Misery by Stephen King (Translation and Analysis)

Home , Annie Wilkes, Tabitha King

MASARYK UNIVERSITY

FACULTY OF EDUCATION

Department of English Language and Literature

Bachelor Thesis

Brno 2019

Supervisor Written by: Mgr. Martin Němec, Ph.D. Nikola Macháňová

Anotace

Tato bakalářská práce se zabývá překladem a analýzou vybraných částí knihy Misery od amerického spisovatele Stephena Kinga. Práce je rozdělena do 3 hlavních částí. První část přiblíží život a dílo autora a také mnou vybranou knihu Misery. Druhá část práce se zaměřuje na samotný překlad vybraných kapitol knihy. Poslední část se věnuje analýze mého překladu, a to i v porovnání s původním českým překladem od Miroslava Jindry.

Klíčová slova

Stephen King, Misery, překlad, analýza, ekvivalence

Annotation

This bachelor thesis deals with translation and analysis of selected parts of the book Misery written by American author Stephen King. The thesis is divided into three main parts. The first part introduces the life and work of the author and the book Misery itself. The second part provides my own translation of selected chapters. Last part is focused on the analysis of my translation and its comparison with the original Czech translation by Miroslav Jindra.

Keywords

Stephen King, Misery, translation, analysis, equivalence

Prohlášení Prohlašuji, že jsem bakalářskou práci vypracovala samostatně, s využitím pouze citovaných pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů.

Declaration I hereby declare I worked on my bachelor thesis on my own and that I used only the sources listed in the bibliography.

In Brno, 2020 ………………………………………

Nikola Macháňová

Acknowledgement

I would like to thank my supervisor Mgr. Martin Němec, Ph.D. for his kind guidance, patience and valuable advice which helped me to finish my thesis.

Table of Contents

1. Introduction ...... 7

2. Author Stephen King ...... 9

2.1 Misery ...... 12

3. Practical part: My translation ...... 13

4. Theoretical part: Analysis ...... 47

4.1 Process of translation ...... 47

4.2 Absolute equivalents ...... 49

4.3 Partial equivalents ...... 49

4.3.1. Multi-word x Single-word expressions ...... 49

4.3.2 Specification ...... 50

4.3.2.1 Reporting clauses ...... 51

4.3.3 Generalization ...... 52

4.3.4 Differences in connotative meaning ...... 53

4.3.4.1 Stylistic connotation ...... 54

4.3.4.1.1 Old-fashioned expressions ...... 54

4.3.4.2 Expressive connotation ...... 54

4.3.4.2.1 Interjections ...... 55

4.3.5 Differences in pragmatic meaning ...... 56

4.3.5.1 Adding information ...... 57

4.3.5.2 Omitting information ...... 57

4.3.5.3 Substitution by analogy ...... 59

4.3.5.4 Different strategies between Jindra’s and my own translations ...... 60

4.4 Zero equivalents ...... 61

4.5 More equivalents ...... 63

4.6 Creativity ...... 65

4.7 Mistakes in Jindra’s translation ...... 69

5. Conclusion ...... 72

6. Bibliography ...... 73

1. Introduction This bachelor thesis deals with translation and subsequent analysis of selected chapters from the novel Misery written by Stephen King. The decision to dedicate my bachelor thesis to translation results from my genuine interest in this process, which was further deepened by attending optional courses focused on both the theory of translation and the practice itself. Since I found the work in both courses enjoyable, the choice was clear. Choosing the book was simple, as Stephen King belongs to one of my favourite authors of all time. I admire him not only as a writer, but also as a person. Despite several early rejections and failures, he followed his dream of becoming a writer and eventually he achieved worldwide fame, primarily for his work in the field of horror fiction. Although he is a true master of supernatural stories, it would be a shame to give him credit only for that. In fact, Misery is an ultimate proof that King does not always need the supernatural to create a terrifying story. What makes this novel so scary is the fact that it can actually happen in real life. After all, Misery is a story about an unhealthy obsession that escalates into terror, which is an easily believable scenario. Many writers can evoke fear by including supernatural elements into their stories, but only the great ones can turn the reality into a thrilling story which cannot let you sleep at night. For this reason, I chose Misery in particular, as I believe it illustrates King’s craft well and I would like to popularize it more. Furthermore, I believe this work will enrich me on the personal level by providing me the opportunity to gain valuable experience in the field of translation. Due to King’s creative style of writing, the translation process cannot be mechanical. Therefore, I expect my own creativity to be tested. Moreover, I would hope to enhance my knowledge in the area of translation process. The thesis is divided into three main parts. The first part contains a brief introduction of Stephen King’s life and work accompanied by a short summary of the book Misery itself. Since the original translation by Miroslav Jindra comes from 1994, some of the Czech expressions and sentence constructions are old-fashioned for modern readers. Therefore, the second part suggests my own translation of the first eight chapters of the book the aim of which is to provide a readable version of the original text. Lastly, the theoretical part with comparative analysis of both translations follows. This part will be based on books dealing with the theory of translation process by Levý, Knittlová, Newmark etc. and it will be focused mainly on the theory of

7 equivalence. The similarities and differences of both translations will be illustrated by examples from the text, some of which will be further commented in order to explain the solution.

2. Author Stephen King Stephen Edwin King is an American writer, who is best known for his work of horror fiction, which is why he is often referred to as “The King of Horror.” He was born on 21st September 1947 in Portland, Maine as the second son of Donald Edwin and Nellie Ruth Pillsbury King. Donald abandoned the family when Stephen was only two years old, leaving Ruth raising both sons on her own. Stephen and his older brother David were both raised as Methodists and they attended church regularly when they were young. In 1958 the family moved to a small house in Durham, where King attended grammar school. (Beahm 2017) After graduating from Lisbon Falls High School in 1966, King attended the University of Maine at Orono, where he met his future wife Tabitha Spruce. During his college years King was devoted to writing, even poetry. He graduated in 1970 with a Bachelor of Arts in English, but since there were no vacancies in his field, he started working first at a gas station and then at industrial laundry. In the same year their first daughter Naomi Rachel was born and a year later, Stephen and Tabitha got married. (Beahm 2017) In 1971 Stephen took the job of a high school teacher of English at Hampden Academy in Hampden, Maine. This was a badly paid job and their financial situation got even worse after the birth of their son Joseph Hillstrom King in 1972. Stephen’s low income was supplemented only by occasional contribution of short stories to magazines such as Cavalier. (Beahm 2017) The breakthrough in his career came with his story about an unpopular teenage girl with telekinetic powers. His wife believed in this book and encouraged Stephen to finish it. As a result, Carrie (1974) became King’s first published novel. (Beahm 2017) In 1973 King’s family moved to Sebago Lake in North Windham, Maine in order to be closer to King’s sick mother. During time, King wrote his next published novel Salem’s Lot (1975), originally called Second coming. After his mother lost her battle to cancer later that year, the family moved again – this time to Boulder, Colorado, where King worked on his novel The Shining (1977). In 1975 King’s family returned to Maine and bought a house in Bridgton, where he finished The Stand (1978) and wrote his fifth novel The Dead Zone (1979). (Beahm 2017) In 1977 Owen Phillip King was born and a year later the family moved to Orrington, as Stephen was offered to teach creative writing at the University of Maine at Orono for a year. After living for a short while in Center Lovell, the Kings bought a house in Bangor and in 2001 they purchased also a house in Florida, where the family now spends the winters. (Beahm 2017)

On 19th June 1999 King’s life changed completely as he was struck by a van driven by Bryan Smith. He suffered a severe injury but fortunately, he survived. Not only did this accident have an impact on his later writing, but it was one of the impulses which made him found a non-profit organization The Haven Foundation which now provides financial help to freelance artists who are not able to support themselves due to illnesses or injuries. Apart from this, Stephen and Tabitha contribute to many charities – they provide scholarships for Maine residents via Barking Foundation and they even set up The Stephen and Tabitha King Foundation which offers grants to local Maine communities. (Beahm 2017, StephenKing.com © 2000 – 2020) Furthermore, King also owns two radio stations WZON and WKIT and a small publishing house Philtrum press, where he publishes mainly his own works, e.g. The Eyes of Dragon (1984), the only book for children King has ever written. It was dedicated to his daughter Naomi as King wanted her to read something of his work. (Beahm 2017) Stephen King once decided to write anonymously in order to see if his books would succeed even without his brand name. That is why he published seven novels under pen name of Richard Bachman: Rage (1977), The Long Walk (1979), Roadwork (1981), The Running Man (1982), Thinner (1984), The Regulators (1996) and Blaze (2007). King intended to publish even more books under this pseudonym; nevertheless, in 1985 he was exposed. He then declared that Bachman died of “cancer of the pseudonym” and the last two novels were published posthumously. Bachman’s first novel Rage, dealing with the topic of school shooting, is the only book King let intentionally to fall out of print as it was associated with four cases of actual school shooting. (Beahm 2017) Throughout his life, King has written over 50 novels and won multiple awards including e.g. The National Book Foundation Medal for Distinguished Contribution to American Letters from 2003. His novels include for example: Christina (1983), Pet Sematary (1983), It (1986), Misery (1987), Gerald’s Game (1992), Dolores Claiborne (1993), Rose Madder (1995) or The Girl Who Loved Tom Gordon (1999). He stayed literally active even after 2000, publishing e.g. From a Buick 8 (2002), Colorado Kid (2005), Doctor Sleep (2013, a sequel to The Shinning) or The Outsider (2018). His newest published novel to this day is called The Institute (2019). (Beahm 2017) Some of his novels were influenced by his own life experience. As a former alcoholic and drug addict, King admitted he can hardly remember writing Cujo (1981) about a rabid Saint Bernard and his novel The Tommyknockers (1987) lost its potential due to the cocaine use. Later, the topic of baseball appears in some of his books, since this sport played an important

10 role in King’s life. He published a novel about the Red Sox baseball team called Faithful (2004), cowritten with Stewart O’Nan, and in 2010 King touched this topic once again in a novella called Blockade Billy. What belongs to King’s most famous works is The Dark Tower series written between 1970 and 2012. It consists of 8 fantasy novels and 1 novella and it is widely considered to be King’s magnum opus. (Beahm 2017) Although King is known mainly for writing fiction, he has also written a few non-fiction books like Danse Macabre (1981), On Writing: A Memoir of the Craft (2000) or Secret Windows (2000). King’s work also includes short stories and novellas which are composed in several collections. His short stories from magazines like Cavalier, Penthouse or Cosmopolitan are in his first collection called Night Shift (1978). Other collections are: Different Seasons (1982), Skeleton Crew (1985), Four Past Midnight (1990), Nightmares and Dreamscapes (1993), Everything’s Eventual (2000), Just After Sunset (2008), Full Dark, No Stars (2010) or The Bazaar of Bad Dreams (2015). In May 2020 King plans to release a new collection If It Bleeds. (Beahm 2017) King’s visual and cinematic style of writing was influenced by his early passion for reading comic books and watching films as a kid. Lots of King’s own books have been adapted into films and in some of them, King himself made an appearance. In 1994 The Shawshank Redemption directed by Frank Darabont was released. This film, based on King’s novella Rita Hayworth and Shawshank Redemption, was a huge success and it got 7 Oscar nominations. From March to April 1966 King’s The Green Mile was being continuously published in 6 volumes in total, which were then composed into one book. After reading the first volume, Frank Darabont decided he wanted to make a film out of it. This adaptation was released in 1999 and it was nominated for four Oscars. The film Maximum Overdrive, based on King’s short story Trucks, was directed by King himself. (Beahm 2017) King shared his opinion on the film adaptations of his books in the interview with The Rolling Stone, where he said that “Stand by Me, Shawshank Redemption, Green Mile are all really great ones. Misery is a great film. Delores Claiborne is a really, really good film. Cujo is terrific.” (Green 2014) Furthermore, King also supports the film students by giving them a chance to adapt one of his pre-approved short stories for one dollar and create so called “a Dollar Baby.” The list of the pre-approved short stories together with instructions is on King’s official website. (StephenKing.com © 2000 – 2020)

2.1 Misery Misery is a psychological novel written by Stephen King in 1987. It depicts a story of a famous writer Paul Sheldon, who wakes up after a serious car accident with shattered legs in a strange bed. What might at first seem as a rescue, turns out to be Paul’s worst nightmare. He is held captive in the house which belongs to Annie Wilkes, a psychotic former nurse who considers herself Paul’s number one fan. According to her own words, she loves all of his books but the series about Misery Chastain is her absolute favourite. No wonder she does not like the ending of the newest book from this series, where Paul killed off her favourite character. She decides he needs to write a new story, in which he brings Misery back to life. She gets him an old typewriter and Paul is forced to comply with her wishes. As exchange for the new story, Annie feeds him with painkillers, which he desperately needs. All Paul wants is to be in a hospital or anywhere else away from this woman but soon enough he realizes there is no way from this new prison he woke up in.

3. Practical part: My translation 1 1 umber whunnnn íslo jednaaaa yerrrnnn umber whunnnn vašeee faynkaaaa fayunnnn íslo jednaaaa These sounds: even in the haze. Tyhle zvuky: dokonce i v té mlze.

2 2 But sometimes the sounds – like the pain – Ale někdy ty zvuky, stejně jako bolest, faded, and then there was only the haze. He slábly, a potom tu zbyla pouze ta mlha. remembered darkness: solid darkness had Vzpomínal si na tmu: před mlhou přišla úplná come before the haze. Did that mean he was tma. Znamenalo to snad, že dělal pokrok? making progress? Let there be light (even of Budiž světlo (klidně jen v mlžné variantě) a the hazy variety), and the light was good, and světlo je dobré a tak dále a tak dále? so on and so on? Had those sounds existed in Existovaly tyhle zvuky v té tmě? Neznal the darkness? He didn’t know the answers to odpověď ani na jednu z těchto otázek. Mělo any of these questions. Did it make sense to vůbec smysl je pokládat? Ani na tuhle otázku ask them? He didn’t know the answer to that neznal odpověď. one, either.

The pain was somewhere below the sounds. Bolest byla někde pod těmi zvuky. Nacházela The pain was east of the sun and south of his se východně od slunce a jižně od jeho uší. To ears. That was all he did know. bylo jediné, co opravdu věděl.

For some length of time that seemed very Po jistou dobu, která se zdála velmi dlouhá (a long (and so was, since the pain and the taky že byla, protože ta bolest a bouřlivá mlha stormy haze were the only two things which byly jediné věci, které existovaly), byly tyhle existed) those sounds were the only outer zvuky jedinou vnější realitou. Vůbec netušil, reality. He had no idea who he was or where kdo je nebo kde je, a ani ho to nezajímalo. he was and cared to know neither. He wished Přál si být mrtvý, ale přes tu bolestí nasáklou he was dead, but through the pain-soaked mlhu, která vyplňovala jeho mysl jako letní haze that filled his mind like a summer storm- bouřkový mrak, ani nevěděl, že si to přál. cloud, he did not know he wished it.

As time passed, he became aware that there Jak čas ubíhal, uvědomil si, že se zde were periods of non-pain, and that these had vyskytují i období bez bolesti, které se a cyclic quality. And for the first time since cyklicky opakují. A poprvé od chvíle, kdy se emerging from the total blackness which had vynořil z té naprosté tmy, která předcházela prologued the haze, he had a thought which mlze, mu hlavou bleskla myšlenka, která existed apart from whatever his current existovala mimo jeho současnou situaci – ať situation was. This thought was of a broken- už to byla jakákoliv situace. Tato myšlenka off piling which had jutted from the sand at se týkala ulomeného sloupku, který vyčníval Revere Beach. His mother and father had z písku na pláži Revere kousek od Bostonu. taken him to Revere Beach often when he Když byl ještě malý kluk, rodiče ho na tuhle was a kid, and he had always insisted that pláž často brávali a on vždy trval na tom, aby they spread their blanket where he could keep si rozprostřeli deku na místě, ze kterého může an eye on that piling, which looked to him dohlížet na ten sloupek připomínající trčící like the single jutting fang of a buried tesák nějaké zahrabané příšery. Rád seděl a monster. He liked to sit and watch the water pozoroval vodu, jak stoupá až do bodu, kdy come up until it covered the piling. Then, ten sloupek úplně skryla. O několik hodin hours later, after the sandwiches and potato později, až se snědly sendviče a bramborový salad had been eaten, after the last few drops salát, až poslední kapky limonády z otcovy of Kool-Aid had been coaxed from his velké termosky byly vypity, těsně před tím, father's big Thermos, just before his mother než jeho matka zavelela, že byl čas se pobalit said it was time to pack up and start home, a jít domů, špička toho shnilého sloupku se the top of the rotted piling would begin to začala znovu ukazovat – napřed jen vykoukla show again - just a peek and flash between a mihla se mezi přicházejícími vlnami, pak the incoming waves at first, then more and ale vylézala víc a víc. Ještě než stihli vyhodit more. By the time their trash was stashed in odpad do velkého barelu s nápisem the big drum with KEEP YOUR BEACH UDRŽUJTE SVOU PLÁŽ ČISTOU na boční CLEAN stencilled on the side, Paulie's straně, sebrat Paulieho plážové hračky beach-toys picked up

(that's my name Paulie I'm Paulie and tonight (to je moje jméno Paulie já jsem Paulie a ma'll put Johnson's Baby Oil on my sunburn dnes večer mi máma natře spálenou kůži

14 he thought inside the thunderhead where he dětským olejem, pomyslel si uvnitř toho now lived) bouřkového mraku, kde teď žil) and the blanket folded again, the piling had a složit deku, ten sloupek se znovu téměř celý almost wholly reappeared, its blackish, vynořil. Jeho načernalé, slizem vyhlazené slime-smoothed sides surrounded by sudsy strany byly obklopené chumly nadýchané scuds of foam. It was the tide, his father had mořské pěny. Otec se mu snažil vysvětlit, že tried to explain, but he had always known it to byl příliv a odliv, ale on vždy věděl, že tady was the piling. The tide came and went; the jde hlavně o ten sloupek. Příliv se střídal s piling stayed. It was just that sometimes you odlivem, ale sloupek tam vždy zůstal. Akorát couldn't see it. Without the piling, there was jste ho občas nemohli vidět. Bez něj by žádný no tide. příliv a odliv nebyl.

