Project 3A
El amor en los tiempos del cólera
El amor en los tiempos del cólera (1985, Editorial Oveja Negra, Bogotá) tells the story of Florentino Ariza, who falls desperately in love with Fermina Daza as a young man. After she rejects him and marries the distinguished Dr. Juvenal Urbino, Florentino waits more than fifty years, through countless love affairs, for another chance.
Author: Gabriel García Márquez (1927–2014) was a Colombian novelist and Nobel Prize laureate (1982), widely regarded as one of the greatest writers of the 20th century and the defining voice of Latin American magical realism.
Style: Rich, warm, and accessible prose. Unlike the baroque complexity of Cien años de soledad, this novel flows with a more linear, intimate narrative voice.
Topic: Love in all its forms, romantic obsession, conjugal devotion, aging, desire, and the tension between passion and reason.
The English translation, Love in the Time of Cholera (1988, Alfred A. Knopf), was done by Edith Grossman.
Translation Analysis
Original Text
Chapter II
Florentino Ariza la había visto por primera vez una tarde de marzo en que fue a llevar un telegrama a su padre, y no pudo apartar los ojos de ella durante todo el tiempo que estuvo en la casa. La vio en el corredor interior con una túnica de toile bordada con flores pequeñas, y recién cortado el cabello negro a la altura del cuello, y le pareció imposible que hubiera en el mundo una criatura tan hermosa. El telegrama era para su padre, pero era ella quien lo recibió, porque el padre estaba en una siesta prolongada de la que no despertaría hasta el atardecer, y ella firmó el recibo con una letra ya formada y puso el telegrama sobre la mesita de la entrada sin darle más importancia.
Desde ese día, el dolor de amor fue tan intenso que Florentino Ariza perdió el sueño y el apetito, y se quedaba en su cuarto llorando todo el día, y sufrió los trastornos que su madre conocía tan bien: los temblores, los vómitos, el vértigo, el desfallecimiento, las palpitaciones. Era amor. Lo había visto en otros, lo había sufrido él mismo en sus noches de lágrimas, pero nunca con esa especie de furor, nunca con ese deseo tan intenso de morir. Su madre, Tránsito Ariza, que era una mujer de armas tomar en todo lo que fuera su hijo, se asustó con esa crisis, porque no le encontraba cura si no era la del mismo mal.
Capitulo II
Florentino Ariza had seen her for the first time one afternoon in March when he went to deliver a telegram to her father, and he could not take his eyes off her during the entire time he was in the house. He saw her in the interior corridor wearing a tulle tunic embroidered with small flowers, her black hair newly cut at the level of her ears, and he thought it was impossible for there to be a creature so beautiful in all the world. The telegram was for her father, but he was sleeping a long siesta from which he would not wake until late afternoon, so she was the one who received it, and she signed the receipt in a fully formed hand and put the telegram on the entrance table without giving it any more importance.
From that day on, the pain of love was so intense that Florentino Ariza lost sleep and appetite, and he stayed in his room crying all day, and suffered the disturbances his mother knew so well: the trembling, the vomiting, the dizziness, the fainting, the palpitations. It was love. He had seen it in others, he had suffered it himself in his nights of weeping, but never with such fury, never with such an intense desire to die. His mother, Tránsito Ariza, who was a woman of strong character in everything that concerned her son, was frightened by this crisis, because she could find no cure for it except the remedy of the same affliction.
The final sentence of the paragraph in Spanish follows the order: the telegram was for the father, but he was sleeping, so she received it, and she signed, and put it on the table. Grossman preserves this sequence but reorganizes the subordinate clauses for English readability, adding 'so she was the one who received it' as a clearer causal connector where Spanish simply juxtaposes clauses with 'y' (and). This restructuring reflects a fundamental difference between Spanish, which tolerates long chains of coordinated clauses, and English, which prefers clearer causal and logical connectors.
The Spanish idiom "una mujer de armas tomar", literally "a woman of weapons to take," meaning a formidable, nonsense woman, is translated as "a woman of strong character." This is a functional equivalence: Grossman replaces a vivid Spanish idiom with a neutral English description, since no direct English equivalent exists that captures the same colorful forcefulness. Some translators might attempt "a force to be reckoned with," which is closer in tone. Grossman's choice is safe and clear, though it loses the martial, almost combative energy of the Spanish expression.
