Literary Hub » Translation as a Journey: Jessica Sequeira on Vlady Kociancich’s The Eighth Wonder | Metaglossia: The Translation World | Scoop.it

Translation is a mutation of language, but not direct replication; something happens in the process that shifts the direction of the ideas


 


"Along with her novels, Vlady Kociancich worked on a translation of Joseph Conrad’s The End of the Tether, which according to her obituary by Daniel Gigena in La Nación, “había sido muy elogiada” (was highly praised). This translation is present in The Eighth Wonder, explicitly given that the narrator is working on a translation of this book, as well as in more hidden forms.


 


Alberto Paradella, the lawyer-turned-writer-turned-translator-turned-journalist-turned-scriptwriter at one point refers to the journey between the Spanish and English versions of the text he is working on as a “double itinerary”; the metaphor of the journey as a bidirectional translation, where the very process of moving alters the elements in movement, carries through the book in many ways. In the novel, Paradella cannot seem to finish the translation, due to distractions, heartbreaks, travels, and misplacements of the manuscript. In “real life,” Kociancich did finish the translation, which she worked on at the same time as she wrote The Eighth Wonder, and which was published as Con la soga al cuello by Emecé in an edition with a noose on the cover, later reprinted in an edition by Hyspamérica together with Sergio Pitol’s translation of El corazón de las tinieblas (Heart of Darkness) and a prologue by Jorge Luis Borges.


 


There are multiple Spanish translations of The End of the Tether—En las últimas, Situación límite, El cabo de la cuerda—but Kociancich’s title Con la soga al cuello, which can be more literally translated as With the Rope Around the Neck, is my favorite. It slightly shifts Conrad’s title, just as Borges’ title Otra vuelta de tuerca (Another Turn of the Screw) gave a further swivel to the novella by Henry James.


 


Which makes me think: maybe Paradella did finish his translation. The entirety of The Eighth Wonder could be read as Kociancich’s translation of Conrad’s The End of the Tether taken to its extreme, where the translator has entered so deeply into the book that what she translates are not just words, phrases, and ideas, but scenes and atmospheres, so that the book journeys from the colonial world of Singapore to the contemporary world of Buenos Aires. This is something different from “rewriting,” The dizzying movements in The End of the Tether across land and sea, from the English boardinghouse to the Malaysian coastline, with stops at temporary ports and the only home one’s boat, are mirrored in the Argentine travel journalist’s movements from Villa del Parque to the Berlin metropolis, passing through airports with only books and dreams as one’s home. Transition and movement become the only constant, until it becomes impossible to return or even locate home.


 


There is disquiet in the absorption that translation requires, the way the self enters another world at the possible expense of the current one.


 


An endless journey, a trip one cannot escape, which might be a synonym for nightmare...


 


Language travels and shifts through time just like the characters in the book. And for those attentive to them, these shifts can be as world-configuring as external events..."


 


Via Seven Stories Press


Jessica Sequeira


August 26, 2026


 


https://lithub.com/translation-as-a-journey-jessica-sequeira-on-vlady-kociancichs-the-eighth-wonder/


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