This memory circled and circled, maddening, Tato vzpomínka mu v mysli kroužila pořád like a sluggish fly. He groped for whatever it dokola, nesnesitelně, jako loudavá moucha. might mean, but for a long time the sounds Snažil se přijít na její význam, ale na dlouhou interrupted. dobu to zase přerušily ty zvuky. fayunnnn faynkaaaa red everrrrrythinggg čtla šeeeckooo umberrrrr whunnnn ííííslo jednaaaa

Sometimes the sounds stopped. Sometimes Někdy se ty zvuky zastavily. Někdy se he stopped. zastavil on.

His first really clear memory of this now, the Jeho první opravdu jasná vzpomínka na tohle now outside the storm-haze, was of stopping, teď, teď mimo tu bouřlivou mlhu, byla, jak se of being suddenly aware he just couldn't pull zastavil a najednou si uvědomil, že se už another breath, and that was all right, that was nemůže nadechnout, a to bylo v pořádku, to good, that was in fact just peachy-keen; he bylo dobré, vlastně to bylo přímo báječné; could take a certain level of pain but enough dokázal sice snést určitou míru bolesti, ale co was enough and he was glad to be getting out je moc, to je moc, takže byl rád, že vypadává of the game. z kola ven.

Then there was a mouth clamped over his, a A pak se na jeho ústa přitiskla jiná ústa, která mouth which was unmistakably a woman's nepochybně patřila ženě, a to i přes tvrdé a mouth in spite of its hard spitless lips, and the suché rty, a vzduch z úst této ženy proudil do wind from this woman's mouth blew into his jeho vlastních úst, prodral se dolů hrdlem a own mouth and down his throat, puffing his pumpoval mu plíce, a když se ty rty odtáhly, lungs, and when the lips were pulled back he ucítil poprvé svou dozorkyni – ucítil její smelled his warder for the first time, smelled proud dechu, kterým do něj násilím vnikla her on the outrush of the breath she had tak, jak muž může vniknout částí svého těla forced into him the way a man might force a do bránící se ženy, hrozný zápach part of himself into an unwilling woman, a kombinující vanilkové sušenky a dreadful mixed stench of vanilla cookies and čokoládovou zmrzlinu a šťávu z kuřete a chocolate ice-cream and chicken gravy and arašídové máslo. peanut-butter fudge.

He heard a voice screaming, ‘Breathe, Uslyšel, jak nějaký hlas zakřičel: „Dýchejte, goddammit! Breathe, Paul!’ sakra! Tak dýchejte, Paule!“

The lips clamped down again. The breath Najednou se ty rty znovu přitiskly a jeho blew down his throat again. Blew down it like hrdlem zase začal prostupovat ten dech. the dank suck of wind which follows a fast Prodral se dolů jako zatuchlý závan větru za subway train, pulling sheets of newspaper rychle se řítícím metrem, který za sebou and candy-wrappers after it, and the lips were táhne listy novin a obalů od bonbonů. Pak se withdrawal, and he thought For Christ's sake ta ústa oddálila a on si pomyslel pro Kristovy don't let any of it out through your nose but rány, hlavně to nedýchej nosem, ale nemohl he couldn't help it and oh that stink, that stink si pomoct a pane bože ten smrad, ten smrad, that fucking STINK. ten zatracený SMRAD.

‘Breathe, goddam you!’ the unseen voice „Tak dýchejte, ksakru!“ ječel ten neviditelný shrieked, and he thought I will, anything, hlas a on si pomyslel dobře, udělám klidně please just don't do that anymore, don't infect cokoliv, jen už to prosím nedělej, už mě dál me anymore, and he tried, but before he could neinfikuj, a vážně se snažil, ale než mohl really get started her lips were clamped over opravdu začít, její rty byly znovu přisáté na

16 his again, lips as dry and dead as strips of těch jeho, suché a mrtvolné jako dva proužky salted leather, and she raped him full of her nasolené kůže, a pak byl znovu znásilněn air again. jejím dechem.

When she took her lips away this time he did Když odtáhla rty tentokrát, nepropustil její not let her breath out but pushed it and dech ven, ale naopak jej vtáhl dovnitř a sám whooped in a gigantic breath of his own. se zhluboka nadechl. Pak výdech. Čekal, až Shoved it out. Waited for his unseen chest to se jeho nespatřená hruď zase sama zvedne, go up again on its own, as it had been doing stejně jako to dělala celý život i bez jeho his whole life without any help from him. pomoci. Když se tak nestalo, znovu dávivě When it didn't, he gave another giant zalapal po dechu a pak už zase sám dýchal, a whooping gasp, and then he was breathing to co nejrychleji, aby se zbavil toho smradu a again on his own, and doing it as fast as he pachuti po ní. could to flush the smell and taste of her out of him.

Normal air had never tasted so fine. Obyčejný vzduch ještě nikdy nechutnal tak dobře.

He began to fade back into the haze again, but Znovu se začal propadat do té mlhy, ale ještě before the dimming world was gone entirely, než ten stmívající se svět úplně zhasl, he heard the woman's voice mutter: ‘Whew! zaslechl, jak ta ženská zamumlala: „No páni! That was a close one!’ Tak to bylo o fous!“

Not close enough, he thought, and fell asleep. Bohužel, pomyslel si a usnul.

He dreamed of the piling, so real he felt he Zdálo se mu o tom sloupku, byl natolik could almost reach out and slide his palm reálný, že cítil, jak k němu mohl téměř over its green-black fissured curve. natáhnout ruku a sklouznout dlaní po jeho zelenočerném popraskaném záhybu.

When he came back to his former state of Když se pak vrátil do svého dřívějšího stavu semi-consciousness, he was able to make the polovědomí, dokázal najít souvislost mezi

17 connection between the piling and his current tím sloupkem a jeho současnou situací – jako situation - it seemed to float into his hand. by mu to pojítko spadlo přímo do náruče. The pain wasn't tidal. That was the lesson of Bolest nebyla jako příliv a odliv. To byla the dream which was really a memory. The lekce z toho snu, který byl ve skutečnosti pain only appeared to come and go. The pain vzpomínkou. Jenom se zdálo, že ta bolest was like the piling, sometimes covered and přicházela a odcházela. Ale ona byla jako ten sometimes visible, but always there. When sloupek, někdy skrytá a někdy viditelná, ale the pain wasn't harrying him through the deep pořád přítomná. Když na něj zrovna stone grayness of his cloud, he was dumbly nedorážela v hluboké kamenné šedi jeho grateful, but he was no longer fooled - it was mračna, byl za to tiše vděčný, ale už se still there, waiting to return. And there was nenechal oklamat – ta bolest tam byla pořád, not just one piling but two; the pain was the jen vyčkávala, až se bude moct vrátit. A nebyl pilings, and part of him knew for a long time tu pouze jeden sloupek, ale dva; bolest before most of his mind had knowledge of představovala dva sloupky a nějaká část v knowing that the shattered pilings were his něm věděla, daleko dříve, než většina jeho own shattered legs. mysli tuto informaci zpracovala, že ty dva rozdrcené sloupky byly jeho vlastní rozdrcené nohy.

But it was still a long time before he was Ale trvalo ještě dlouho, než byl konečně finally able to break the dried scum of saliva schopný prolomit povlak ze zaschlých slin, that had glued his lips together and croak out který slepoval jeho rty k sobě, a zaskřehotat: ‘Where am I?’ to the woman who sat by his „Kde to jsem?“ směrem k ženě, která seděla bed with a book in her hands. The name of u jeho postele s knížkou v rukou. Autorem té the man who had written the book was Paul knihy byl Paul Sheldon. Poznal, že je to jeho Sheldon. He recognized it as his own with no jméno, a nijak ho to nepřekvapilo. surprise.

‘Sidewinder, Colorado,’ she said when he „V Sidewinderu v Coloradu,“ odpověděla was finally able to ask the question. ‘My mu, když se na tu otázku konečně vzmohl. name is Annie Wilkes. And I am –’ „Jmenuji se Annie Wilkesová a jsem – “

‘I know,’ he said. ‘You're my number-one „Já vím,“ přerušil ji. „Jste moje fanynka číslo fan.’ jedna.“

‘Yes,’ she said, smiling. ‘That's just what I „Ano,“ přikývla a usmála se. „To jsem přesně am.’ já.“

3 3 Darkness. Then the pain and the haze. Then Tma. Potom bolest a mlha. Pak vědomí, že i the awareness that, although the pain was když ta bolest byla nepřetržitá, byla někdy constant, it was sometimes buried by an pohřbená pod jakýmsi nestálým uneasy compromise which he supposed was kompromisem, který považoval za úlevu. relief. The first real memory: stopping, and První opravdová vzpomínka: jeho život se being raped back into life by the woman's zastavuje, ale ten páchnoucí ženský dech ho stinking breath. násilím přivádí zpět.

Next real memory: her fingers pushing Další opravdová vzpomínka: její prsty mu something into his mouth at regular intervals, strkají něco do úst v pravidelných something like Contac capsules, only since intervalech, něco jako tablety Panadolu. there was no water they only sat in his mouth Protože však neměl vodu, jenom mu seděly and when they melted there was an incredibly v ústech a když se nakonec rozpustily, ucítil bitter taste that was a little like the taste of neskutečně hořkou pachuť, která připomínala aspirin. It would have been good to spit that chuť aspirinu. Nejradši by ji vyplivl, ale byl bitter taste out, but he knew better than to do dost chytrý na to, aby to neudělal. Právě ta it. Because it was that bitter taste which hořká pachuť totiž zahalila sloup přílivem brought the high tide in over the piling.

(PILINGS it’s PILINGS there are TWO okay (SLOUPY jsou to SLOUPY jsou tu DVA jasný there are two fine now just hush just you jsou tu dva dobře a teď jen ticho jen však víš know hush shhhhhh) ticho pššššt) and made it seem gone for awhile. až se chvíli zdálo, že je úplně pryč.

These things all came at widely spaced To všechno se dělo ve velmi dlouhých intervals, but then as the pain itself began not intervalech, ale když pak samotná bolest to recede but to erode (as that Revere Beach přestala ustupovat a místo toho podléhat piling must itself have eroded, he thought, erozi (stejně jako i sám ten sloupek na pláži because nothing is forever – although the Revere musel podlehnout erozi, pomyslel si, child he had been would have scoffed at such protože nic netrvá věčně – i když jako dítě by heresy), outside things began to impinge se takovému kacířství vysmál), věci z more rapidly until the objective world, with vnějšího světa k němu začaly stále rychleji all its freight of memory, experience, and pronikat, až dokud se jeho objektivní svět s prejudice, had pretty much re-established celým nákladem vzpomínek, zkušeností a itself. He was Paul Sheldon, who wrote předsudků v podstatě znovu neobnovil. Byl novels of two kinds, good ones and best- Paul Sheldon, který psal romány dvojího sellers. He had been married and divorced druhu – dobré a bestsellery. Byl dvakrát twice. He smoked too much (or had before all ženatý a dvakrát rozvedený. Kouřil až příliš this, whatever ‘all this’ was). Something very mnoho (nebo aspoň před tímhle vším, ať už bad had happened to him but he was still „tohle všechno“ bylo cokoliv). Stalo se mu alive. That dark-gray cloud began to dissipate něco hodně špatného, ale byl stále naživu. faster and faster. It would be yet awhile Ten tmavě šedý mrak se začal rozplývat before his number-one fan brought him the rychleji a rychleji. Ještě chvíli potrvá, než mu old clacking Royal with the grinning gapped jeho fanynka číslo jedna přinese starý mouth and the Ducky Daddles voice, but Paul rachotící psací stroj značky Royal s hlasem understood long before then that he was in a kačera Donalda a šklebící se polorozbitou hell of a jam. tlamou. Paul však pochopil už dávno předtím, že je v pořádném průšvihu.

4 4 That prescient part of his mind saw her before Ta prozíravá část jeho mysli ji spatřila dřív, he knew he was seeing her, and must surely než si uvědomil, že ji vidí, a musela ji i určitě have understood her before he knew he was pochopit dřív, než si uvědomil, že ji chápe – understanding her - why else did he associate proč by si s ní jinak spojoval tak vážné, such dour, ominous images with her? zlověstné představy? Kdykoliv vešla do Whenever she came into the room he thought místnosti, vybavil si modly uctívané of the graven images worshipped by

20 superstitious African tribes in the novels of pověrčivými africkými kmeny v románech H. Rider Haggard, and stones, and doom. H. R. Haggarda a kameny a záhubu.

The image of Annie Wilkes as an African idol Představa Annie Wilkesové jako africké out of She or King Solomon's Mines was both modly z knih Ona nebo Doly krále ludicrous and queerly apt. She was a big Šalamouna byla naprosto směšná a zároveň woman who, other than the large but podivně výstižná. Byla to velká žena, která unwelcoming swell of her bosom under the kromě obrovského, ale nevlídně vybouleného gray cardigan sweater she always wore, poprsí pod šedým propínacím svetrem, který seemed to have no feminine curves at all - vždy nosila, neměla vůbec žádné ženské there was no defined roundness of hip or křivky – nebyl zde ani náznak zaoblenosti buttock or even calf below the endless boku nebo zadku, dokonce ani lýtka pod tou succession of wool skirts she wore in the nekonečnou řadou vlněných sukní, které house (she retired to her unseen bedroom to nosila v domě (než šla pracovat ven, odebrala put on jeans before doing her outside chores). se do ložnice, aby si oblékla džíny). Její tělo Her body was big but not generous. There bylo velké, ale nepřívětivé. Celkově působila was a feeling about her of clots and spíše jako sraženina či překážka. Rozhodně roadblocks rather than welcoming orifices or nevypadala jako někdo, kdo by vás přivítal s even open spaces, areas of hiatus. otevřenou náručí. Ani náznak uvolněnosti nebo šance se zvolna nadechnout.

Most of all she gave him a disturbing sense Ze všeho nejvíc mu však dávala znepokojivý of solidity, as if she might not have any blood pocit jednolitosti, jako by snad neměla žádné vessels or even internal organs; as if she cévy, nebo dokonce vnitřní orgány, jako by might be only solid Annie Wilkes from side bylo možné, že je jednolitou Annie to side and top to bottom. He felt more and Wilkesovou, která je tvořena ze strany na more convinced that her eyes, which stranu a odshora až dolů z jediného kusu. Byl appeared to move, were actually just painted stále více přesvědčen, že její oči, které se on, and they moved no more than the eyes of zdánlivě pohybují, jsou ve skutečnosti jenom portraits which appear to follow you to namalované a nehýbou se o nic více než oči wherever you move in the room where they portrétů, které jako by v místnosti, kde visí, hang. It seemed to him that if he made the sledovaly každý váš krok. Připadalo mu, že first two fingers of his hand into a V and kdyby roztáhl ukazováček a prostředníček do

21 attempted to poke them up her nostrils, they tvaru písmena „V“ a pokusil se je strčit do might go less than an eighth of an inch before jejích nosních dírek, neprošly by asi ani tři encountering a solid (if slightly yielding) milimetry, než by narazily na pevnou (i když obstruction; that even her gray cardigan and možná trochu ohebnou) překážku; že frumpy house skirts and faded outside-work dokonce i její šedý propínací svetr jeans were part of that solid fibrous a staromódní domácí sukně a vybledlé unchannelled body. So his feeling that she pracovní džíny na ven byly součástí toho was like an idol in a perfervid novel was not jednolitého pevného ničím really surprising at all. Like an idol, she gave neusměrňovaného těla. Takže jeho pocit, že only one thing: a feeling of unease deepening byla jako modla v nějakém sentimentálním steadily toward terror. Like an idol, she took románu, nebyl vlastně vůbec překvapivý. everything else. Stejně jako modla dávala pouze jedinou věc: pocit neklidu, který se plynule prohlubuje až v děs. Stejně jako modla si brala všechno ostatní.

