trek a hundred miles to find more lambs next week. Any sheep rancher will have several hundred other lambs that will be just as easy to catch later on, and the coyote knows it. Wild coyotes have probably lost the knowledge taht you shouldn't waste food or energy.
Temple Grandin (Animals in Translation: Using the Mysteries of Autism to Decode Animal Behavior (A Harvest Book))
Broken Melody Broken melody — tear sparkling in the eye Of a woman loved… Please past, Jewel lost, A trampled dream Lips unkissed In the broken melody. With silent sobs the naked shoulders shake, Their whiteness dazzling… Stabbed, stabbed with remorse For the moments of mindlessness, For her ruined fate, For the happiness lost In the broken melody. Face hidden in her hands in shame, Remorsefully the woman weeps, With heart despairing (A broken guitar, A voice stifled On lips kissed by pain In the broken melody). Silent he stands beside the woman weeping Scolding tears of shame That dim her eyes. Some money on the table quickly lays And goes away, Leaving the woman lost In the broken melody. But when another comes, lust mounts again, The heated blood Pounds furiously through the veins, Benumbing mind … and only gasps And grants are heard In the horrid melody. (Translated by R.Elsie)
Migjeni (Free Verse)
Let us, thusly, embrace the assumption that to each advocate of a respective paradigm within his respective bubble, the phenomenological gaps between himself and those in neighboring bubbles are insurmountable. The resident of a given bubble has become so inured to the echoes of his own ‘truth’ as to abandon all terms of commonality with the ‘truths’ of others outside his bubble. The internal terms, concepts, definitions and assumptions underlying each paradigm are different and incommensurate with those of their external counterparts. And so, to debate them would be tantamount to speaking through one another without much mutual understanding. In their communities, they speak different words, abide by different sets of logic, axioms and propositions from those of other communities; they, thusly, do not understand the terminology upholding other paradigms beside their own, and many attempts at translation have become lost in circular discourse for there exists no equivalency of terms. Thus, any gaps between bubbles of paradigm are beyond traversal; all arguments between them remain perplexing and irreconcilable. There, then, evolves, among them, a strong tendency to seek out information that only serves to confirm their own biases, and, in the process, to otherize any alien paradigms as hotbeds of disinformation.
Ashim Shanker
What do you mean, words whose meanings evolved?" asked Alif. "That doesn't make sense. The Quran is the Quran." Vikram folded his legs-Alif did not watch this operation closely-and smiled at his audience. "The convert will understand. How do they translate ذرة in your English interpretation?" "Atom," said the convert. You don't find that strange, considering atoms were unknown in the sixth century?" The convert chewed her lip. "I never thought of that," she said. "You're right. There's no way atom is the original meaning of that word." "Ah." Vikram held up two fingers in a sign of benediction. He looked, Alif thought, like some demonic caricature of a saint. "But it is. In the twentieth century, atom became the original meaning of ذرة, because an atom was the tiniest object known to man. Then man split the atom. Today, the original meaning might be hadron. But why stop there? Tomorrow, it might be quark. In a hundred years, some vanishingly small object so foreign to the human mind that only Adam remembers its name. Each of those will be the original meaning of ذرة. Alif snorted. "That's impossible. ذرة must refer to some fundamental thing. It's attached to an object." "Yes it is. The smallest indivisible particle. That is the meaning packaged in the word. No part of it lifts out-it does not mean smallest, nor indivisible, nor particle, but all those things at once. Thus, in man's infancy, ذرة was a grain of sand. Then a mote of dust. Then a cell. Then a molecule. Then an atom. And so on. Man's knowledge of the universe may grow, but ذرة does not change." "That's..."The convert trailed off, looking lost. "Miraculous. Indeed.
