It’s amazing how illustrations and text can work together in children’s literature to create new meaning.
A great example of the connection between the textual and the visual material is the 1925 Soviet children’s book Morozhenoe [Ice Cream] published by Raduga publishing house (Leningrad). It has the poem Morozhenoe written by the prominent children’s poet and translator Samuil Marshak (1887–1964). The book has illustrations by the painter and graphic artist Vladimir Lebedev (1891–1967).
The image of a strange fat man who eats too much ice cream in Marshak’s poem is transformed into the image of a greedy capitalist ice cream eater when Lebedev’s illustrations are added to the text. So, both the text and the visual representation create ideological opposition which is rather schematic and representative of the 1920s anti-bourgeois Soviet rhetoric: the hardworking ice cream man and good proletarian children against the gluttonous wealthy capitalist.
The whole poem in Russian with Lebedev’s illustrations can be found under this link:
Also there is a detailed analysis of Marshak and Lebedev’s Morozhenoe in Sara Pankenier Weld’s book An Ecology of the Russian Avant-Garde Picturebook (Amsterdam: John Benjamins 2018) on pages 102-104. She considers this example as a development of the visual allegory of “the big fat man in a multidimensional manner” and looks at it through an ideological lens.
And more on ideology and illustrations in the 1920s Soviet children’s books can be found here:
José Salas Subirat, the first translator of Joyce’s Ulysses into Spanish, is one of Argentina’s most famous translators. He was a writer who worked as an insurance agent. He translated Ulysses on the train, commuting from his home in the suburbs to the insurance company and back.
More about the fascinating journey of Joyce’s novel to the Spanish-speaking world in Lucas Petersen’s article José Salas Subirat, the eccentric first translator of Joyce’s Ulysses into Spanish published in The Irish Times:
Translation builds bridges between cultures, languages and experiences and there’s no doubt that it makes the world a bit better. As for literary translation, great stories from elsewhere in the world, including Russian literature, get translated into English every year. Hopefully, there will be more in the future.
Here are a few links on literary translation:
On Russian translations and translators (in Russian) – https://bit.ly/2Ne0WgO and https://bit.ly/2DI3pAE
On translation in the English-speaking world – https://bbc.in/2zIFPzX and https://bit.ly/2OnVZqj
An interesting essay on the art of translation written by Mark Polizzotti, an American translator and author. He discusses what translation is and what it isn’t, how translation works and how it doesn’t work, and what makes a good translation. – https://aeon.co/essays/is-the-translator-a-servant-of-the-text-or-an-original-artist
An thought-provoking short feature in the London Review of Books blog about Anthony Burgess and his novel A Clockwork Orange translated into Russian. – https://www.lrb.co.uk/blog/2018/10/23/anna-aslanyan/subliterary-modes-of-earning-the-odd-pound/
And another inspiring article on translation of contemporary Russian literature: – https://www.worldliteraturetoday.org/blog/translation-tuesday/what-we-translate-when-we-translate-literature-ksenia-bukshas-freedom