No, wait, that wasn't quite fair. She did give Ne, počkat, to nebylo úplně fér. Přeci jen something else. She gave him the pills that dávala něco jiného. Dávala mu ty prášky, brought the tide in over the pilings. které zaplavily ty sloupky přílivem.

The pills were the tide; Annie Wilkes was the Ty prášky představovaly příliv, zatímco lunar presence which pulled them into his Annie Wilkesová byla měsíční bytost, která mouth like jetsam on a wave. She brought mu je vkládala do úst jako vyhozený lodní him two every six hours, first announcing her náklad plovoucí na vlně. Každých šest hodin presence only as a pair of fingers poking into mu přinesla dva, napřed její přítomnost his mouth (and soon enough he learned to oznamovaly pouze dva prsty, které mu suck eagerly at those poking fingers in spite strkala do úst (a dost brzy se naučil dychtivě of the bitter taste), later appearing in her tyto šťourající prsty ocucávat navzdory cardigan sweater and one of her half-dozen jejich hořké chuti), později přicházela ve skirts, usually with a paperback copy of one svém propínacím svetru a jedné z půl tuctu of his novels tucked under her arm. At night sukní, obvykle s brožovaným vydáním she appeared to him in a fuzzy pink robe, her jednoho z jeho románů zastrčeným pod paží. face shiny with some sort of cream (he could V noci se před ním zjevovala v chlupatém

22 have named the main ingredient easily růžovém županu s obličejem lesklým od enough even though he had never seen the nějakého krému (i když nikdy neviděl obal, bottle from which she tipped it; the sheepy hlavní přísadu by mohl pojmenovat dost smell of the lanolin was strong and snadno; ten ovčí pach lanolinu byl tak silný, proclamatory), shaking him out of his že se nedal s ničím zaměnit) a třásla jím, frowzy, dream-thick sleep with the pills dokud ho neprobrala z jeho hlubokého, nestled in her hand and the poxy moon neklidného spánku; prášky měla pečlivě nestled in the window over one of her solid uložené v dlani a oknem nad jejím masivním shoulders. ramenem bezvýznamně svítil měsíc.

After awhile – after his alarm had become too Po chvíli – kdy už jeho znepokojení vzrostlo great to be ignored - he was able to find out natolik, že se nedalo dále ignorovat – dokázal what she was feeding him. It was a pain-killer zjistit, čím ho krmila. Byl to Novril – lék proti with a heavy codeine base called Novril. The bolesti na silné bázi kodeinu. Důvodem, proč reason she had to bring him the bedpan so mu nemusela přinášet podložní mísu tak infrequently was not only because he was on často, bylo nejen to, že držel dietu a diet consisting entirely of liquids and skládající se výhradně z tekutin a želatin gelatines (earlier, when he was in the cloud, (dříve, když byl ještě v tom mračnu, she had fed him intravenously), but also vyživovala ho intravenózně), ale také to, že because Novril had a tendency to cause Novril měl tendenci vyvolávat zácpu u constipation in patients taking it. Another pacientů, kteří ho užívají. Dalším, poněkud side-effect, a rather more serious one, was závažnějším, vedlejším účinkem je respiratory depression in sensitive patients. způsobení hypoventilace u citlivějších Paul was not particularly sensitive, even pacientů. Paul nebyl nijak zvlášť citlivý, i though he had been a heavy smoker for nearly když byl těžký kuřák skoro osmnáct let, ale eighteen years, but his breathing had stopped jeho dýchání se přesto minimálně jednou nonetheless on at least one occasion (there zastavilo (možná i víckrát, v té mlze, na might have been others, in the haze, that he kterou si nevzpomínal). Byl to ten okamžik, did not remember). That was the time she kdy mu dala dýchání z úst do úst. Možná to gave him mouth-to-mouth. It might have just byla jedna z těch věcí, se kterými se nedá nic been one of those things which happened, but dělat, ale později začal mít podezření, že ho he later came to suspect she had nearly killed málem zabila neúmyslným předávkováním. him with an accidental overdose. She didn't O tom, co dělá, toho nevěděla ani zdaleka

23 know as much about what she was doing as tolik, kolik si myslela, že toho ví. A to byla she believed she did. That was only one of the jen jedna z věcí, které ho na Annie děsily. things about Annie that scared him.

He discovered three things almost Asi deset dní poté, co se vynořil z toho simultaneously, about ten days after having temného mračna, dospěl ke třem zjištěním emerged from the dark cloud. The first was téměř současně. Prvním z nich bylo, že Annie that Annie Wilkes had a great deal of Novril Wilkesová měla opravdu spoustu Novrilu (she had in fact, a great many drugs of all (vlastně měla spoustu léků všeho druhu). kinds). The second was that he was hooked Zadruhé si uvědomil, že je na Novrilu on Novril. The third was that Annie Wilkes závislý. A zatřetí zjistil, že Annie Wilkesová was dangerously crazy. byla nebezpečný šílenec.

5 5 The darkness had prologued the pain and the Ta tma předcházela bolesti i bouřlivému storm-cloud; he began to remember what had mračnu; když mu vyprávěla, co se mu vlastně prologued the darkness as she told him what stalo, začal si dokonce vzpomínat, co se dělo had happened to him. This was shortly, after před tou tmou. Bylo to krátce potom, co jí he had asked the traditional when-the- položil typickou když-se-spáč-probudí sleeper-wakes question and she had told him otázku a ona mu sdělila, že se nachází he was in the little town of Sidewinder, v malém městečku Sidewinder v Coloradu. Colorado. In addition she told him that she Navíc mu tvrdila, že každý z jeho osmi had read each of his eight novels at least románů přečetla minimálně dvakrát a své twice, and had read her very favorites, the naprosté oblíbence, romány o Misery, Misery novels, four, five, maybe six times. čtyřikrát, pětkrát, možná dokonce šestkrát. She only wished he would write them faster. Přála si jen, aby je psal rychleji. Říkala, že She said she had hardly been able to believe skoro nemohla uvěřit tomu, že jejím that her patient was really that Paul Sheldon pacientem je opravdu ten Paul Sheldon, a to even after checking the ID in his wallet. i poté, co zkontrolovala občanku v jeho peněžence.

‘Where is my wallet, by the way?’ he asked. „Mimochodem, kde mám vlastně peněženku?“ zeptal se.

‘I've kept it safe for you,’ she said. Her smile „Schovanou na bezpečném místě,“ ujistila suddenly collapsed into a narrow ho. Její úsměv se najednou sesunul do úzké watchfulness he didn't like much – it was like čáry značící ostražitost, která se mu zrovna discovering a deep crevasse almost obscured moc nezamlouvala – jako by uprostřed by summer flowers in the midst of a smiling, rozesmáté radostné louky najednou objevil jocund meadow. ‘Did you think I'd steal hlubokou trhlinu, která je téměř zakrytá something out of it?’ letním kvítím. „Myslel jste si snad, že bych z ní něco ukradla?“

‘No, of course not. It's just that –’ It's just that „Ne, samozřejmě, že ne. Já jen, že – “ Já jen, the rest of my life is in it, he thought. My life že celý můj zbytek života je v ní, pomyslel si. outside this room. Outside the pain. Outside Můj život mimo tenhle pokoj. Mimo tu bolest. the way time seems to stretch out like the long Mimo ten čas, který se táhne jako dlouhý pink string of bubble-gum a kid pulls out of růžový provázek žvýkačky, kterou si vytahuje his mouth when he's bored. Because that's z pusy znuděné dítě. Protože přesně takhle se how it is in the last hour or so before the pills cítí asi poslední hodinu předtím, než dostane come. další prášky.

‘Just what, Mister Man?’ she persisted, and „Že co, Panáčku?“ dorazila na něj a on se he saw with alarm that the narrow look was znepokojením uviděl, že ten její zúžený growing blacker and blacker. The crevasse pohled byl čím dál více temnější. Trhlina se was spreading, as if an earthquake was going šířila, jako by se za jejím čelem odehrávalo on behind her brow. He could hear the steady, zemětřesení. Slyšel to stálé, pronikavé keen whine of the wind outside, and he had a kvílení větru venku a najednou mu v mysli sudden image of her picking him up and vyvstala představa, jak ho Annie zvedá a hází throwing him over her solid shoulder, where přes své masivní rameno, kde by ležel jako he would lie like a burlap sack slung over a nějaký pytel mrštěný přes kamennou zeď, stone wall, and taking him outside, and vynáší ho ven a tříská s ním do sněhové heaving him into a snowdrift. He would závěje. Umrzl by, ale než by se tak stalo, jeho freeze to death, but before he did, his legs nohy by se chvěly a křičely bolestí. would throb and scream.

‘It's just that my father always told me to keep „Já jen, že můj otec mi vždycky říkal, abych my eye on my wallet,’ he said, astonished by si na svou peněženku dával pozor,“ vypravil how easily this lie came out. His father had ze sebe tuto lež tak snadno, až ho to made a career out of not noticing Paul any samotného udivilo. Jeho otec byl totiž more than he absolutely had to, and had, so přeborníkem v nevšímání si Paula o nic více, far as Paul could remember, offered him only než nezbytně musel, a pokud si Paul dobře a single piece of advice in his entire life. On vzpomínal, tak mu za celý svůj život dal Paul's fourteenth birthday his father had pouze jedinou radu. Ke čtrnáctým given him a Red Devil condom in a foil narozeninám od něj Paul dostal kondom envelope. ‘Put that in your wallet,’ Roger značky Red Devil. „Dej si to do peněženky,“ Sheldon said, ‘and if you ever get excited radil mu Roger Sheldon, „a pokud se někdy while you're making out at the drive-in, take vzrušíš při muchlování v autokině, dej si a second between excited enough to want to vteřinku pauzu a navleč si to dřív, než se and too excited to care and slip that on. Too rozvášníš tak moc, že ti budou ukradený many bastards in the world already, and I následky. Na světě je už tak dost don't want to see you going in the Army at nemanželskejch děcek a nerad bych pak sixteen.’ viděl, jak se v šestnácti ještě necháš nalákat do armády, abys to svý uživil.“

Now Paul went on: ‘I guess he told me to Teď Paul pokračoval: „Asi mi řekl tolikrát, ať keep my eye on my wallet so many times that si dávám pozor na svou peněženku, že už to it's stuck inside for good. If I offended you, mám nadobro zaryté v paměti. Jestli jsem vás I'm truly sorry.’ nějak urazil, tak se vážně omlouvám.“

She relaxed. Smiled. The crevasse closed. Uvolnila se. Usmála se. Trhlina se zavřela. Summer flowers nodded cheerfully once Letní kvítí se opět vesele pokyvovalo. again. He thought of pushing his hand Napadlo ho, že kdyby teď skrz ten úsměv through that smile and encountering nothing prostrčil ruku, narazil by jen na pružnou but flexible darkness. ‘No offense taken. It's temnotu. „To je v pořádku. Je na bezpečném in a safe place. Wait – I've got something for místě. Počkat – něco pro vás mám.“ you.’

She left and returned with a steaming bowl of Odešla a pak se vrátila s miskou kouřící soup. There were vegetables floating in it. He polévky. Plavaly v ní kousky zeleniny. was not able to eat much but he ate more than Nedokázal toho sníst moc, ale bylo to víc, než he thought at first he could. She seemed si zpočátku myslel. Vypadala potěšeně. pleased. It was while he ate the soup that she Zatímco jedl polévku, vyprávěla mu, co se told him what had happened, and he stalo, a on si na vše z toho postupně remembered it all as she told him and he vzpomínal. Předpokládal, že je dobré vědět, supposed it was good to know how you jak se to stane, že člověk skončí happened to end up with your legs shattered, s rozdrcenýma nohama, ale způsob, jakým but the manner by which he was coming to k tomuto poznání docházel, ho znepokojoval this knowledge was disquieting – it was as if – bylo to, jako kdyby byl jen postavou he was a character in a story or a play, a v nějaké povídce nebo hře, postavou, jejíž character whose history is not recounted like minulost není líčena jako minulost, ale history but created like fiction. vytvořena jako fikce.

She had gone into Sidewinder in the four- Tenkrát jela do Sidewinderu ve svém autě wheel drive to get feed for the livestock and s pohonem všech čtyř kol, aby koupila a few groceries... also to check out the krmivo pro dobytek a nějaké potraviny… a paperbacks at Wilson's Drug Center - that had taky aby se mrkla na brožované vydání knih been the Wednesday that was almost two v místním Wilsonově krámku – to bylo ve weeks ago now, and the new paperbacks středu, která byla téměř před dvěma týdny, a always came in on Tuesday. nové výtisky dorazí vždy v úterý.

‘I was actually thinking of you,’ she said, „Vlastně jsem na vás zrovna myslela,“ řekla, spooning soup into his mouth and then zatímco ho po lžičkách krmila polévkou a professionally wiping away a dribble from pak mu z koutku úst profesionálně utřela the corner with a napkin. ‘That's what makes kapku ubrouskem. „A to z toho právě dělá it such a remarkable coincidence, don't you takovou pozoruhodnou náhodu, nemyslíte? see? I was hoping Misery's Child would Doufala jsem, že Miseryino dítě bude finally be out in paperback, but no such luck.’ konečně v prodeji v brožovaném vydání, ale neměla jsem to štěstí.“

A storm had been on the way, she said, but Říkala, že se blížila bouřka, ale až do poledne until noon that day the weather forecasters toho dne meteorologové s jistotou tvrdili, že had been confidently claiming it would veer se stočí na jih, směrem k Novému Mexiku a south, toward New Mexico and the Sangre di pohoří Sangre de Cristos. Cristos.

‘Yes,’ he said, remembering as he said it: „Ano,“ přisvědčil Paul a přitom se začal ‘They said it would turn. That's why I went in rozpomínat: „Hlásili, že se to otočí. Hlavně the first place.’ He tried to shift his legs. The proto jsem tehdy vyjel.“ Pokusil se pohnout result was an awful bolt of pain, and he nohama. Výsledkem však byla jen příšerná groaned. bolest, která ho přinutila zasténat.

‘Don't do that,’ she said. ‘If you get those legs „Nedělejte to,“ varovala ho. „Jak se ty vaše of yours talking, Paul, they won't shut up... nohy začnou jednou ozývat, Paule, tak už and I can't give you any more pills for two nepřestanou… a já vám ještě dvě hodiny hours. I'm giving you too much as it is.’ nemůžu dát další prášek. Už tak vám jich dávám hodně.“

Why aren't I in the hospital? This was clearly Proč nejsem v nemocnici? Tahle otázka se the question that wanted asking, but he wasn't přímo nabízela, ale nebyl si jistý, jestli sure it was a question either of them wanted kdokoliv z nich skutečně chtěl, aby byla asked. Not yet, anyway. položena. Alespoň ne teď.

‘When I got to the feed store, Tony Roberts „Když jsem přišla do obchodu s krmivem, told me I better step on it if I was going to get Tony Roberts mi řekl, že bych na to radši back here before the storm hit, and I said –’ měla šlápnout, pokud se sem plánuji vrátit dřív, než ta bouřka udeří, tak jsem mu odpověděla –“

‘How far are we from this town?’ he asked. „Jak jsme daleko od toho města?“ přerušil ji.

