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Sample translations submitted: 1
English to Portuguese: Spontaneous Mind: Selected Interviews / Mente espontânea: Entrevistas 1958-1996, Allen Ginsberg General field: Art/Literary Detailed field: Poetry & Literature
Source text - English Excerpt:
AY: Was it a fight for Kerouac to get his stuff published?
AG: Oh, yeah. On the Road was written in 1950 and was never published till '57, even though he had previously published his great book The Town and the City. The commercial insistency was that he write some¬thing nice and simple so everybody could understand it, to explain what the beat generation was all about. So he wrote The Dharma Bums, to order, for his publisher, a sort of exercise in virtuosity and bod¬hisattva magnanimity. He wrote in short sentences that everybody could understand, describing the spiritual revolution as he saw it, using as a hero Gary Snyder: actually, "Japhy Ryder" is Gary Snyder.
AY: So then your portrayal as a heterosexual doesn't have anything to do with being in the closet.
AG: No. I came out of the closet at Columbia in I946. The first person I told about it was Kerouac, 'cause I was in love with him. He was staying in my room up in the bed, and I was sleeping on a pallet on the floor. I said, "Jack, you know, I love you, and I want to sleep with you, and I really like men." And he said, “Oooooh, no ...” We'd known each other maybe a year, and I hadn't said anything.
At that time Kerouac was very handsome, very beautiful, and mel¬low-mellow in the sense of infinitely tolerant, like Shakespeare or Tolstoy or Dostoevsky, infinitely understanding. So in a sense – there's a term that I heard Robert Duncan use for poetry and I've heard others use for relation between guru and disciple – as a slightly older person and someone who I felt had more authority, his tolerance gave me per¬mission to open up and talk you know 'cause I felt there was space for me to talk where he was. He wasn't going to hit me. He wasn't going to reject me, really, he was going to accept my soul with all its throbbings and sweetness and worries and dark woes and sorrows and heartaches and joys and glees and mad understandings of mortality, 'cause that was the same thing he had. And actually we wound up sleeping together maybe within a year, a couple of times. I blew him, I guess. He once blew me, years later. It was sort of sweet, peaceful.
Translation - Portuguese Excerto
AY: Foi uma luta para Kerouac conseguir publicar as suas coisas?
AG: Ah, foi. Pé na estrada foi escrito em 1950 e nunca foi publicado até 57, apesar de anteriormente ele ter publicado o seu grande livro O campo e a cidade. A insistência comercial era de que ele escrevesse alguma coisa legal e simples, para que todo mundo pudesse entender, para explicar o que era a geração beat. Então ele escreveu Os Vagabundos Iluminados, sob encomenda, para o editor dele, um tipo de exercício em virtuosismo e magnanimidade bodhisattva. Ele escreveu em frases curtas que todo mundo conseguia entender, descrevendo a revolução espiritual da maneira como ele a via, usando como herói Gary Snyder: na verdade, “Japhy Ryder” é Gary Snyder.
AY: Então, o teu retrato como um heterossexual não tem nada a ver com estar no armário.
AG: Não. Saí do armário na Colúmbia em 1946. A primeira pessoa para quem contei a respeito foi Kerouac, porque eu estava apaixonado por ele. Ele estava ficando no meu quarto e dormindo na cama, e eu estava dormindo em um estrado no chão. Eu disse, “Jack, sabe, eu te amo, e quero dormir com você, e realmente gosto de homens”. E ele disse “Oooooh, não...”. Nós nos conhecíamos há um ano, talvez, e eu nunca tinha dito nada.
Na época, Kerouac era muito charmoso, muito bonito, e mole de tudo no sentido de ser infinitamente tolerante, tipo Shakespeare ou Tolstoi ou Dostoievski, infinitamente compreensivo. Então em certo sentido – existe um termo que ouvi Robert Duncan usar para poesia e que ouvi outros usarem para a relação entre guru e discípulo – sendo uma pessoa um pouquinho mais velha e alguém que eu sentia que tinha mais autoridade, a tolerância dele me deu permissão para me abrir e falar, entende, porque senti que havia espaço para que eu falasse, no lugar onde ele estava. Ele não ia me bater. Não ia me rejeitar, realmente, ele ia aceitar a minha alma com todas as suas palpitações e doçuras e preocupações e angústias e pesares e desgostos e alegrias e júbilos e loucas compreensões da mortalidade, porque isso era a mesma coisa que ele tinha. E realmente acabamos dormindo juntos talvez dentro de um ano, algumas vezes. Eu o levei à loucura, eu acho. Ele me levou à loucura uma vez, anos depois. Foi meio que doce, pacífico.
Spanish to Portuguese (Universidade de Brasília - Departamento de Línguas Estrangeiras e Tradução) English to Portuguese (Universidade de Brasília - Departamento de Línguas Estrangeiras e Tradução) Portuguese to Spanish (Universidade de Brasília - Departamento de Línguas Estrangeiras e Tradução) Portuguese to English (Universidade de Brasília - Departamento de Línguas Estrangeiras e Tradução)
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Bio
Born in Brazil to a bilingual family, I grew up speaking Portuguese and Spanish. Early on I developed a passion for languages, reading and writing, that's probably why I went on to join a program on Translation Studies in the university and later on acquired a master's degree in English with a focus on Literature.
Since I have worked as a professional translator for 12 years now, I have a broad experience in wide range of texts and topics in the humanities and law, and I have even worked as a ghost writer. However, I do like to draw on my background in literature, language studies and anthropology. My main areas of interest today are in creative writing, literature, social studies, cinema and photography.
I translate, edit, proofread or transcribe from or into English, Portuguese and Spanish.
Some works I am most proud of are the co-translation of "Epiphanies" by James Joyce into Portuguese, and the photography book "Bon Bagay" by Alan Marques into English.
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