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Don Quixote: A New Translation by Edith Grossman Miguel de Cervantes Saavedra, Edith Grossman
Publisher: HarperCollins Publishers

For its 400th birthday, there's new translation by Edith Grossman of “Don Quixote” by Miguel de Cervantes. Within the last month, I listened to both parts on Recorded Books' CDs, Don Quixote by Miguel de Cervantes; translated by Edith Grossman, read by George Guidall. This not a quandary afflicting translation alone: it has been suggested that Shakespeare be translated into modern English (as Grossman did from Spanish in her Don Quixote). I was surprised at how accessible and fresh it is. Grossman relays one recommendation that a new genre of translation be created: It has been . The respondent, not very seduced by my reasoning, is Edith Grossman, the translator into English of Gabriel García Marquez and Mario Vargas Llosa and the latest and much-praised version of Don Quixote (2003). I agree with your opinion that the protagonist is anything but crazy. I finally read both books of Don Quixote a few years ago in Edith Grossman's fluid translation, and actually found the story to be rather depressing. At the very least, this is a cool thing. This book was generated by processing the Audiobook version of Don Quixote (Edith Grossman's 2003 translation) through speech recognition software. They have just published Book I of a two-volume edition of Don Quixote in the acclaimed new translation by Edith Grossman, with forty-two illustrations by William T. For the software to work it must first be trained using a very Like the novel, this new version is also preoccupied with these and many other subjects, including the exploration of the differences in reception between the act of both reading and listening. Book II will be released in 2010. €�What is true, though, is that English has an enormous In spite of everything, in the English-language world new translations of classical works sometimes get the same attention given to new novels. In Why Translation Matters, Edith Grossman disparages the notion that translators are supposed to make themselves invisible, which raises the question: does a good translation involve artistry or mimicry?