‘A ways,’ she said vaguely, looking off „Daleko,“ odsekla neurčitě s pohledem toward the window. There was a queer upřeným k oknu. Nastala zvláštní chvíle ticha

28 interval of silence, and Paul was frightened a Paul se děsil toho, co viděl v její tváři, by what he saw on her face, because what he protože to, co viděl, nebylo nic. To černé nic saw was nothing; the black nothing of a široké trhliny poskládané do horské louky, crevasse folded into an alpine meadow, a černo, ve kterém nerostly žádné květiny a do blackness where no flowers grew and into kterého by se padalo asi dlouho. Byla to tvář which the drop might be long. It was the face ženy, která se na okamžik odpoutala od všech of a woman who has come momentarily životně důležitých funkcí a známek života, untethered from all of the vital positions and ženy, která přišla nejen o vzpomínku, kterou landmarks of her life, a woman who has právě líčila, ale o paměť celkově. Jednou si forgotten not only the memory she was in the byl prohlédnout psychiatrickou léčebnu – to process of recounting but memory itself. He bylo několik let zpátky, když zrovna sbíral had once toured a mental asylum – this was materiál pro Misery, první z jeho čtyř knih, years ago, when he had been researching které se za posledních osm let staly jeho Misery, the first of the four books which had hlavním zdrojem příjmu – a tam tenhle been his main source of income over the last pohled už viděl… nebo přesněji řečeno eight years - and he had seen this look... or, tenhle nepohled. Pro jeho označení se more precisely, this unlook. The word which používá termín katatonie, ale to, co Paula defined it was catatonia, but what frightened děsilo, nemělo žádné tak výstižné slovo – him had no such precise word - it was, rather, jednalo se spíše jen o jakési nejasné a vague comparison: in that moment he přirovnání: v ten moment si pomyslel, že její thought that her thoughts had become much myšlenky se začaly podobat tomu, jak si as he had imagined her physical self: solid, představoval její fyzické já: jednolité, fibrous, unchannelled, with no places of neřízené, bez možnosti ventilace. hiatus.

Then, slowly, her face cleared. Thoughts Pak se její obličej pomalu vyjasnil. Zdálo se, seemed to flow back into it. Then he realized že do ní proudí zpět tok myšlenek. Potom si flowing was just a tiny bit wrong. She wasn't uvědomil, že proudění nebyl tak úplně filling up, like a pond or a tidal pool; she was správný výraz. Nenaplňovala se jako rybník warming up. Yes... she is warming up, like nebo přílivové jezírko, ona se zahřívala. some small electrical gadget. A toaster, or Ano… zahřívala se jako nějaký malý maybe a heating pad. elektrický přístroj. Toustovač nebo možná nahřívací polštář.

‘I said to Tony, “That storm is going south.”’ „Řekla jsem Tonymu: ‚Ta bouřka míří na She spoke slowly at first, almost groggily, but jih.‘“ Nejdřív mluvila pomalu, skoro až then her words began to catch up to normal omráčeně, ale potom její slova získala cadence and to fill with normal normální spád a plnila se obvyklým conversational brightness. But now he was konverzačním důvtipem. Ale Paul byl teď ve alerted. Everything she said was a little střehu. Všechno, co řekla, bylo trochu divné, strange, a little offbeat. Listening to Annie trochu mimo. Poslouchat Annie bylo jako was like listening to a song played in the poslouchat píseň hranou ve špatné tónině. wrong key.

‘But he said, “It changed its mind.” „Ale on na to: ‚Rozmyslela si to.‘

‘“Oh poop!” I said. “I better get on my horse ‚No do prkýnka!‘ povídám. ‚Tak to abych už and ride.” běžela.‘

‘“I'd stay in town if you can, Miz Wilkes,” he ‘Bejt váma bych pokud možno zůstal ve said. “Now they're saying on the radio that it's městě, paní Wilkesová,‘ radil mi. ‚Teď říkaj going to be a proper jeezer and nobody is v rádiu, že to bude pořádný dělo a nikdo není prepared.” připravenej.‘

‘But of course I had to get back – there's no Ale já jsem se samozřejmě musela dostat one to feed the animals but me. The nearest zpátky – nikdo jiný by za mě ta zvířata people are the Roydmans, and they are miles nenakrmil. Nejbližší sousedi jsou from here. Besides, the Roydmans don't like Roydmanovi a ti bydlí hrozně daleko odtud. me.’ A kromě toho mě nemají rádi.“

She cast an eye shrewdly on him as she said Když říkala tu poslední část, vychytrale po this last, and when he didn't reply she tapped něm vrhla pohledem, a když neodpověděl, the spoon against the rim of the bowl in rázně zaklepala lžící na okraj mísy. peremptory fashion.

‘Done?’ „Hotovo?“

‘Yes, I'm full, thanks. It was very good. Do „Ano, už jsem plný, děkuji. Bylo to moc you have a lot of livestock?’ dobré. Máte hodně dobytku?“

Because, he was already thinking, if you do, Protože, uvažoval, jestli jo, tak to znamená, that means you've got to have some help. A že máš taky někoho na výpomoc. Aspoň hired man, at least. ‘Help’ was the operant jednoho najatého chlapa. „Pomoc“ bylo to word. Already that seemed like the operant klíčové slovo. Mimoto si stihl všimnout, že word, and he had seen she wore no wedding nemá žádný snubní prsten. ring.

‘Not very much,’ she said. ‘Half a dozen „Moc ne,“ řekla. „Šest nosnic. Dvě krávy. A laying hens. Two cows. And Misery.’ Misery.“

He blinked. Paul zamrkal.

She laughed. ‘You won't think I'm very nice, Zasmála se. „Asi si pomyslíte, že to ode mě naming a sow after the brave and beautiful není moc milé, pojmenovat prasnici po té woman you made up. But that's her name, statečné a krásné ženě, kterou jste stvořil. Ale and I meant no disrespect.’ After a moment's prostě se tak jmenuje, nemyslela jsem tím nic thought she added: ‘She's very friendly.’ The proti vám.“ Po chvilkovém zamyšlení ještě woman wrinkled up her nose and for a dodala: „Je velmi přátelská.“ Pak ta ženská moment became a sow, even down to the few nakrčila nos a na okamžik se sama stala bristly whiskers that grew on her chin. She prasnicí, a to i díky těm několika ježatým made a pig-sound: ‘Whoink! Whoink! Whuh- chlupům, které jí rostly na bradě. Vydala ze Whuh-WHOINK!’ sebe prasečí zvuk: „Chro! Chro! Chrochro- CHRO!“

Paul looked at her wide-eyed. Paul ji sledoval s vyvalenýma očima.

She did not notice; she had gone away again, Nevšimla si toho; zase byla nepřítomná, její her gaze dim and musing. Her eyes held no pohled nejasný a zamyšlený. V očích se jí nic

31 reflection but the lamp on the bed-table, nezrcadlilo, v každém z nich přebýval jen twice reflected, dwelling faintly in each. slabý odraz lampy na nočním stolku.

At last she gave a faint start and said: ‘I got Nakonec sebou lehce trhla a řekla: „Ujela about five miles and then the snow started. It jsem asi osm kilometrů a začalo sněžit. Stalo came fast – once it starts up here, it always se to rychle – jakmile to začne tady, tak to tak does. I came creeping along, with my lights je vždycky. Pomalu jsem se zapnutými světly on, and then I saw your car off the road, šinula vpřed a potom jsem vedle silnice overturned.’ She looked at him uviděla vaše převrácené auto.“ Změřila si ho disapprovingly. ‘You didn't have your lights nesouhlasným pohledem. „Vy jste zapnutá on.’ světla neměl.“

‘It took me by surprise,’ he said, „Úplně mě to překvapilo,“ vysvětloval, remembering only at that moment how he zatímco se mu ten moment překvapení had been taken by surprise. He did not yet vybavoval. Na to, že byl také docela opilý, si remember that he had also been quite drunk. zatím nevzpomínal.

‘I stopped,’ she said. ‘If it had been on an „Zastavila jsem,“ pokračovala. „Kdyby to upgrade, I might not have. Not very bylo někde ve svahu, asi bych to neudělala. Christian, I know, but there were three inches Není to moc křesťanské, já vím, ale už tak on the road already, and even with a four- bylo na silnici sedm centimetrů sněhu, a ani wheel drive you can't be sure of getting going s autem s pohonem všech čtyř kol si again once you lost your forward motion. It's nemůžete být jistý, že se znovu rozjedete, easier just to say to yourself, “Oh they jakmile jednou zastavíte. Je jednodušší si probably got out, caught a ride,” et cetera, et prostě říct, ‚Však oni se z toho nejspíš nějak cetera. But it was on top of the third big hill dostali, někdo je svezl,‘ a tak dále, a tak dále. past the Roydmans’ and it's flat there for Ale tohle se stalo zrovna na vrcholku třetího awhile. So I pulled over, and as soon as I got velkého kopce za Roydmanovými a tam je out I heard groaning. That was you, Paul.’ chvilku rovinka. Tak jsem zajela ke kraji a hned jak jsem vystoupila, uslyšela jsem sténání. To jste byl vy, Paule.“

She gave him a strange maternal grin. Podivně, tak nějak mateřsky, se na něj zazubila.

For the first time, clearly, the thought Poprvé a zcela jasně se v hlavě Paula surfaced in Paul Sheldon's mind: I am in Sheldona vynořila myšlenka: Jsem trouble here. This woman is not right. v průšvihu. S tou ženskou je něco špatně.

6 6 She sat beside him where he lay in what Dalších dvacet minut u něj seděla a mluvila. might have been a spare bedroom for the next Místnost, ve které se nacházeli, sloužila asi twenty minutes or so and talked. As his body jako pokoj pro hosty. Jakmile jeho tělo used the soup, the pain in his legs strávilo polévku, bolest v jeho nohách se reawakened. He willed himself to znovu probudila. Ze všech sil se snažil concentrate on what she was saying, but was soustředit se na to, co Annie říká, ale moc mu not entirely able to succeed. His mind had to nešlo. Jeho mysl se rozdvojila. Jedna část bifurcated. On one side he was listening to poslouchala její řeči o tom, jak ho vytáhla her tell how she had dragged him from the z vraku jeho auta Chevrolet Camaro 1974 – wreckage of his ‘74 Camaro – that was the to byla ta strana mysli, kde se nacházela side where the pain throbbed and ached like tepavá bolest připomínající pár starých a couple of old splintered pilings beginning roztříštěných sloupků, které začínají to wink and flash between the heaves of the vykukovat a míhat se mezi vlnami withdrawing tide. On the other he could see ustupujícího odlivu. Druhá část ho viděla himself at the Boulderado Hotel, finishing his v hotelu Boulderado v momentě, kdy zrovna new novel, which did not – thank God for dokončoval svůj nový román, ve kterém small favors – feature Misery Chastain. (díky bohu za malé laskavosti) nevystupovala Misery Chastainová.

There were all sorts of reasons for him not to Existovaly všemožné důvody, proč nepsat o write about Misery, but one loomed above Misery, ale jeden z nich se tyčil nad všemi the rest, ironclad and unshakable. Misery – ostatními s neotřesitelnou pevností. Misery thank God for large favors - was finally dead. (díky bohu za velké laskavosti) byla konečně She had died five pages from the end of mrtvá. Zemřela pět stránek před koncem Misery's Child. Not a dry eye in the house knihy Miseryino dítě. Když se to stalo, ani

33 when that had happened, including Paul's jedno oko nezůstalo suché, a to včetně own – only the dew falling from his ocularies Paulova – až na to, že kapky padající z jeho had been the result of hysterical laughter. očí byly následkem hysterického smíchu.

Finishing the new book, a contemporary Když dopisoval svou novou knihu, román ze novel about a car-thief, he had remembered současnosti o zloději aut, vzpomněl si, jak na typing the final sentence of Misery's Child: svém psacím stroji vyťukával poslední větu ‘So Ian and Geoffrey left the Little Miseryina dítěte: „A tak Ian a Geoffrey Dunthorpe churchyard together, supporting společně opustili kostelní hřbitov městečka themselves in their sorrow, determined to Little Dunthorpe a za vzájemné podpory find their lives again.’ While writing this line v tomto strastiplném čase jsou nyní he had been giggling so madly it had been odhodláni najít znovu smysl života.“ Při hard to strike the correct keys – he had to go psaní této věty se tak šíleně chichotal, že měl back several times. Thank God for good old problém strefovat se do správných kláves – IBM CorrectTape. He had written THE END musel to po sobě několikrát předělávat. Díky below and then had gone capering about the bohu za starou dobrou korekční pásku od room – this same room in the Boulderado společnosti IBM. Dolů napsal KONEC a Hotel – and screaming Free at last! Free at samou radostí začal poskakovat po pokoji – last! Great God Almighty, I'm free at last! tom samém pokoji v hotelu Boulderado – a The silly bitch finally bought the farm! křičet: Konečně volnej! Konečně volnej! Dobrotivý Bože, konečně jsem volnej! Ta blbá svině konečně natáhla brka!

The new novel was called Fast Cars, and he Ten nový román se jmenoval Rychlá auta a hadn't laughed when it was done. He just sat při jeho dokončování se už nesmál. Jen tam there in front of the typewriter for a moment, tak chvíli seděl před svým psacím strojem a thinking You may have just won next year's hlavou se mu prohnala myšlenka: Tak American Book Award, my friend. And then kamaráde, právě jsi možná vyhrál příští he had picked up – ročník Americké knižní ceny. A potom zvedl –

‘– a little bruise on your right temple, but that „– malou modřinu na pravém spánku, ale didn't look like anything. It was your legs…. vypadalo to, že to nic není. Zato vaše nohy…

I could see right away, even with the light I když už se stmívalo, okamžitě jsem viděla, starting to fade, that your legs weren't –’ že vaše nohy nebyly –“

– the telephone and called room service for a – telefon a zavolal pokojovou službu, aby mu bottle of Dom Pérignon. He remembered přinesli láhev Doma Perignona, jednoho waiting for it to come, walking back and forth z nejluxusnějších francouzských šumivých in the room where he had finished all of his vín. Vzpomínal si, jak při čekání přecházel books since 1974; he remembered tipping the tam a zpátky po tom pokoji, kde dokončil waiter with a fifty-dollar bill and asking him všechny své knihy od roku 1974; vzpomínal if he had heard a weather forecast; he si, jak dal číšníkovi padesátidolarovou remembered the pleased, flustered, grinning bankovku jako spropitné a zeptal se ho, jestli waiter telling him that the storm currently neslyšel předpověď počasí; vzpomínal si, jak heading their way was supposed to slide off mu ten potěšený, nervózně se zubící číšník to the south, toward New Mexico; he odpovídá, že ta bouře, která k nim v tu dobu remembered the chill feel of the bottle, the mířila, má sklouznout na jih, směrem discreet sound of the cork as he eased it free; k Novému Mexiku, vzpomínal si na ten he remembered the dry, acerbic-acidic taste chladivý povrch láhve, ten diskrétní zvuk of the first glass and opening his travel bag právě uvolňovaného korku; vzpomínal si na and looking at his plane ticket back to New tu suchou, trpce kyselou chuť první skleničky York; he remembered suddenly, on the spur a na to, jak otevřel svou cestovní tašku a of the moment, deciding – zadíval se na svou letenku zpátky do New Yorku; vzpomínal si, jak se najednou bez přemýšlení rozhodl, že –

‘– that I better get you home right away! It „– že bych vás raději měla okamžitě dostat was a struggle getting you to the truck, but domů! Byl to docela boj, naložit vás do mého I'm a big woman - as you may have noticed – pick-upu, ale jsem pořádný kus ženské – jak and I had a pile of blankets in the back. I got jste si nejspíš všiml – a vzadu jsem měla you in and wrapped you up, and even then, hromadu dek, takže jsem vás dostala dovnitř with the light fading and all, I thought you a zabalila vás do nich. A i když se potom už looked familiar! I thought maybe –’ stmívalo a kdesi cosi, tak jste se mi zdál povědomej! Napadlo mě, že možná –“

– he would get the old Camaro out of the – do letadla nenastoupí a místo toho vytáhne parking garage and just drive west instead of to své staré camaro z krytého parkoviště getting on the plane. What the hell was there hotelu a pojede prostě směrem na západ. Co in New York, anyway? The townhouse, by ho v tom blbém New Yorku vlastně empty, bleak, unwelcoming, possibly čekalo? Jeho řadový domek, prázdný, pustý, burgled. Screw it! he thought, drinking more nehostinný a dost možná vykradený. Kašlat champagne. Go west, young man, go west! na to! pomyslel si a znovu se napil The idea had been crazy enough to make šampaňského. Jeď na západ, mladý muži, jeď sense. Take nothing but a change of clothes na západ! Ten nápad byl dost šílený na to, and his – aby ve výsledku dával smysl. Vzít si akorát věci na převlečení a svůj –

‘ – bag I found. I put that in, too, but there „našla brašnu. Dala jsem ji taky dovnitř, ale wasn't anything else I could see and I was nic jiného jsem neviděla a měla jsem strach, scared you might die on me or something so že mi tam třeba umřete nebo tak, takže jsem I fired up Old Bessie and I got your –’ nastartovala tu svou starou kraksnu a vyrazila –“

