It is a common misconception that Walter Benjamin’s writings on translation, specifically “The Task of the Translator,” support and even found a translation practice that calls itself “experimental.” This couldn’t be further from the truth.
“Traduttore, traditore”: a cliché perhaps not worth repeating (like most bon-mots about translation, including that singularly awful quote from Yevtushenko). Except that, pari passu and funiculi, funicula, it doesn’t get repeated enough. That is, in its original it’s a near sonic repetition, with only one changed vowel—it is a repetition, then, that is subject to disavowal when you say “translator, traitor” in English.
“Please forgive me.” These words appear in the beginning of Jonathan Stalling’s Yíngēlìshī—an experimental “transgraphic” work written in what he calls “Sinophonic English,” which strains the parameters of what we call “translation.” Stalling’s work evinces a deep knowledge of and sensitivity towards Chinese language, philosophy, and culture; yet, he plays with misrecognitions and mishearings that emerge in the heterocultural space of mistranslation.