Sohár Anikó (szerk.): Varietas delectat • A PPKE Hieronymus Fordítástudományi Kutatócsoportjának tanulmánykötete
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Harmadik rész. Fordítás és nyelvhasználat • Part Three. Translation and language use
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Translating Non-Standard Varieties: Andrea Camilleri in English • Giulia Magazzù
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3. Camilleri in Translation

3. Camilleri in Translation

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Camilleri’s novels on Montalbano, which are edited by Sellerio, have been translated into English by Stephen Sartarelli for the publishing house Penguin. Stephen Sartarelli is an American poet and translator; he has translated important Italian authors such as Umberto Saba and Pier Paolo Pasolini, and he has been working on the translation of Stefano D’Arrigo’s Horcynus Orca for fifteen years. He is the translator of Camilleri’s novels on Montalbano both for the American and British book market. Both Camilleri and Sartarelli were awarded the CWA International Dagger Award for Translated Crime in 2012 for the Il campo del vasaio (The Potter’s Field). Thanks to Sartarelli’s translations, Camilleri is greatly appreciated by English readers.

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Sartarelli is faced with Camilleri’s multilingualism, which renders his role full of difficulties; the translator must take into account that the language used by Camilleri cannot be overlooked. However, as Sartarelli (2002) remarks, the dialectal forms used by Camilleri are inherently local and they cannot be rendered with local English varieties in translation. He observes that
 

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Montalbano’s world of cops, hoods, lovely ladies and eccentric petit-bourgeois could hardly be made to speak American ghetto jive or Scots or Faulknerian Mississippian or any other geographically specific idiom without appearing absurd (Gutkowski, 2009: 8).
 

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This does not mean that the translator cannot intervene and nudge the language in a certain direction. In fact, Sartarelli decides to create “new spaces” in the target language; for instance, he managed to coin a new expression, curse the saints, whose original Sicilian expression was santiare, and he noticed that many reviewers cite this expression when praising his work (Sartarelli, 2002). Yet, as Sartarelli (Sartarelli, 2009; Sartarelli, 2017; Sartarelli, 2002) has reminded his readers on many occasions, the book market in the USA is a rigid one, especially as regards translations. Unlike the British book market, the American one is not tolerant of linguistic experimentation and foreign works need to be “Americanised” in order to be accepted. As he points out, the majority of Americans do not read translated books, do not watch foreign movies or listen to foreign music (Sartarelli, 2002); on the other hand, American authors are constantly translated worldwide.

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In this section, three of the novels translated by Sartarelli’s will be examined; they were translated into English with the titles The Shape of Water, The Scent of the Night1 and The Paper Moon and were published in 2002, 2007 and 2008, respectively. The purpose is to analyse both the strategies and the solutions adopted by the translator and to understand the reasons for the success of Sartarelli’s translated versions.

3.1. The Narrative Voice and Free Indirect Speech

3.2. Catarella’s Idiolect

3.3. Eye-Dialect in Translation: Adelina

3.4. Culture-Specific Items: Food

1 The version for the American public was entitled The Smell of the Night and it was published in 2005 by Viking Penguin, New York. The version used for the analysis is the one published in Great Britain in 2007 by Picador. As for The Shape of Water and The Paper Moon, I used the versions published by Viking Penguin, New York.
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