– manuscript of Fast Cars and hit the road to – rukopis Rychlých aut a vyrazit na cestu Vegas or Reno or maybe even the City of the směrem do Vegas nebo Rena, nebo možná Angels. He remembered the idea had also dokonce do Města andělů. Vzpomínal si, že seemed a bit silly at first – a trip the kid of ten nápad se nejprve zdál trošku hloupý – twenty-four he had been when he had sold his takový výlet by mohlo podniknout jeho first novel might have taken, but not one for čtyřiadvacetileté já, které zrovna prodalo svůj a man two years past his fortieth birthday. A první román, ale ne chlap, který má už dva few more glasses of champagne and the idea roky po čtyřicítce. Stačilo však pár dalších no longer seemed silly at all. It seemed, in skleniček šampaňského a ten nápad fact, almost noble. A kind of Grand Odyssey nevypadal už vůbec hloupě. Ve skutečnosti to Somewhere, a way to reacquaint himself vypadal skoro vznešeně. Něco jako with reality after the fictional terrain of the Velkolepá Vzrušující Cesta do Neznáma, novel. So he had gone – způsob, jakým se znovu vrátit do reality po jízdě ve fiktivním terénu románu. Takže se vydal –

‘– out like a light! I was sure you were going „– jako když zhasnou světla! Byla jsem si to die.... I mean, I was sure! So I slipped your jistá, že umřete… Tím myslím fakt jistá! wallet out of your back pocket, and I looked Takže jsem vám ze zadní kapsy vytáhla at your driver's license and I saw the name, peněženku a podívala se na váš řidičák a Paul Sheldon, and I thought, “Oh, that must uviděla jsem to jméno, Paul Sheldon, a be a coincidence,” but the picture on the pomyslela jsem si ‚Páni, to musí být jen license also looked like you, and then I got so náhoda,‘ jenže ta fotka na tom řidičáku taky scared I had to sit down at the kitchen table. I odpovídala, a pak jsem se z toho všeho tak thought at first that I was going to faint. After vyděsila, že jsem si musela v kuchyni awhile I started thinking maybe the picture sednout ke stolu. Napřed jsem si myslela, že was just a coincidence, too - those driver's- omdlím. Po chvilce mě napadlo, že možná ta license photos really don't look like anybody fotka byla taky jenom náhoda – vždyť nikdo – but then I found your Writers’ Guild card, si není podobný na svojí fotce v řidičáku – ale and one from PEN, and I knew you were –’ pak jsem našla váš členský průkaz ze Sdružení spisovatelů a taky z PEN klubu a věděla jsem, že jste –“

– in trouble when the snow started coming – v maléru, když začalo sněžit, ale ještě down, but long before that he had stopped in dlouho předtím se zastavil v baru Boulderado the Boulderado bar and tipped George twenty a dal Georgovi dvacet babek jako spropitné bucks to provide him with a second bottle of za to, že mu obstaral druhou láhev Doma Dom, and he had drunk it rolling up I-70 into Pérignona. A když potom projížděl po dálnici the Rockies under a sky the color of I-70 Skalistými horami pod tmavě gunmetal, and somewhere east of the modrošedým nebem, měl ji už dávno Eisenhower Tunnel he had diverted from the vypitou. Někde východně od tunelu turnpike because the roads were bare and dry, Eisenhower z dálnice ale sjel, protože cesty the storm was sliding off to the south, what byly pusté a suché, bouře sklouzávala k jihu the hay, and also the goddam tunnel made a ten zatracený tunel ho navíc znervózňoval. him nervous. He had been playing an old Bo V kazeťáku pod palubní deskou si přehrával Diddley tape on the cassette machine under starou nahrávku Boa Diddleyho a rádio si the dash and never turned on the radio until zapnul až v momentě, kdy sebou camaro the Camaro started to seriously slip and slide začalo vážně smýkat a klouzat ze strany na and he began to realize that this wasn't just a stranu a on si začal uvědomovat, že tohle není

37 passing upcountry flurry but the real thing. jen nějaká obyčejná vnitrozemská sněhová The storm was maybe not sliding off to the přeháňka, tohle je vážné. Možná, že ta bouře south after all; the storm was maybe coming se nakonec nestáčela na jih; možná se šinula right at him and he was maybe in a bucket of přímo na něj a on byl možná v pořádném trouble průšvihu

(the way you are in trouble now) (stejně jako jsi teď) but he had been just drunk enough to think he ale byl dost opilý na to, aby si myslel, že could drive his way out of it. So instead of z toho může vybruslit. Takže místo toho, aby stopping in Cana and inquiring about shelter, zastavil v Caně a poptal se na nějaký úkryt, he had driven on. He could remember the kde by mohl tuhle smršť přečkat, pokračoval afternoon turning into a dull-gray chromium v cestě. Pamatoval si, jak celé odpoledne lens. He could remember the champagne mizí v matné, chromově šedé cloně. beginning to wear off. He could remember Pamatoval si, jak účinky šampaňského leaning forward to get his cigarettes off the začínají vyprchávat. Pamatoval si, jak se dashboard and that was when the last skid předklonil, aby si z přihrádky palubní desky began and he tried to ride it out but it kept vytáhl cigarety a v tu chvíli dostal poslední getting worse; he could remember a heavy smyk. Snažil se to nějak uřídit, ale akorát se dull thump and then the world's up and down to zhoršovalo; pamatoval si těžký tupý úder a had swapped places. He had – potom se svět obrátil naruby. A pak jen –

‘– screamed! And when I heard you „– křičel! A když jsem vás slyšela křičet, screaming, I knew that you would live. Dying věděla jsem, že budete žít. Umírající lidé men rarely scream. They haven't the energy. zrovna moc nekřičí. Nemají na to energii. To I know. I decided I would make you live. So vím. Rozhodla jsem se, že zařídím, abyste žil. I got some of my pain medication and made Takže jsem vás přinutila spolknout nějaké you take it. Then you went to sleep. When moje léky proti bolesti. Pak jste usnul. Když you woke up and started to scream again, I jste se vzbudil a začal zase křičet, dala jsem gave you some more. You ran a fever for vám další. Chvíli jste měl i horečku, ale tu awhile, but I knocked that out, too. I gave you jsem taky zahnala. Dala jsem vám Keflex. Keflex. You had one or two close calls, but Jednou nebo dvakrát jste měl na mále, ale teď that's all over now. I promise.’ She got up. už je po všem. Slibuju.“ Vstala. „A teď je

‘And now it's time you rested, Paul. You've načase, abyste odpočíval, Paule. Musíte zase got to get your strength back.’ nabrat sílu.“ ‘My legs hurt.’ „Bolí mě nohy.“

‘Yes, I'm sure they do. In an hour you can „Ano, o tom nepochybuji. Za hodinu vám have some medication.’ dám další léky.“

‘Now. Please.’ It shamed him to beg, but he „Teď. Prosím.“ Styděl se, že tak žadoní, ale could not help it. The tide had gone out and nemohl si pomoct. Odliv ustoupil a ty the splintered pilings stood bare, jaggedly roztříštěné sloupky tu teď stály holé, drsně real, things which could neither be avoided reálné. Bylo to něco, čemu se nedá vyhnout nor dealt with. ani se s tím vypořádat.

‘In an hour.’ Firmly. She moved toward the „Za hodinu.“ Neústupně. Vydala se ke door with the spoon and the soup-bowl in one dveřím se lžící a mísou od polívky v jedné hand. ruce.

‘Wait!’ „Počkejte!“

She turned back, looking at him with an Otočila se a upřela na něj přísný, ale milující expression both stern and loving. He did not pohled. Ten pohled se mu nelíbil. Ani trochu. like the expression. Didn't like it at all.

‘Two weeks since you pulled me out?’ „Takže to jsou dva týdny, co jste mě vytáhla z toho auta?“

She looked vague again, and annoyed. He Znovu se zatvářila neurčitě a otráveně. Paul would come to know that her grasp of time už brzy pozná, že její chápání času není was not good. ‘Something like that.’ přesné. „Tak nějak.“

‘I was unconscious.’ „Byl jsem v bezvědomí.“

‘Almost all the time.’ „Téměř celou dobu.“

‘What did I eat?’ „Co jsem jedl?“

She considered him. Změřila si ho pohledem.

‘IV,’ she said briefly. „IV,“ odpověděla stručně.

‘IV?’ he said, and she mistook his stunned „IV?“ podivil se a ona si jeho šokovaný údiv surprise for ignorance. spletla s neznalostí.

‘I fed you intravenously,’ she said. ‘Through „Vyživovala jsem vás intravenózně,“ tubes. That's what those marks on your arms vysvětlovala. „Pomocí kanyl. Proto máte na are.’ She looked at him with eyes that were pažích ty skvrny.“ Podívala se na něj očima, suddenly flat and considering. ‘You owe me které byly najednou chladné a přemýšlivé. your life, Paul. I hope you'll remember that. I „Vděčíte mi za svůj život, Paule. Doufám, že hope you'll keep that in mind.’ na to nezapomenete. Doufám, že to budete mít na paměti.“

Then she left. Pak odešla.

7 7 The hour passed. Somehow and finally, the Uběhla hodina. Konečně nějakým způsobem hour passed. uběhla hodina.

He lay in bed, sweating and shivering at the Ležel v posteli, potil se a třásl zároveň. same time. From the other room came first Z vedlejšího pokoje se nejprve ozývaly hlasy the sounds of Hawkeye and Hot Lips and postav ze seriálu M*A*S*H a potom then the disc jockeys on WKRP, that wild and diskžokejů z WKRP, té šíleně divoké rádiové crazy Cincinnati radio station. An stanice z Cincinnati. Pak přišel na řadu hlas announcer's voice came on, extolled Ginsu televizního hlasatele, který vychválil nože knives, gave an 800 number, and informed značky Ginsu, oznámil náležité číslo a those Colorado watchers who had simply informoval diváky Colorada, kteří jednoduše

40 been panting for a good set of Ginsu knives toužili po této skvělé sadě nožů, že that Operators Were Standing By. telefonistky vyčkávaly na jejich hovory.

Paul Sheldon was also Standing By. Paul Sheldon také vyčkával.

She reappeared promptly when the clock in Přesně když hodiny ve vedlejší místnosti the other room struck eight, with two odbily osm, znovu se objevila ve dveřích capsules and a glass of water. s dvěma tabletami a sklenicí vody.

He hoisted himself eagerly on his elbows as Když se posadila na postel, Paul se she sat on the bed. nedočkavě zvedl na loktech.

‘I finally got your new book two days ago,’ „Před dvěma dny se mi konečně podařilo she told him. Ice tinkled in the glass. It was a získat vaši novou knihu,“ oznámila mu. Ve maddening sound. ‘Misery's Child. I love it... sklenici cinkal led. Ten zvuk ho doháněl It's as good as all the rest. Better! The best!’ k šílenství. „Miseryino dítě. Miluju tu knížku… Je stejně dobrá, jako zbytek vašich knih. Ne, lepší! Nejlepší!“

‘Thank you,’ he managed. He could feel the „Děkuji,“ vytlačil ze sebe. Cítil, jak mu na sweat standing out on his forehead. ‘Please… čele vyvstává pot. „Prosím vás… moje my legs… very painful…’ nohy… hrozně bolí…“

‘I knew she would marry Ian,’ she said, „Já jsem věděla, že si vezme Iana,“ mluvila smiling dreamily, ‘and I believe Geoffrey and dál se zasněným úsměvem, „a jsem Ian will become friends again, eventually. Do přesvědčena, že Geoffrey a Ian se nakonec they?’ But immediately she said: ‘No, don't zase skamarádí. Nebo ne?“ Vzápětí ale tell! I want to find out for myself. I'm making dodala: „Ne, neříkejte mi to! Chci na to přijít it last. It always seems so long before there is sama. Schválně si to teď šetřím. Vždy mi to another one.’ totiž přijde hrozně dlouho, než vyjde další kniha.“

The pain throbbed in his legs and made a Nohama mu pulzovala palčivá bolest, která deep steel circlet around his crotch. He had jako by jeho rozkrok chytila do širokého touched himself down there, and he thought ocelové smyčky. Už se tam sebe předtím his pelvis was intact, but it felt twisted and dotýkal a myslel si, že jeho pánev zůstala weird. Below his knees it felt as if nothing neporušená, ale stejně měl pocit, že je nějak was intact. He didn't want to look. He could divně zkroucená. Zdálo se, že pod jeho see the twisted, lumpy shapes outlined in the koleny nezůstalo nic neporušeného. Nechtěl bedclothes, and that was enough. se podívat. Stačil mu pohled na ty zkroucené, hrbolaté obrysy něčeho, co se rýsovalo pod přikrývkou.

‘Please? Miss Wilkes? The pain –’ „Prosím vás? Slečno Wilkesová? Ta bolest – “

‘Call me Annie. All my friends do.’ „Říkejte mi Annie. Všichni moji přátelé mi tak říkají.“

She gave him the glass. It was cool and Podala mu sklenici. Byla chladná a orosená. beaded with moisture. She kept the capsules. Tablety si zatím nechala v ruce. Právě ty The capsules in her hand were the tide. She tablety byly příliv. Ona byla měsíc, který ten was the moon, and she had brought the tide příliv přivolal a on pak zaplavil ty sloupy. which would cover the pilings. She brought Přiložila mu ruku s tabletami k ústům a on je them toward his mouth, which he okamžitě dychtivě otevřel… a pak svou ruku immediately dropped open… and then she odtáhla zpět. withdrew them.

‘I took the liberty of looking in your little bag. „Dovolila jsem si nahlédnout do té vaší malé You don't mind, do you?’ brašny. Nevadí vám to, že ne?“

‘No. No, of course not. The medicine –’ „Ne. Ne, samozřejmě, že ne. Ty léky –“

The beads of sweat on his forehead felt Krůpěje potu na jeho čele ho střídavě pálily a alternately hot and cold. Was he going to studily. Bude křičet? Pomyslel si, že možná scream? He thought perhaps he was. ano.

‘I see there is a manuscript in there,’ she said. „Všimla jsem si tam nějakého rukopisu,“ She held the capsules in her right hand, which řekla. Tablety svírala v pravé dlani, kterou she now slowly tilted. They fell into her left teď pomalu naklonila. Tablety se skutálely do hand. His eyes followed them. ‘It's called její levé dlaně. Nespouštěl z nich oči. Fast Cars. Not a Misery novel, I know that.’ „Jmenuje se to Rychlá auta. Není to kniha o She looked at him with faint disapproval – Misery, já vím.“ Podívala se na něj s mírným but, as before, it was mixed with love. It was nesouhlasem – ale stejně jako předtím v tom a maternal look. ‘No cars in the nineteenth byl i náznak lásky. Byl to mateřský pohled. century, fast or otherwise!’ She tittered at this „Žádná auta v devatenáctém století, rychlá small joke. ‘I also took the liberty of glancing ani žádná jiná!“ Uchichtla se nad tím svým through it… You don't mind, do you?’ malým vtípkem. „A taky jsem si dovolila ji tak letmo prolistovat… Nevadí vám to, že ne?“

‘Please,’ he moaned. ‘No, but please –’ „Prosím vás,“ zasténal. „Nevadí, ale prosím – “

Her left hand tilted. The capsules rolled, Teď naklonila levou dlaň. Tablety se hesitated, and then fell back into her right kutálely, chvíli zaváhaly a za zvuku hand with a minute clicking sound. posunující se minutové ručičky na hodinách pak spadly zpět do její pravé dlaně

‘And if I read it? You wouldn't mind if I read „A kdybych si ji přečetla? Nevadilo by vám it?’ to?“

‘No –’ His bones were shattered, his legs „Ne –“ Jeho kosti byly roztříštěné, nohy jako filled with festering shards of broken glass. kdyby měl plné hnisajících střepů rozbitého ‘No…’ He made something he hoped was a skla. „Ne…“ Na tváři vyloudil něco, v co smile. ‘No, of course not.’

doufal, že byl úsměv. „Ne, samozřejmě, že ne.“

‘Because I would never presume to do such a „Protože já bych se nikdy neopovážila něco thing without your permission,’ she said takového udělat bez vašeho svolení,“ earnestly. ‘I respect you too much. In fact, ujišťovala ho naléhavě. „Na to si vás až příliš Paul, I love you.’ She crimsoned suddenly vážím. Vlastně vás, Paule, miluju.“ Najednou and alarmingly. One of the capsules dropped poplašeně zrudla. Jedna z tabletek jí vypadla from her hand to the coverlet. Paul snatched z dlaně přímo na pokrývku postele. Paul po at it, but she was quicker. He moaned, but she ní chňapl, ale Annie byla rychlejší. Zasténal, did not notice; after grabbing the capsule she ale ona si toho nevšimla; poté, co popadla tu went vague again, looking toward the tabletku, dívala se k oknu a zase začala být window. ‘Your mind,’ she said, ‘Your myšlenkami jinde. „Váš intelekt,“ creativity. That is all I meant’ vysvětlovala. „Vaši kreativitu. Nic víc jsem tím nemyslela.“

In desperation, because it was the only thing V zoufalství, protože to byla jediná věc, která he could think of, he said: ‘I know. You're my ho napadla, řekl: „Já vím. Vždyť jste moje number-one fan.’ fanynka číslo jedna.“

She did not just warm up this time; she lit up. Tentokrát ji to nejen zahřálo, teď v ní přímo ‘That's it!’ she cried. ‘That's it exactly! And vzplála radost. „Přesně tak!“ vykřikla. you wouldn't mind if I read it in that spirit, „Přesně tak to je! A nevadilo by vám, would you? That spirit of… of fan-love? kdybych si to v takovém duchu přečetla, že Even though I don't like your other books as ne? V duchu … fanouškovské lásky? I když well as the Misery stories?’ se mi vaše ostatní knížky nelíbí tolik, jako příběhy o Misery?“

‘No,’ he said, and closed his eyes. No, turn „Ne,“ odpověděl a zavřel oči. Ne, klidně si ze the pages of the manuscript into paper hats if stránek toho rukopisu udělej papírové čepice, you want, just… please… I'm dying in here… jestli chceš, jen… prosím… Já tady umírám…

‘You're good,’ she said gently. ‘I knew you „Jste dobrák, řekla vlídně. „Věděla jsem, že would be. Just reading your books, I knew budete dobrák. Už jen čtením vašich knížek you would be. A man who could think of jsem to věděla. Člověk, který dokáže Misery Chastain, first think of her and then vymyslet postavu Misery Chastainové, breathe life into her, could be nothing else.’ napřed ji vymyslet a pak jí vdechnout život, nemůže být nic jiného než dobrák.“

Her fingers were in his mouth suddenly, Najednou se její prsty ocitly v jeho ústech, shockingly intimate, dirtily welcome. He jejich šokující intimnost však sprostě uvítal. sucked the capsules from between them and Vysál z nich tabletky a spolkl je dřív, než si swallowed even before he could fumble the vůbec stačil rozlévající sklenici vody spilling glass of water to his mouth. neobratně přiložit k ústům.