Project 3B
Never Let Me Go
Never Let Me Go is narrated by Kathy H., a young woman who grew up at Hailsham, an isolated English boarding school. The novel gradually reveals that Kathy and her friends, Ruth and Tommy, are clones raised solely to donate their organs. The horror is never announced; it seeps in through what the narrator does not say.
Author: Kazuo Ishiguro (born 1954, Nagasaki) is a British novelist of Japanese origin, awarded the Nobel Prize in Literature in 2017. He is celebrated for his restrained, quietly devastating narrative style.
Style: Understated, conversational first-person narration. Ishiguro uses hesitation, self-correction, and understatement to create a profound emotional tension between what is said and what is felt. The prose is deceptively simple and deeply precise.
Topic: Memory, mortality, identity, and the quiet acceptance of an unjust fate.
The Spanish translation, Nunca me abandones (2006, Anagrama), was done by Jesús Zulaika Goicoechea
Translation Analysis
Original Text
Chapter II
I keep thinking about this one moment when we were in the dormitory, and Tommy was crying, and I went over and put my arm around him. I don't know why I did it, I wasn't particularly close to Tommy at that stage. I think I just felt sorry for him. The others were being horrible, making fun of him, and I just felt like doing something. But he shrugged me off, quite violently, like he didn't want to be comforted by me of all people. And I remember thinking: that's interesting. Because up until then, I'd thought of Tommy as a bit of a joke, not maliciously, but just in a vague sort of way.
We were all curious about Tommy's tantrums, and if we're being honest, a lot of us, myself included, found them funny. Not that we were being especially cruel. It was just that Tommy's outbursts had a kind of ritual quality to them, like he was following a script. He'd go red, he'd start shaking, he'd shout things that didn't quite make sense. And then, after a while, it would all be over, and Tommy would be fine again, a bit sheepish maybe, not quite meeting anyone's eye. The teachers, to their credit, never laughed. They'd step in, calm things down, and pretend afterwards that nothing had happened.
Capitulo II
Sigo pensando en un momento concreto, cuando estábamos en el dormitorio y Tommy estaba llorando, y yo me acerqué y le puse el brazo por encima. No sé por qué lo hice, no estaba especialmente unida a Tommy en aquel momento. Creo que simplemente me dio pena. Los demás se estaban portando fatal, riéndose de él, y sentí ganas de hacer algo. Pero él me rechazó, con bastante brusquedad, como si no quisiera que yo precisamente le consolara. Y recuerdo que pensé: es curioso. Porque hasta ese momento, siempre había pensado que Tommy era un poco un hazmerreír, no con mala intención, sino de un modo vago.
Todos sentíamos curiosidad por las rabietas de Tommy, y si somos sinceros, a muchos de nosotros, yo incluida, nos hacían gracia. No es que fuéramos especialmente crueles. Era simplemente que los arrebatos de Tommy tenían una especie de cualidad ritual, como si siguiera un guion. Se ponía colorado, empezaba a temblar, gritaba cosas que no tenían mucho sentido. Y luego, al cabo de un rato, todo había terminado, y Tommy volvía a estar bien, un poco avergonzado quizá, sin mirar a nadie a los ojos. Los profesores, en su favor, nunca se reían. Intervenían, calmaban las cosas, y fingían después que no había pasado nada.
Ishiguro writes 'I wasn't particularly close to Tommy at that stage', the adjective 'close' here describes emotional proximity. Zulaika translates this as 'no estaba especialmente unida a Tommy en aquel momento,' using the past participle 'unida' (connected/bonded), a participial adjective in Spanish. This transposition shifts the category from a simple adjective ('close') to a participial form ('unida'), which is more natural in Spanish for expressing emotional ties. The nuance is well preserved: both convey a distance that is not hostile, just circumstantial.
Ishiguro writes that after a tantrum Tommy would be 'not quite meeting anyone's eye', a restrained, typically English understatement for shame and discomfort. Zulaika renders this as 'sin mirar a nadie a los ojos', 'without looking anyone in the eyes.' The Spanish version is slightly more direct and explicit: where English implies avoidance through 'not quite' (a hedge that softens the observation), Spanish states it plainly. This amplification reflects a broader pattern in the translation: Zulaika consistently makes Ishiguro's carefully hedged understatements a fraction more explicit, adjusting for a Spanish readership less accustomed to the British rhetorical mode of saying less to mean more.