Jiří Levý. The Art of Translation. Trans. Patrick Corness. Edited with a critical foreword by Zuzana Jettmarová. Amsterdam and Philadelphia, John Benjamins, 2011, xxviii, 322 p.

I first bought a copy of Jiří Levý’s Umění překladu [The Art of Translation] at the Academia bookshop in Prague in 1998, the year it was re-issued in the Czech Republic after the fall of Communism. A classic Czech text on translation, first published in 1963, the issues it enunciated seemed metaphorically akin to the bookshop, whose first floor bustled with tourists skirting around the Czech literature section (in many languages) and whose second-floor was devoted to scientific and theoretical literature for the arts and sciences. Levý produced a book that was not “dry-as-dust theory,” thanks to his well-illustrated explanations that were not “addressed to experts but to a broad community of interested readers” (Hausenblas, cited in Levý, p. ix). Yet Levý’s functionalist and erudite approach also appealed to cultural and translation scholars, including Itamar Even-Zohar, Gideon Toury and José Lambert (p. xvii), and impacted their thinking about new and contemporary translation theories. The Art of Translation has now been translated into English, excellently, by Patrick Corness for John Benjamins, with a lucid introduction by Zuzana Jettmarová, who emphasizes its importance not only for understanding the “international historiography of the discipline” but also for what it can still contribute to “current discussion” (p. xxv). The book includes a survey of the discipline to the early 1960s when the book was initially published, with Levý emphasizing the international nature of it, pointing out both the variance in national traditions and norms of translation, but also pointing to the future in elucidating what could be gained from understanding and comparing these traditions and norms transnationally and transhistorically. He gives practical advice to translators in sections on drama translation and verse translation, as well as, importantly, arguing for a new mode of translation research and criticism that would move beyond identifying mistakes in the target text and infidelities to the source text, and anticipating, among others, Doug Robinson’s denuncation of “normative structures of equivalence” (Robinson, 1998, p. 92). In four particular areas, Levý’s book—even 50 years later—opens up avenues for further discussion and research: in thinking about translation as an art; in thinking about the translator as a reader; in thinking about the reader of translations; and, finally, dotted here and there in his book which he always called “notes on a theory” rather than a theory (p. ix), an interesting correlation between translation and Stanislavsky’s theories on acting. Levý’s book emphasizes the “creative individuality” of the translator (p. 14), his or her “noetic compatibility” (p. 19) with the author, and the task of translating “the ideo-aesthetic content” of the author’s work (p. 25). “Apprehension of the ideo-aesthetic values of individual verbal means and partial motifs facilitates apprehension of artistic wholes,” according to Levý, who continues: “the artistic education of translators should incorporate efforts to replace their psychological short-cut ‘source text—target text’ approach with a more demanding process, which is the only one of artistic value, that is ‘source text—imagined reality—target text’” (p. 34). To do this, literary translators need an “artistic education” (ibid.) as well as a practical one, an education in which they become an expert in the literature, authors, as well as the literary and translation traditions from and into which they translate. Such literary expertise allows for creativity and imagination because trained reader-cum-translators can recognize and re-articulate the “ideo-aesthetics” (ibid.) of the text they meet. “The translator is first of all a reader” (p. 27), writes Levý, and he explores the delicate balance the translator has to tread between concretizing the meaning of a text as a reader and not over-interpreting the meaning …