‘Just like a baby,’ she said, but he couldn't see „Úplně jako miminko,“ pronesla, ale on ji her because his eyes were still closed and neviděl, protože měl stále zavřené oči a teď now he felt the sting of tears. ‘But good. cítil, jak ho v nich štípají slzy. „Ale There is so much I want to ask you… so much v pořádku. Je toho tolik, na co se vás chci I want to know.’ zeptat… tolik, co chci vědět.“

The springs creaked as she got up. Když vstala z postele, pružiny v matraci zavrzaly.

‘We are going to be very happy here,’ she „Budeme tady spolu velmi šťastní,“ řekla, a said, and although a bolt of horror ripped into ačkoliv Paul cítil, jak se mu do srdce zaryl šíp his heart, Paul still did not open his eyes. hrůzy, oči pořád neotvíral.

8 8 He drifted. The tide came in and he drifted. Byl unášen. Přišel příliv a on byl unášen na The TV played in the other room for awhile jeho vlně. Ve vedlejším pokoji hrála chvíli and then didn't. Sometimes the clock chimed televize a pak přestala. Hodiny občas odbily and he tried to count the chimes but he kept a on se snažil ta odbití počítat, ale pořád se getting lost between. v tom ztrácel.

IV. Through tubes. That's what those marks IV. Pomocí kanyl. Proto máte na pažích ty on your arms are. skvrny.

He got up on one elbow and pawed for the Podepřel se na jednom lokti a hmatal po lamp and finally got it turned on. He looked lampě tak dlouho, až ji konečně rozsvítil. at his arms and in the folds of his elbows he Prohlížel si své paže a v záhybech loktů saw fading, overlapped shades of purple and uviděl slábnoucí překrývané odstíny fialové a ocher, a hole filled with black blood at the okrové a uprostřed obou těchto modřin dírku center of each bruise. naplněnou černou krví.

He lay back, looking at the ceiling, listening Znovu si lehl, zadíval se na strop a naslouchal to the wind. He was near the top of the Great hučení větru. Nacházel se někde v blízkosti Divide in the heart of winter, he was with a vrcholu Velkého předělu uprostřed zimy, woman who was not right in her head, a s ženskou, která to neměla v hlavě v pořádku woman who had fed him with IV drips when a která ho vyživovala intravenózně, když byl he was unconscious, a woman who had an v bezvědomí, ženskou, která měla očividně apparently never-ending supply of dope, a nekonečné zásoby narkotik a která nikomu woman who had told no one he was here. neřekla, že je tady.

These things were important, but he began to Tohle všechno bylo důležité, ale začal si realize that something else was more uvědomovat, že je zde něco mnohem important: the tide was going out again. He důležitějšího: opět nastával odliv. Začal čekat began to wait for the sound of her alarm clock na zvuk jejího budíku v horním patře domu. upstairs. It would not go off for some long Ještě to chvíli potrvá, než začne zvonit, ale while yet, but it was time for him to start pro něj už byl nejvyšší čas, aby tento okamžik waiting for it to be time. začal očekávat.

She was crazy but he needed her. Byla sice šílená, ale on ji potřeboval.

Oh I am in so much trouble he thought, and Bože, já jsem v obrovským průseru, pomyslel stared blindly up at the ceiling as the droplets si a slepě civěl na strop, zatímco se mu na of sweat began to gather on his forehead čele zase začínaly hromadit kapičky potu. again.

4. Theoretical part: Analysis

4.1 Process of translation Translation is a complicated process which is hard to define even by experts. Nida & Taber (1969) stated that “translating consists in the reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.” (12) A text is generally considered a tool through which the author communicates with their readers in source language. Therefore, translation is a bilingual communicative act where the translator holds an important role of mediator between the author and the readers of target language. This act happens in three stages: in the first stage the communication between the author and the translator takes place, subsequently the translator decodes the message of the original text and codes it into the target language and lastly, the communication between the translator and the readers of target language occurs. (Hrdlička 1997) Levý (1983) distinguishes three stages of translation process: 1) understanding of the original, 2) interpretation of the original and 3) re-stylization of the original. Precondition for accurate translation is the fact that the translator understands not only the vocabulary, but also the meaning behind the text. Translation as an artistic process does not consist in mechanical translation of words, but in helping the author to pass on their message hidden in the text to foreign readers. (Levý 1983) Every translation is a kind of interpretation. One of the main difficulties translators must deal with, is the occurrence of polysemous expressions in the source language which do not exist in target language. In this case, the translator is obliged to specify the meaning based on their understanding of the text. The correct interpretation must have the base in most significant features of the work and the aim in objective values of the work. In order to highlight the objective applicability of the original work, the translator should suppress their own subjective modifications. (Levý, 1983) Although Levý considers interpretation as a separated stage of translation process, some argue that interpretation overlaps into all the stages of translation and thus it cannot be separated. (Hrdlička 1997) The last step of translator’s work is to re-stylize the text. However, the translator must deal with the asymmetry of source and target languages in terms of semantics and linguistics. A good translator should primarily be able to reduce the impact of language differences as much as possible, so the readers can enjoy the translation the same way as the original. To illustrate this point, if the source language contains linguistic devices which do not exist in target

47 language, the area should be somehow compensated (e. g. the variety of English tenses can be compensated by Czech verbal aspects). In this stage, translator’s ability of using the literary devices is shown. (Levý 1983) Hrdlička (1997) observes we can distinguish several translation types, among the three main ones belongs: 1) adequate translation, 2) literal translation and 3) free translation. Literal and free translations are both cases of extreme translations not acceptable for fiction. Literal translation is a form-oriented word-for-word translation which respects grammatical structure of the original text, but it does not work with the context, idioms or collocations. In contrast, free translation barely respects the original form of the text, commonly it is treated only like a loose inspiration. Frequently, the creativity of translator dominates at the expense of reproduction aspect. However, Levý (1983) criticizes this by pointing out that “cílem překladatelovy práce je zachovat, vystihnout, sdělit původní dílo, nikoliv vytvořit dílo nové, které nemělo předchůdce: cíl překladu je reprodukční” (83) What translators should be aiming at, is an adequate translation. In this case, the original work and readers of the target language are respected. The aspects of both creativity and reproduction should be in such ratio, which would guarantee unbiased transformation of values of the original text into new communicative context. An adequate translation must be accurate, clear, natural and it must bear the same meaning and evoke the same reaction as the original. (Knittlová, 2010) To accomplish this, the translator must master not only the source language, but mainly target language, which is in most cases the mother tongue. (Kufnerová 1994)

4.2 Absolute equivalents To start with, Knittlová (2010) distinguishes three basic types of equivalents: absolute, partial and zero equivalents. (39) According to her opinion, absolute equivalents are mainly words with unambiguous denotative meaning, including mainly nouns referring to “lidé v okolí, části těla, předměty nejbližšího okolí, předměty poněkud vzdálenějšího okolí, zvířata, časové údaje a konečně i abstrakta v přímém vztahu k člověku.” (40)

Examples from the text: KING JINDRA MACHÁŇOVÁ lungs plic plíce nose nosem nosem window okně oknem sun slunce slunce moon měsíce měsíc black černou černé

4.3 Partial equivalents “Vzhledem k tomu, že angličtina a čeština jsou jazyky nejen typologicky, ale I kulturněhistoricky, společensky a geograficky odlišné a vzdálené, rozdílné v místě, jaké zaujímají na ose racionálnost-emocionálnost, v tradicích úzu, kolokacích a frazeologii, je přímých, úplných E-ů poměrně málo a převládají protějšky částečné.” (Knittlová 2010: 41) Moreover, Knittlová (2010) distinguishes four main aspects, in which equivalents might differ. In most cases, these differences occur combined: a) Formal differences b) Differences in denotative meaning c) Differences in connotative meaning d) Differences in pragmatic meaning (42)

4.3.1. Multi-word x Single-word expressions English is generally considered more analytical and explicit compared to Czech language. It is due to the fact that a lot of English multi-word expressions can be expressed as a single word in Czech. Typically, the head of the English phrase is semantically poor element modified by the other element which carries the information and meaning. (Knittlová 2010: 42)

KING JINDRA MACHÁŇOVÁ this time Tentokrát Tentokrát for the first time poprvé poprvé

several times často několikrát

Analytical nature of English also manifests itself in verbs with prepositions which are commonly expressed in Czech as single-word verbs with prefixes. (Knittlová 2010: 43) See examples from the text below:

KING JINDRA MACHÁŇOVÁ fade back (se) … nořit (se) … propadat spit … out vyplivnout vyplivl picking … up popadne zvedá wrinkled up nakrčila nakrčila Pushing … through (se) … opřel prostrčil getting out vypadává vypadává

In some instances, Czech can be analytical as well. Multi-word Czech expressions are mainly used as result of zero equivalents of English verbs created by conversion of nouns, absence of single-word lexical unit referring to particular object (e.g. cog : ozubené kolečko) or lastly due to an attempt to make the utterance more expressive (Knittlová 2010: 44)

KING JINDRA MACHÁŇOVÁ tidal jako příliv a odliv jako příliv a odliv

4.3.2 Specification Knittlová (2010) observes that translators often tend to use more explicit or even explanatory language. As a result, Czech equivalents of English lexical units usually contain a semantic component in addition. In other words, the process of specification, the substitution by hyponym, takes place. (47-48) The specification concerns primarily verbs, as Czech verb is usually the bearer of the meaning in a sentence. This applies mainly to most frequent English groups of verbs, namely verbs of motion, communicative verbs, perceptual verbs and verbs of mental states. (Knittlová 2010) KING JINDRA MACHÁŇOVÁ That's why I went in the first Proto jsem tehdy taky vyjel. Hlavně proto jsem tehdy place. vyjel.

The pain only appeared to To se mu jenom zdálo, že ta Jenom se zdálo, že ta bolest come and go. bolest přichází a odchází. přicházela a odcházela.

As Knittlová (2010) points out, Czech equivalent of English verb “go” tends to include specifying information about the means of transport, hence the distinction between “jít” and “jet”. Furthermore, Czech language has a category of the verbal aspect. In the first example, perfective aspect of verb is used, whereas the second example contains a verb with imperfective aspect. Although less common, specification is possible even with other word classes, namely by adding specifying or emotional component. (Knittlová 2010: 58)

KING JINDRA MACHÁŇOVÁ Like an idol, she took Jako každá modla také Stejně jako modla si brala everything else. člověka o všechny ostatní všechno ostatní. pocity olupovala. The nearest people are the Nejbližší sousedi jsou Nejbližší sousedi jsou Roydmans … Roydmanovi … Roydmanovi … … getting you to the truck, … dostat vás do mojí … naložit vás do mého … dodávky, … pick-upu, …

I would like to comment on the last example regarding the translation of the word “truck”. Apart from specification, I consider this a nice example of translator’s subjective interpretation of reality. Both Jindra and I were given the same piece of information about this truck in the text – it is a four-wheel drive. Based on this additional information, Jindra specified it as “dodávka”, whereas I connotated it with “pick-up”.

4.3.2.1 Reporting clauses As regards reporting clauses in English, King himself claims that “the best form of dialogue attribution is said, as in he said, she said, Bill said, Monica said.” (King 2012: 142) However, Czech language is endowed with large number of synonyms and insufficient use of them is generally considered a stylistic mistake. This rule applies to communicative verbs as well. Knittlová (2010) explains that English most frequent communicative verb

“say” has in Czech not only direct equivalent “říct” and synonym “povídat”, but also several other equivalents bearing an extra information from the message itself. (55) Consequently, in both compared translations various kinds of communicative verbs were used as equivalents to King’s most common communicative verb “say”. See examples below:

KING JINDRA MACHÁŇOVÁ ‘I know,’ he said. “Já vím,” přerušil ji. „Já vím,“ přerušil ji. ‘Yes,’ she said, smiling. “Ano,” přisvědčila s „Ano,“ přikývla a usmála úsměvem. se. ‘I've kept it safe for you,’ “Bezpečně uložená, nebojte „Schovanou na bezpečném she said. se,” ujistila ho. místě,“ ujistila ho. ‘Put that in your wallet,’ “Ulož si ho do náprsní „Dej si to do peněženky,“ Roger Sheldon said, … tašky,” nabádal ho tehdy radil mu Roger Sheldon, … Roger Sheldon, … ‘Don't do that,’ she said. “Tohle nedělejte, Paule,” „Nedělejte to,“ varovala ho. napomenula ho. ‘Just like a baby,’ she said, “Jako malý děťátko,” „Úplně jako miminko,“ … komentovala to. pronesla, … ‘We are going to be very “Budeme tady spolu moc „Budeme tady spolu velmi happy here,’ she said, … šťastní,” řekla, … šťastní,“ řekla, …

4.3.3 Generalization Generalization is the opposite of specification, that is the substitution by hypernym. It is a shift towards abstraction due to the reduction of semantic components. When translating from English to Czech, process of generalization is less frequent than specification and it concerns mainly nominatives. The most common reason for generalization is the absence of Czech equivalent for particular object typical for English environment. (Knittlová 2010: 59)

KING JINDRA MACHÁŇOVÁ something like Contac Nějaké kapsle, asi lék něco jako tablety Panadolu capsules Ducky Daddles voice kachnivě klapotavým hlasem kačera Donalda hlasem jetsam kusy dřeva vyhozený lodní náklad

The first two examples illustrate generalization used by Jindra, whereas I chose to use substitution by analogy instead (these two strategies will be further discussed and compared in chapter 4.3.5.4). According to Merriam-Webster’s dictionary, jetsam is “the part of a ship, its equipment, or its cargo that is cast overboard to lighten the load in time of distress and that sinks or is washed ashore.” (“Jetsam.”) Although I tried to catch the closest meaning by translating it as “vyhozený lodní náklad”, I feel like Czech language does not provide such apt expression as English. For this reason, I consider not only my translation, but also Jindra’s “kusy dřeva” as examples of generalization.

Less common is generalization of verbs: KING JINDRA MACHÁŇOVÁ … before the storm hit …než dorazí ta bouře … než ta bouřka udeří He willed himself to Snažil se koncentrovat na to, Ze všech sil se snažil … concentrate soustředit se na to, … then had gone capering Začal skákat po pokoji samou radostí začal about the room poskakovat po pokoji

All the examples above show Jindra’s unnecessary generalization of verbs. Firstly, the aspect of resoluteness expressed by word “hit” instead of simple “come” is omitted in Jindra’s translation. Secondly, the level of intensity is lowered when translating “he willed himself to...” as only “snažil se”. Lastly, the semantic component of playful manner is left out when translating “capering about” as “skákat”. Since all three verbs can be expressed adequately in Czech, I dare to say that Jindra’s generalized translations impoverish the text.