G. Willow Wilson (Alif the Unseen)
It’s a bit ironic, you know,” Henry says, gazing up at it. “Me, the cursed gay heir, standing here in Victoria’s museum, considering how much she loved those sodomy laws.” He smirks. “Actually … you remember how I told you about the gay king, James I?” “The one with the dumb jock boyfriend?” “Yes, that one. Well, his most beloved favorite was a man named George Villiers. ‘The handsomest-bodied man in all of England,’ they called him. James was completely besotted. Everyone knew. This French poet, de Viau, wrote a poem about it.” He clears his throat and starts to recite: “‘One man fucks Monsieur le Grand, another fucks the Comte de Tonnerre, and it is well known that the King of England, fucks the Duke of Buckingham.’” Alex must be staring, because he adds, “Well, it rhymes in French. Anyway. Did you know the reason the King James translation of the Bible exists is because the Church of England was so displeased with James for flaunting his relationship with Villiers that he had the translation commissioned to appease them?” “You’re kidding.” “He stood in front of the Privy Council and said, ‘Christ had John, and I have George.’” “Jesus.” “Precisely.” Henry’s still looking up at the statue, but Alex can’t stop looking at him and the sly smile on his face, lost in his own thoughts. “And James’s son, Charles I, is the reason we have dear Samson. It’s the only Giambologna that ever left Florence. He was a gift to Charles from the King of Spain, and Charles gave it, this massive, absolutely priceless masterpiece of a sculpture, to Villiers. And a few centuries later, here he is. One of the most beautiful pieces we own, and we didn’t even steal it. We only needed Villiers and his trolloping ways with the queer monarchs. To me, if there were a registry of national gay landmarks in Britain, Samson would be on it.
Casey McQuiston (Red, White & Royal Blue)
The English word Atonement comes from the ancient Hebrew word kaphar, which means to cover. When Adam and Eve partook of the fruit and discovered their nakedness in the Garden of Eden, God sent Jesus to make coats of skins to cover them. Coats of skins don’t grow on trees. They had to be made from an animal, which meant an animal had to be killed. Perhaps that was the very first animal sacrifice. Because of that sacrifice, Adam and Eve were covered physically. In the same way, through Jesus’ sacrifice we are also covered emotionally and spiritually. When Adam and Eve left the garden, the only things they could take to remind them of Eden were the coats of skins. The one physical thing we take with us out of the temple to remind us of that heavenly place is a similar covering. The garment reminds us of our covenants, protects us, and even promotes modesty. However, it is also a powerful and personal symbol of the Atonement—a continuous reminder both night and day that because of Jesus’ sacrifice, we are covered. (I am indebted to Guinevere Woolstenhulme, a religion teacher at BYU, for insights about kaphar.) Jesus covers us (see Alma 7) when we feel worthless and inadequate. Christ referred to himself as “Alpha and Omega” (3 Nephi 9:18). Alpha and omega are the first and last letters of the Greek alphabet. Christ is surely the beginning and the end. Those who study statistics learn that the letter alpha is used to represent the level of significance in a research study. Jesus is also the one who gives value and significance to everything. Robert L. Millet writes, “In a world that offers flimsy and fleeting remedies for mortal despair, Jesus comes to us in our moments of need with a ‘more excellent hope’ (Ether 12:32)” (Grace Works, 62). Jesus covers us when we feel lost and discouraged. Christ referred to Himself as the “light” (3 Nephi 18:16). He doesn’t always clear the path, but He does illuminate it. Along with being the light, He also lightens our loads. “For my yoke is easy,” He said, “and my burden is light” (Matthew 11:30). He doesn’t always take burdens away from us, but He strengthens us for the task of carrying them and promises they will be for our good. Jesus covers us when we feel abused and hurt. Joseph Smith taught that because Christ met the demands of justice, all injustices will be made right for the faithful in the eternal scheme of things (see Teachings, 296). Marie K. Hafen has said, “The gospel of Jesus Christ was not given us to prevent our pain. The gospel was given us to heal our pain” (“Eve Heard All These Things,” 27). Jesus covers us when we feel defenseless and abandoned. Christ referred to Himself as our “advocate” (D&C 29:5): one who believes in us and stands up to defend us. We read, “The Lord is my rock, and my fortress, and my deliverer; my God, my strength, in whom I will trust; my buckler” (Psalm 18:2). A buckler is a shield used to divert blows. Jesus doesn’t always protect us from unpleasant consequences of illness or the choices of others, since they are all part of what we are here on earth to experience. However, He does shield us from fear in those dark times and delivers us from having to face those difficulties alone. … We’ve already learned that the Hebrew word that is translated into English as Atonement means “to cover.” In Arabic or Aramaic, the verb meaning to atone is kafat, which means “to embrace.” Not only can we be covered, helped, and comforted by the Savior, but we can be “encircled about eternally in the arms of his love” (2 Nephi 1:15). We can be “clasped in the arms of Jesus” (Mormon 5:11). In our day the Savior has said, “Be faithful and diligent in keeping the commandments of God, and I will encircle thee in the arms of my love” (D&C 6:20). (Brad Wilcox, The Continuous Atonement, pp. 47-49, 60).
Brad Wilcox