William Weaver

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William Fense Weaver (24 July 1923 – 12 November 2013)

translator of modern Italian literature.[2]

Weaver was best known for his translations of the work of Umberto Eco, Primo Levi, and Italo Calvino,[3] but translated many other Italian authors over the course of a career that spanned more than fifty years. In addition to prose, he translated Italian poetry and opera libretti, and worked as a critic and commentator on the Metropolitan Opera radio broadcasts.

Biography

William Weaver was born in

American Field Service, and lived primarily in Italy after the end of the war. Through his friendships with Elsa Morante, Alberto Moravia
and others, Weaver met many of Italy's leading authors and intellectuals in Rome in the late 1940s and early 1950s; he paid tribute to them in his anthology Open City (1999).

Later in his life, Weaver was a professor of literature at Bard College in New York, and a Bard Center Fellow. He received honorary degrees from the University of Leicester in the United Kingdom and Trinity College in Connecticut. According to translator Geoffrey Brock, Weaver was too ill to translate Umberto Eco's novel, The Mysterious Flame of Queen Loana (La misteriosa fiamma della regina Loana 2004).

Weaver died in Rhinebeck, New York.[3]

Major translations

Italo Calvino

Fiction
Non-fiction

Umberto Eco

Fiction
Non-fiction

Others

Bassani, Giorgio

Bellonci, Maria

  • Private Renaissance: A Novel (1989). (Rinascimento privato, 1985). William Morrow ().

Berto, Giuseppe

  • Incubus (1966). (Il male oscuro, 1964.) Knopf.
  • Antonio in Love (1968). (La cosa buffa, 1966.) Knopf.

Calasso, Roberto

  • The Ruin of Kasch (1994). (La rovina di Kasch, 1983.) Belknap Press ().

Capriolo, Paola

  • The Helmsman (1991). (Il nocchiero, 1989.) HarperCollins ().

Cassola, Carlo

  • An Arid Heart (1964). (Un cuore arido, 1961.) Pantheon.

De Carlo, Andrea

De Céspedes, Alba

  • Remorse (1967). (Il rimorso, 1963.) Doubleday.

Elkann, Alain

Fallaci, Oriana

Festa Campanile, Pasquale

  • For Love, Only for Love (1989). (Per amore, solo per amore, 1983.) Ballantine ().

Fruttero, Carlo & Lucentini, Franco

  • The Sunday Woman (1973). (La donna della domenica, 1972.) HBJ ().

Gadda, Carlo Emilio

La Capria, Raffaele

  • A Day of Impatience (1954). (Un giorno d'impazienza, 1952.) Farrar, Straus, Young. (This was W.W.'s first full-length literary translation, per Healey's Bibliography.)

Lavagnino, Alessandra

  • The Lizards (1972). (I lucertoloni, 1969.) Harper & Row ().

Levi, Primo

Loy, Rosetta

  • The Dust Roads of Monferrato (1990). (Le strade di polvere, 1987.) Knopf ().

Luciani, Albino

Malerba, Luigi

  • The Serpent (1968). (Il serpente, 1965.) Farrar, Straus and Giroux.
  • What is this buzzing, do you hear it too? (1969). (Salto mortale, 1968.) Farrar, Straus & Giroux.

Montale, Eugenio

  • Butterfly of Dinard (1966). (La farfalla di Dinard, 1956/1960.) In Art and Literature 9 (Summer 1966), pp. 54–60.
  • "Italo Svevo, on the centenary of his birth." In Art and Literature 12 (Spring 1967), pp. 9–31.

Morante, Elsa

Moravia, Alberto

Moretti, Ugo

  • Artists in Rome (1958). (Gente al Babuino, 1955.) Macmillan.

Parise, Goffredo

  • The Boss (1966). (Il padrone, 1965.) Knopf.

Pasolini, Pier Paolo

  • A Violent Life, (1968). (Una vita violenta, 1959.) Jonathan Cape ().

Pirandello, Luigi

Rosso, Renzo

  • The Hard Thorn (1966). (La dura spina, 1963.) Alan Ross.

Sanguineti, Edoardo

  • Extract from Capriccio italiano. In Art and Literature 2 (Summer 1964), pp. 88–97.

Silone, Ignazio

  • The School for Dictators (1963). (La scuola dei dittatori, 1938/1962.) Atheneum.
  • The ).

Soldati, Mario

Svevo, Italo

  • Zeno's Conscience (2001). (La coscienza di Zeno, 1923.) Vintage ().

Verdi, Giuseppe and Arrigo Boito

Zavattini, Cesare

  • Zavattini: Sequences from a Cinematic Life (1970). (Straparole, 1967.) Prentice-Hall ().

As editor

Original works

Monographs

Articles and contributions

Interviews

Awards

Quotes

  • "Calvino was not a writer of hits; he was a writer of classics." — On the fact that Calvino's English translations have never been best-sellers, but have instead steady, consistent sales year after year. [2]
  • "Translating Calvino is an aural exercise as well as a verbal one. It is not a process of turning this Italian noun into that English one, but rather of pursuing a cadence, a rhythm—sometimes regular, sometimes wilfully jagged—and trying to catch it, while, like a Wagner villain, it may squirm and change shape in your hands." [3]
  • "Some of the hardest things to translate into English from Italian are not great big words, such as you find in Eco, but perfectly simple things, 'buon giorno' for instance. How to translate that? We don't say 'good day,' except in Australia. It has to be translated 'good morning' or 'good evening' or 'good afternoon' or 'hello.' You have to know not only the time of day the scene is taking place, but also in which part of Italy it's taking place, because in some places they start saying 'buona sera' ('good evening') at 1:00 P.M. The minute they get up from the luncheon table it's evening for them. So someone could say 'buona sera,' but you can't translate it as 'good evening' because the scene is taking place at 3:00 P.M. You need to know the language but, even more, the life of the country." — From the Paris Review interview, 2002.

Notes

Sources

External links