4.3.4 Differences in connotative meaning Since each language has its own specific connotation of words, it is impossible to achieve exact connotative meaning when translating from source language to target language. Knittlová (2010) explains that “konotace se váže na emocionální složku lidského vědomí, která není nikdy v celém jazykovém společenství stejná. Jsou tu rozdíly rodinné, skupinové, sociální, oblastní apod.” (62) Even though most words have neutral connotation in terms of system use, they can become marked in connotation when used in text. Two basic types of connotation can be distinguished – stylistic connotation and expressive connotation. (Knittlová 2010: 62-63)

4.3.4.1 Stylistic connotation According to Knittlová (2010), stylistic connotation revise in using expressions from various language layers such as archaisms, colloquial expressions, slang etc. (63)

4.3.4.1.1 Old-fashioned expressions Misery was originally translated by Miroslav Jindra in 1994. Although his translation of the book is rather correct, there are some expressions which might seem slightly archaic for modern reader. See examples below: KING JINDRA MACHÁŇOVÁ dead mrtev mrtvý jeans bachratých texasek džíny the ID identifikační karty občanku wallet náprsní tašce peněžence

The prototype of old-fashioned expression is the translation of word “dead.” Jindra translated it as “mrtev”, the nominal form of adjective “mrtvý”. Nowadays, nominal forms of adjectives are generally considered archaic, that is why I decided to translate it as “mrtvý”, which is used more frequently. Similar principle applies for next three examples. Jindra’s translation of these words is not incorrect, though it is old-fashioned. To support this claim, I used a corpus of contemporary written Czech syn2015. These are the results: - 28 results for “texasky” and 1,677 results for “džíny” - 16 results for “identifikační karta” and 451 results for “občanka” - 115 results for “náprsní taška” and 2,120 for “peněženka”

4.3.4.2 Expressive connotation Expressive connotation is based on accentuation of the utterance and intensification of its impact on reader’s perception. Moreover, emotionality is also a significant part of expressivity as it reflects positive or negative attitude of the speaker to the referring reality. Czech language is generally richer in lexical units capable of expressive emotiveness, such as interjections or diminutives. In addition, the emotionality is often intensified by use of stylistically varied expressions of non-standard Czech. This suggests that in Czech language emotiveness is explicitly expressed, whereas in English it is rather implicitly understood from the context. (Knittlová 2010: 62-63)

KING JINDRA MACHÁŇOVÁ taste pachuť pachuť smell puch smradu the grinning gapped mouth rozšklebenou tlamou šklebící se polorozbitou tlamou father tatínek otec ‘Just like a baby,’ … “Jako malý děťátko,” … „Úplně jako miminko,“ … woman ženská ženskou the goddam tunnel toho zatraceného tunelu ten zatracený tunel

4.3.4.2.1 Interjections An interjection is a part of speeches used to express various feelings, moods, reactions and attitudes of the speaker or writer. The basic distinction of interjections is on primary and secondary interjections. Primary interjections are in most cases single-word expressions without denotative meaning (Knittlová 2010):

KING JINDRA MACHÁŇOVÁ ‘Whew! That was a close „Fuj! Málem se to „No páni! Tak to bylo o one!’ nepovedlo.“ fous!“ hush shhhhhh Psst psssst ticho pššššt Oh I am in so much trouble To jsem ale v pěkným Bože, já jsem v obrovským průseru průseru

When a part of a sentence, interjections are usually separated from the rest sentence elements by comma. Nevertheless, they can be also used as an independent exclamatory sentence, which is shown in the first example. The second example demonstrates the tendency of primary interjections to be composed of combinations of consonants, which do not usually occur together in written form, such as multiple “h” in English interjection “shhhhhh”, the unusual spelling of which causes also rare pronunciation /ʃ:/. In Czech multiple sibilants “s” or “š” can be used, depending on particular variant – “psst” or “pššt”. Interjections are generally more frequent in English and they usually take place at the beginning of a sentence which is shown in the third sample.

Secondary interjections are created from other word classes, mostly vocatives of nouns. Knittlová (2010) mentions the dominance of sacral expressions, mostly used to underline the urgency of the utterance:

KING JINDRA MACHÁŇOVÁ For Christ's sake kristebože pro Kristovy rány Thank God for small favors vzdejme Bohu díky za díky bohu za malé drobnou laskavost laskavosti Great God Almighty Bože Všemohoucí Dobrotivý Bože

An important role is played also by onomatopoeic interjections which imitate various sounds, including the sounds of animals. Due to different culture and language evolution, Czech and English renderings of animal noises vary:

KING JINDRA MACHÁŇOVÁ ‘Whoink! Whoink! Whuh- „Uink! Uink! Ui-ui-uink!“ „Chro! Chro! Chrochro- Whuh-WHOINK!’ CHRO!“

When translating this interjection, I worked on the assumption that in English environment the pig sound is referred to as “whoink whoink” while Czech equivalent is commonly known to be “chro chro”. On the contrary, Jindra decided to stick to the English interjection and only modify it to Czech transcription. Since our country does not use this interjection with connection to a pig, I consider Jindra’s translation incorrect.

4.3.5 Differences in pragmatic meaning Differences in pragmatic meaning are caused due to different life experience of readers of the source and target language. It follows that translator’s task is to reproduce author’s message in a way that it would be comprehensible for readers of target language as well. Knittlová (2010) suggests three ways how to deal with pragmatic differences: adding information, omitting information and substitution by analogy. (92-93)

4.3.5.1 Adding information When the translator assumes that the readers of target language would not understand the nature of particular expression used in source language, an extra descriptive information is added to their translation:

KING JINDRA MACHÁŇOVÁ Revere Beach Reverské pláži pláži Revere kousek od Bostonu The Sangre di Cristos pohoří Sangre de Cristos pohoří Sangre de Cristos – the telephone and called – telefon a požádal – telefon a zavolal room service for a bottle of hotelovou službu, aby mu do pokojovou službu, aby mu Dom Pérignon. pokoje přinesli láhev přinesli láhev Doma suchého šampaňského, Perignona, jednoho nejlépe originální Dom z nejluxusnějších Pérignon. francouzských šumivých

vín.

Based on my assumption that in our country it is not generally known where Revere Beach takes place, I decided to specify its location in the first example. However, Jindra probably did not consider this information important enough to specify it. In the second example, both Jindra and I agreed on translating the original “The Sangre di Cristos” as “pohoří Sangre de Cristos” since Czech readers are not commonly familiar with this mountain range. Although our specifications in the third example are not totally identical, both translations include an extra information about “a bottle of Dom Pérignon” in order to describe this champagne more.

4.3.5.2 Omitting information The opposite strategy is to omit redundant information which can be seen in examples below:

KING JINDRA MACHÁŇOVÁ Kool-Aid limonáda limonáda

tonight ma'll put Johnson's maminka mi večer natře dnes večer mi máma natře Baby Oil on my sunburn záda dětským olejem proti spálenou kůži dětským spáleninám olejem

The first option is the substitution of the specific expression by more general one. This strategy was applied in the first case when the expression “Kool-Aid” was substituted by more general one: “limonáda”. The other option is to leave out the specifying information – in this case, the original “Johnson’s Baby Oil” is translated just as “dětský olej”. Using brands of the products in translations would not be necessarily incorrect; however, since we do not have these brands in our society, they would not add any value to the translation. Therefore, the best solution is to omit them.

In some instances, Jindra decided to ellipt information without any reasonable explanation: KING JINDRA MACHÁŇOVÁ … and he had drunk it … a tuhle láhev pak za jízdy A když potom projížděl po rolling up I-70 into the po dálnici římská jedna dálnici I-70 Skalistými Rockies under a sky the sedmdesát pod olověnou horami pod tmavě color of gunmetal, … oblohou vysosal . modrošedým nebem, měl ji už dávno vypitou. I fed you intravenously,’ she „Vyživovala jsem vás „Vyživovala jsem vás said. ‘Through tubes. That's intravenózně,“ vysvětlovala. intravenózně,“ vysvětlovala. what those marks on your „Od toho máte ty skvrny na „Pomocí kanyl. Proto máte arms are.’ pažích.“ na pažích ty skvrny.“

The Rockies are a mountain range commonly known as Skalisté/Skalnaté hory in our country, so I do not see a point in omitting them in translation. Similarly, there is no apparent reason for not translating “Through tubes.” in second example, when it is explicitly written in the original.

4.3.5.3 Substitution by analogy This is the most frequent strategy and it is based on substituting the reality from source language by reality from target language. Kufnerová (1993) implies that substitution with analogy takes place “u takových prvků východiskového textu, které jsou jedinečně závislé na kulturním kontextu.” (112) In most cases, it concerns units of measurement:

KING JINDRA MACHÁŇOVÁ … they might go less than … pronikly by dovnitř jen … neprošly by asi ani tři an eighth of an inch … dva tři milimetry … milimetry … I got about five miles … Jela jsem asi patnáct minut Ujela jsem asi osm … kilometrů …

In our country, we do not use inches or miles as units of measurement, that is why both Jindra and I converted the inches into millimetres in the first example. The conversion does not have to be precisely accurate, but it should provide at least approximately same information as the original. I followed the same procedure even in the second example by converting miles into kilometres. Nevertheless, Jindra decided to change the unit of length for the unit of time which seems purposeless to me.

Importantly, conversion does not apply to currency: KING JINDRA MACHÁŇOVÁ he remembered tipping the Vybavoval si, jak dal vzpomínal si, jak dal waiter with a fifty-dollar číšníkovi číšníkovi bill padesátidolarovku jako padesátidolarovou zpropitné bankovku jako spropitné

Levý (1983) explains that:

V překladu má smysl zachovávat jen ty prvky specifična, které čtenář překladu může cítit jako charakteristické pro cizí prostředí, tj. jen ty, které jsou schopny být nositeli významu ‘národní a dobová specifičnost’. Všechny ostatní, které čtenář nechápe jako odraz prostředí, pozbývají obsahu a poklesají na bezobsažnou formu, protože nejsou schopny konkretizace. (121)

Accordingly to this view, converting the units of length or weight is acceptable unlike converting the currency. Since currency is specific for each country, conversion would change the original environment. This is the reason why neither translation converted dollars into Czech crowns. As regards the units of length and weight, the figure is more important than demonstration of national specificity and that enables the conversion.

Substitution by analogy might be also used when there is no adequate equivalent in target language for the original expression. Newmark suggests that “words for objects and institutions […] may be given a cultural equivalent.” (Newmark 2001: 30)

KING JINDRA MACHÁŇOVÁ chicken gravy slepičí vývar šťávu z kuřete peanut-butter fudge arašídovou pomazánku arašídové máslo

Both examples deal with cultural differences of food. Gravy is “a sauce made from the thickened and seasoned juices of cooked meat” (“Gravy.”) which is typical for British and American cuisine, but Czech does not provide an absolute equivalent for this dish. In order to achieve most accurate translation, the best solution would be to translate the whole definition. However, accuracy is not the most important aspect – King used several examples of different food to demonstrate the mixed smell of Annie’s breath. Therefore, I consider substitution by analogy the most suitable solution. I chose to translate it as “šťáva z kuřete” as the meaning to the original “chicken gravy” seems closer to me than Jindra’s “slepičí vývar”. Similarly, a peanut-butter fudge is a type of candy, which once again does not occur in our country. Due to this fact, both Jindra and I focused only on the main ingredient of the candy – the peanut butter – and translated it as “arašídová pomazánka” and “arašídové máslo”. Both translations are, according to my opinion, adequate.

4.3.5.4 Different strategies between Jindra’s and my own translations In some cases, I used a different strategy to deal with pragmatic differences as you can see in examples below: KING JINDRA MACHÁŇOVÁ something like Contac Nějaké kapsle, asi lék něco jako tablety Panadolu capsules

It would be yet awhile Mělo uplynout ještě hodně Ještě chvíli potrvá, než mu before his number-one fan času, než mu jeho fanynka jeho fanynka číslo jedna brought him the old clacking číslo jedna přinese starou přinese starý rachotící psací Royal with the grinning rozvrzanou roajálku stroj značky Royal s hlasem gapped mouth and the s rozšklebenou tlamou a kačera Donalda a šklebící Ducky Daddles voice. kachnivě klapotavým se polorozbitou tlamou. hlasem. There were three inches on To už na silnici ležela už tak bylo na silnici sedm the road already. pořádně silná vrstva sněhu. centimetrů sněhu.

In the first example, Jindra decided to omit the name of capsules, whereas I decided to use the substitution by analogy, since Panadol has similar ingredients as Contac capsules and it is known in our country. The same case is shown in the next example, where King used comparison to “Ducky Daddles voice” when describing the sound of the old typewriter. Once again, Jindra decided to generalize this expression as “kachnivě klapotavým hlasem”. However, I believe it is more challenging for translator to find corresponding analogy the expression can be substituted by, rather than using simple generalization as Jindra did. Since people from our country are familiar with cartoon character of kačer Donald, I translated it as “hlasem kačera Donalda”. Lastly, Jindra translated “three inches” as more general “pořádně silná vrstva”. Since English units of measurement are in most cases converted into Czech units of measurement, as it was mentioned above, I translated this as “sedm centimetrů”.

4.4 Zero equivalents As it was indicated earlier, in some cases, the translator must deal with the fact that the target language does not provide any equivalent of the expression from the source language. When this situation occurs, the translator usually creates a partial equivalent by substituting the original expression by more general one or by analogy. Nevertheless, the expression can be also adopted or Czechisized. (Knittlová 2010: 113) KING JINDRA MACHÁŇOVÁ Misery Misery Misery Paul Sheldon Paul Sheldon Paul Sheldon Annie Annie Annie Colorado Coloradu Coloradu New York New Yorku New Yorku

These are the examples of adaptation of the expressions. It is noticeable, that the process of adaptation happens mainly with the names of people and places. Knittlová (2010) also points out that it might be implied to terms, such as “software” or “hardware” as well (113).

Another option how to deal with the absence of equivalent is to use a calque: KING JINDRA MACHÁŇOVÁ earthquake zemětřesení zemětřesení New Mexico Novému Mexiku Novému Mexiku

A calque is a word-for-word translation, which is nicely represented by the first example – the compound “earthquake” was translated as a compound created by translating both parts of the original compound – “earth” and “quake” – separately. The second is an example of a partial calque – the first part of the expression “New” was translated as “Nové”, whereas the second part “Mexico” was only modified to Czech transcription as “Mexiko”.

The third option is Czechisizing: KING JINDRA MACHÁŇOVÁ jeans (bachratých texasek) džíny sandwiches sendviče sendviče Thermos termosky termosky

“Počešťování slov a tvarů, jejich zdomácňování souvisí s růstem jejich frekvence, s jejich potřebou, zvláště pak ve sféře běžnědorozumívací.” (Čechová 2008: 142) Typical feature of Czechisizing is the modification of spelling based on standard Czech pronunciation. In the first example, only I Czechisized the word “jeans” as “džíny”. I regard my translation as more adequate due to the fact that Jindra’s translation is old-fashioned, which was discussed earlier. The next two words were Czechisized the same way in both translations. Modification of spelling was applied not only based on the pronunciation, but also with regard of Czech alphabet. Czech words do not usually contain consonant , that is why it changed to in the word “sendvič”. Furthermore, the third example illustrates the typical simplification of to in Czechisized version of the word “thermos”.

4.5 More equivalents “Více ekvivalentů k lj VJ existuje velmi často, zejména v konfrontaci s angličtinou, kde je velká polysémie, značně difúzní pojmenovací systém a velká závislost na kontextu.” (Knittlová 2010: 114) To choose the right equivalent, the translator must consider mainly the situational context, linguistic context and collocability of expressions in the target language. After considering all these factors, an adequate equivalent is selected based on translator’s subjective choice which should respect the style of the original author as well.

a) Situational context I believe the importance of situational context can be nicely shown on the translations of the word “tide”. In Czech, there are two opposite equivalents corresponding to this word – “příliv” and “odliv”. Consequently, the translator must decide, based on situational context, if the right equivalent would be the first option, the second one or even both at the same time:

KING JINDRA MACHÁŇOVÁ She gave him the pills that Podávala mu pilulky, které Dávala mu ty prášky, které brought the tide in over the zaplavovaly přílivem ty zaplavily ty sloupky pilings. jeho zbídačelé podporné přílivem. sloupy. These things were important, Tohle všechno bylo jistě Tohle všechno bylo důležité, but he began to realize that velmi důležité, ale začínal si ale začal si uvědomovat, že something else was more uvědomovat, že existuje je zde něco mnohem important: the tide was něco, co je ještě mnohem důležitějšího: opět nastával going out again. důležitější: nastával v něm odliv. odliv… The tide came and went; the Příliv se střídal s odlivem, Příliv se střídal s odlivem, piling stayed. It was just that ale sloup tam byl stále. ale sloupek tam vždy zůstal. sometimes you couldn't see Jenom ho občas nebylo Akorát jste ho občas it. Without the piling, there vidět. Bez něj by nebyl ani nemohli vidět. Bez něj by was no tide. žádný příliv a odliv. žádný příliv a odliv nebyl. The pills were the tide; … Ty pilulky vytvářely příliv a Ty prášky představovaly odliv. příliv, …

King works with metaphorical language when describing the situation of the main characters – the pilings represent Paul’s shattered legs causing him a lot of pain. The pain can be temporarily suppressed by the pills Annie was feeding him. Metaphorically said, they “bring the tide (“příliv”) in over the pilings”, meaning that they relieve him from his pain for a while and when the effects fade away, “the tide (“odliv”) goes out again”. Based on this context, I would like to point out the fourth example as I believe Jindra misunderstood the context when translating “the tide” as “příliv a odliv” in this case. The pills stand for relief only, hence “příliv”.

b) Linguistic context and collocability of words “Určitá slova v určitých spojeních mají specializované ekvivalenty.” (Knittlová 2010: 115)

KING JINDRA MACHÁŇOVÁ For some length of time … Po určitou dobu … Po jistou dobu … … usually with a paperback … obvykle … obvykle s brožovaným copy of one of his novels s paperbackovým vydáním vydáním jednoho z jeho tucked under her arm. některého jeho románu románů zastrčeným pod zastrčeným v podpaždí. paží.

Moreover, Knittlová (2010) states that “odlišné kolokační zvyklosti se kombinují s jistou mírou subjektivní volby.” (115) This can be applied in the first example – although both translations chose “doba” as an equivalent of “time”, the expression “čas” would be acceptable as well. However, based on the phrase “tucked under” in the second example, there is only one right equivalent for translation. Even though arm can be translated as “ruka”, in this collocation it would not make sense.

c) Stylistic tone of the work “Na základě odlišného pojetí a interpretace stylu díla se objevují v různých překladových verzích různě stylisticky zařaditelná synonyma” (Knittlová 2010: 118):

KING JINDRA MACHÁŇOVÁ bubble gum žvýkací gumy žvýkačky hospital špitále nemocnici die exnout umřete

d) Subjective approach of the translator In some instances, the target language is endowed with several synonyms which can be chosen based on translator’s taste. “Jde vesměs o synonyma s nevelkými rozdíly sémantickými nebo stylistickými.” (Knittlová 2010: 119)

KING JINDRA MACHÁŇOVÁ stinking smrdutý páchnoucí ominous hrozivé zlověstné condom prezervativem kondom awful strašlivý příšerná queer podivná zvláštní grinning křenící se zubící se cork zátky korku a pile of blankets nějaké přikrývky hromadu dek moaned zaúpěl zasténal

4.6 Creativity Translation is often considered partly a creative process, especially when the translator must deal with non-existing equivalents or original combinations of words. When this happens, the translator is obliged to either create new expressions (neologisms) or to use lexicon of target language in such way it would create original and engaging text evoking the same images and feelings as the original text. Newmark (1995) states that “where words represent images and connotations rather than facts, that creativity comes into play, and the play of words becomes creative.” (40) Stephen King is well-known for his unique style of writing as his language is full of original word combinations. Since King himself is highly creative, translating Misery provides several chances to translators to use their own creativity:

KING JINDRA MACHÁŇOVÁ the traditional when-the- tradiční otázku člověka, typickou když-se-spáč- sleeper-wakes question který se právě probral probudí otázku z dlouhých mátoh The idea had been crazy Nápad mu nakonec připadal Ten nápad byl dost šílený enough to make sense. docela logický. na to, aby ve výsledku dával smysl.

His father had made a Otec si totiž Paula nikdy Jeho otec byl totiž career out of not noticing nevšímal ani o chlup víc, než přeborníkem v nevšímání si Paul any more than he bylo nezbytně třeba … Paula o nic více, než absolutely had to … nezbytně musel … ‘“I'd stay in town if you can, „Bejt váma, zůstanu radši ‘Bejt váma bych pokud Miz Wilkes,” he said. “Now tady ve městě,“ radil mi. „V možno zůstal ve městě, paní they're saying on the radio rádiu hlásili, že z toho může Wilkesová,‘ radil mi. ‚Teď that it's going to be a proper být pořádná čina, ale nikdo říkaj v rádiu, že to bude jeezer and nobody is na to není připravenej.“ pořádný dělo a nikdo není prepared.” připravenej.‘

Mister Man Mistře Panáčku

I believe that when the author uses creativity in their writing, the best possible solution is to make the translation creative as well. That is why I stuck to King’s original structure of “when-the-sleeper-wakes question” and translated it as “když-se-spáč-probudí otázku”. Jindra’s translation is not incorrect; however, it kills the creativity King put into this passage. In the second example, King used a paradox to describe Paul’s idea. In order to follow the original as much as possible, I decided to translate this paradox to Czech, whereas Jindra left it out. Nevertheless, this choice makes his translation once again impoverished in comparison to the original. In the next example, King emphasized the fact that Paul’ father did not notice him by using the phrase “make a career out of something”. I translated is as “být přeborníkem v něčem”, whereas Jindra omitted it. I have never come across a word “jeezer” and I was not even able to find the definition, so I suppose this is an example of King’s neologisms. This expression was used to describe the oncoming storm, so based on the context, I translated it as “pořádný dělo”. Although Jindra’s “pořádná čina” might be correct, the fact I have never heard the word “čina” before suggest his translation is at least old-fashioned. Lastly, I decided to include one of Annie’s typical vocabulary “Mister Man” which she used to address Paul in the story. Translation of this phrase is more on translator’s subjective taste. Therefore, in this case there is no right or wrong translation.

Additionally, King uses large amount of unique adjective in order to create as accurate image as possible:

KING JINDRA MACHÁŇOVÁ … the piling had almost … byl už ten pahýl sloupu … ten sloupek se znovu wholly reappeared, its skoro celý zase venku a jeho téměř celý vynořil. Jeho blackish, slime-smoothed zčernalé, slizce ohlazené načernalé, slizem vyhlazené sides surrounded by sudsy boky zdobily chomáče strany byly obklopené scuds of foam. mořské pěny. chumly nadýchané mořské pěny. pain-soaked haze bolestí prosáklá mlha bolestí nasáklou mlhu frowzy, dream-thick sleep mátožné noční můry hlubokého, neklidného spánku

In some cases, Jindra decided to leave out some descriptive adjectives from the original: KING JINDRA MACHÁŇOVÁ green-black fissured curve. … nazelenale černé křivce … jeho zelenočerném jeho těla. popraskaném záhybu. the old clacking Royal with starou rozvrzanou roajálku starý rachotící psací stroj the grinning gapped mouth s rozšklebenou tlamou a značky Royal s hlasem and the Ducky Daddles kachnivě klapotavým hlasem kačera Donalda a šklebící se voice polorozbitou tlamou

In the first case, the word “fissured” was omitted from Jindra’s translation. Since this adjective is translatable without any difficulties, I do not understand why he intentionally left it out. Admittedly, the second example was difficult to translate. I believe “gapped” in this context is used to point out the fact that the described typewriter missed a few keys. However, Czech does not have appropriate one-word equivalent. Nonetheless, I did not want to make the translation unnecessarily longer by using a descriptive sentence and I also refused to omit the adjective as Jindra did. In the end, I chose the word “polorozbitá” which is in my opinion an adequate solution.

All in all, the most challenging part for me to translate was Paul’s metaphorical description of Annie:

KING JINDRA MACHÁŇOVÁ There was a feeling about Vyvolávala představu Celkově působila spíše jako her of clots and roadblocks beztvaré hmoty či sraženina či překážka. rather than welcoming betonového kvádru – nikde Rozhodně nevypadala jako orifices or even open žádný zvoucí otvor či třeba někdo, kdo by vás přivítal spaces, areas of hiatus. jen volný prostor, úlevná s otevřenou náručí. Ani mezera. náznak uvolněnosti nebo šance se zvolna nadechnout. solid fibrous unchannelled jednolitým, masivním, jednolitého pevného ničím body ničím neprotkávaným neusměrňovaného těla tělem … in that moment he … v té chvíli se mu zdálo, že … v ten moment si thought that her thoughts její myšlenky jsou přesnou pomyslel, že její myšlenky had become much as he had replikou toho, jak si se začaly podobat tomu, jak imagined her physical self: představoval její fyzickou si představoval její fyzické solid, fibrous, existenci – že tvoří já: jednolité, neřízené, bez unchannelled, with no jednolitou tkáň bez možnosti ventilace. places of hiatus. jakýkoliv průduchů, naprosto kompaktní.

I consider these the cases when our creativity was truly tested and I am still not completely sure what King’s exact intention behind his words was. In the first example, I focused more on the main idea of the description and then I figuratively translated it as I consider this more natural than literal translation. In the next two examples, King used the same three words to describe both Annie’s body and thoughts. The most challenging word for me was “fibrous”. I tried to find an adequate equivalent which could be used in both cases, though I failed. That is why I omitted it in the second case. What I would like to point out is the translation of “no places of hiatus” when describing thoughts. I believe my translation “bez možnosti ventilace” is slightly more

68 adequate than Jidra’s “bez jakýkoliv průduchů” since phrase “ventilovat myšlenky” is commonly used in Czech language.

4.7 Mistakes in Jindra’s translation When comparing both translations, I noticed some parts in Jindra’s translation which I consider incorrect or at least inaccurate. I decided to divide these mistakes into several categories.

The first category shows examples of wrongly translated words based on their definition: KING JINDRA MACHÁŇOVÁ … he smelled his warder … ucítil poprvé svou … ucítil poprvé svou for the first time ošetřovatelku dozorkyni a little bruise on your right menší tržnou ránu na malou modřinu na pravém temple spánku spánku … and tipped George … a barman George dostal … a dal Georgovi dvacet twenty bucks trinkgeld padesát dolarů babek jako spropitné

The first example is the translation of the word “warder”. According to Merriem- Webster Dictionary, a warder is “a prison guard” (“Warder.”) Based on this simple definition, I decided to translate this word as “dozorkyně”. My decision was further supported by the context of the story, as this expression was used to describe Annie, who basically held Paul prisoner in her own house. Therefore, I consider Jindra’s translation “ošetřovatelka” too gentle and hence inaccurate. In the second example, I would like to comment on the translation of the word “a bruise” which is “an injury involving rupture of small blood vessels and discoloration without a break in the overlying skin.” (“Bruise”) Considering this definition, the right Czech equivalent is “modřina”, since “tržná rána” implies the damage of a skin. The last example is a kind of mystery to me, as I do not understand why Jindra translated “twenty bucks” as “padesát dolarů”. Whatever the explanation is, this translation is obviously incorrect.

The next two mistakes were caused due to lack of cultural knowledge: KING JINDRA MACHÁŇOVÁ

an old Bo Diddley tape starý pásek s Bo starou nahrávku Boa Diddleyovou Diddleyho the sounds of Hawkeye and nějakou hudbu ve stylu hlasy postav ze seriálu Hot Lips country-and-western M*A*S*H

In the first example, we can see Jindra’s incorrect translation of the name of a male singer Bo Diddley. While in English the gender of a person is not identifiable from the form of the last name, in Czech we use the ending “ová” only for females. This implies Jindra’s insufficient knowledge of cultural context. The similar mistake is shown in the second example as well. Hawkeye and Hot Lips are the names of characters from American TV series M*A*S*H. Based on the assumption that Czech readers might not be familiar with the names of the characters as well as the English ones, I chose to generalize the translation. As a result, I used “hlasy postav ze seriálu M*A*S*H“, since this TV series aired in Czech republic too. On the other hand, Jindra translated it as „nějakou hudbu ve stylu country-and-western“, which has nothing in common with the original „the sounds of Hawkeye and Hot Lips”.

The last examples are rather stylistic mistakes: KING JINDRA MACHÁŇOVÁ The pain was somewhere Bolest byla někde pod těmi Bolest byla někde pod těmi below the sounds. The pain zvuky. Bolest ležela na zvuky. Nacházela se was east of the sun and south východ od slunce a na jih od východně od slunce a jižně of his ears. jeho uší. od jeho uší.

Annie Wilkes had a great Annie Wilkesová má Annie Wilkesová měla deal of Novril Novrilu obrovskou zásobu opravdu spoustu Novrilu

Firstly, I would like to point out the repetition of word “bolest” in Jindra’s translation. Despite the fact that even King’s original text contains repetition of the word “pain” in sequence of two sentences, I chose to use unexpressed subject in second sentence. When the subject can be easily deduced from previous sentence, we tend not to express it in Czech, since its unnecessary repetition might have a disturbing impact on reading. The second example shows Jindra’s incorrect word order in the sentence “Annie Wilkesová má Novrilu obrovskou zásobu.“ I suppose Jindra’s intention was to emphasize the

70 amount of Novril by putting “obrovskou zásobu” at the end of the sentence. However, this word order sounds unnatural to Czech speaker, therefore I would suggest putting genitive at the end of the sentence, such as in my translation “Annie Wilkesová měla opravdu spoustu Novrilu.”

5. Conclusion Writing my bachelor thesis made me realize that translation is a very challenging and demanding task which is often unjustly undervalued. Throughout my life, I have multiple times come across the assumption that anyone with decent knowledge of the source language can become a translator; however, that is not nearly the truth. In fact, translation requires a perfect knowledge of both source and target languages, creativity and discipline. Since Stephen King is one of my favourite authors, I appreciated the opportunity to learn new things about him. Nevertheless, his life and career are rich enough to be described in several books, so I found summing up only the most important facts slightly difficult. When writing the practical part, I intended to preserve King’s style of writing and the main message as much as possible and at the same time make it sound natural and readable to Czech readers. However easy this task might have seemed in my head at first, the opposite is the case. If truth be told, I had to return to certain parts of the text multiple times as I was still unsatisfied with my translation. The theoretical part deals chiefly with the theory of equivalence. In this part, I compared Jindra’s translation with my own one and by means of the examples from the text I pointed out the similarities and differences between the translations. Subsequently, the most interesting examples were commented or explained. In conclusion, I am grateful for this opportunity to gain valuable experience in the field of translation. Despite all the struggles, finding the right equivalent always brought me joy in the end, just like learning more about the theory of translation. For this reason, I only hope this is not the last time I take part in translation process, as I would like to further improve my skills.

6. Bibliography Primary literature 1. KING, Stephen. Misery. London: Hodder & Stoughton, 2011. ISBN 978-1-444-72071- 6.

2. KING, Stephen. Misery. Praha: Melantrich, 1994. Světová próza. ISBN 80-7023-172- 6.

Secondary literature 1. BEAHM, George W. Stephen King: čtyřicet let hrůzy : život a dílo krále hororu. Praha: Baronet, 2017. ISBN 978-80-269-0740-4.

2. ČECHOVÁ, Marie, Marie KRČMOVÁ a Eva MINÁŘOVÁ. Současná stylistika. Praha: NLN, Nakladatelství Lidové noviny, 2008. ISBN 978-80-7106-961-4.

3. HRDLIČKA, Milan. Literární překlad a komunikace: k problematice zaměření uměleckého překladu na čtenáře. Praha: Univerzita Karlova, 1997. ISBN 80-85899-22- 1.

4. KING, Stephen. On writing: a memoir of the craft. London: Hodder, 2012. Non-fiction. ISBN 978-1-444-72325-0.

5. KNITTLOVÁ, Dagmar, Bronislava GRYGOVÁ a Jitka ZEHNALOVÁ. Překlad a překládání. Olomouc: Univerzita Palackého v Olomouci, Filozofická fakulta, 2010. Monografie. ISBN 978-80-244-2428-6.

6. KUFNEROVÁ, Zlata. Překládání a čeština. Jinočany: H & H, 1994. Linguistica. ISBN 80-85787-14-8.

7. LEVÝ, Jiří a Karel HAUSENBLAS. Umění překladu. 2., dopl. vyd. Praha: Panorama, 1983. Pyramida.

8. NEWMARK, Peter. Paragraphs on translation. Clevedon: Multilingual Matters, 1995. Topics in translation. ISBN 1853591912.

9. NEWMARK, Peter. About translation. Clevedon: Multilingual Matters, 2001. ISBN 1853591173.

10. NIDA, Eugene A. a Charles R. TABER. The theory and practice of translation. Leiden: E.J. Brill, 1969.

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