Australian Literature in Serbian Translation1 NATAŠA KAMPMARK University of Novi Sad, Serbia The primary aim of this paper is to trace the history of the reception of Australian literature in Serbia, from the first-recorded translation to the present.2 The pattern of reception established and analysed in the paper reveals three distinct spikes of interest in Australian literature over the period being examined, and one considerable dip. However, before focusing attention on the texts, it is necessary to briefly discuss the socio-political and linguistic conditions that are closely related to their reception. What needs to be recognised is that the reception of Australian literature in Serbia started when Serbia was one of six republics which, together with its two autonomous provinces, comprised the Federal People’s Republic of Yugoslavia (1946-1963), later renamed into the Socialist Federal Republic of Yugoslavia (SFRY, 1963-1991). The official language in Serbia at the time was ‘Serbo- Croatian’ (or Serbo-Croat or Croato-Serbian). The term ‘Serbo-Croatian’ was the officially- sanctioned hyponym used to refer to the languages spoken by peoples in the republics of Croatia, Bosnia and Herzegovina, Montenegro and Serbia. Consequently, the reception of Australian literature, as presented in this paper, includes translations into Serbo-Croatian until 1991; that is, before the break-up of the SFRY, when Serbo-Croatian speaking republics formed a linguistic whole and represented a unified literary scene and a single literary market.3 From 1991 until 2003, the reception of Australian literature examined in this paper includes translations into Serbian which were published in the republics of Serbia and Montenegro, which at the time formed the Federal Republic of Yugoslavia, FRY. The country was renamed Serbia and Montenegro in 2003 and bibliographical records in Serbia from then on list only translations published in Serbia, even though Montenegro formally separated three years later, in 2006. The major bibliographical sources consulted in order to gather information about published translations are the Bibliografija Jugoslavije (The Bibliography of Yugoslavia) and the Bibliografija Srbije (The Bibliography of Serbia). The Bibliography of Serbia, the current national bibliography, records the details of texts published in Serbia. It is compiled de visu based on the holdings of the two largest libraries in the country, the National Library of Serbia, founded in 1832 and situated in Belgrade, and the Library of Matica Srpska, founded in 1826 and situated in Novi Sad. In the period from 1950 to 2002, texts published in the Republic of Serbia—along with publishing activities of other republics comprising the SFRY and the FRY—were recorded in the Bibliography of Yugoslavia.4 Since 2003, according to the Act of Library Activity (Official Gazette of the Republic of Serbia, no. 34/1994) The Bibliography of Serbia is compiled and published by the National Library of Serbia.5 The Bibliography of Yugoslavia/Serbia includes monographs, periodicals, articles and contributions in periodic publications, and non-literary materials. The section of the Bibliography titled ‘Monographic Publications—Translations’, registers monographs translated and published in Yugoslavia/Serbia. That section has been consulted as the source of translated novels, collections of stories and collections of poetry. The section of the Bibliography titled ‘Articles and Contributions in Periodicals. Series C. Art, sport, philology, literature’, has been consulted as the source of information about the translations of individual short stories and poems published in newspapers, journals and magazines.6 JASAL: Journal of the Association for the Study of Australian Literature 14.1 Based on the collected data about the published translations recorded in The Bibliography of Yugoslavia (1950-2002) and The Bibliography of Serbia (2003-2012), Table 1 offers a quantitative expression of the reception of Australian literature: Table 1 Number of translated works Period All translations Translations of Translations of fiction poetry 1954-1958 9 9 0 1959-1963 15 13 2 1964-1968 5 5 0 1969-1973 1 1 0 1974-1978 64 14 50 1979-1983 41 22 19 1984-1988 39 35 4 1989-1993 134 69 65 1994-1998 18 17 1 1999-2003 15 9 6 2004-2008 122 87 35 2009-2012 54 53 1 Drawing on statistics from the Index Translationum, the number of translations of Australian literary works into Serbo-Croatian and Serbian could be set against a wider background of translated literature from the English language. By contrast, there were 1557 literary translations from English into Serbo-Croatian until 1992, and 5973 literary translations from English into Serbian since 1992. The numbers from Table 1 provide a graphic representation as shown in Figure 1. For the convenience of a graphic representation and the manageability of data the time span of 60 years of the reception has been divided into 12 five-year periods. KAMPMARK: Australian Literature in Serbian Translation Guest Editors: Leah Gerber and Rita Wilson 2 JASAL: Journal of the Association for the Study of Australian Literature 14.1 Figure 1. Translations of poetry and fiction Australian literature first appeared in the Serbo-Croatian-speaking republics of Yugoslavia in 1954, with the publication of a collection of short stories titled Iz savremene australijske proze (From Contemporary Australian Fiction). The editor and translator was Dragoslav Andrić, a Serbian writer, playwright, lexicographer and publicist. He graduated from the English Department of the Faculty of Philology, University of Belgrade, translating from English, French, German, Russian and Dutch. Andrić is most widely-remembered as a compiler of anthologies of fiction and poetry, and a distinguished translator of over 130 books of poetry, fiction and drama. In the field of literary translation, Andrić received major awards in Serbia (such as ‘The Best Translation of the Year’ and ‘Life Achievement Award’) and, as a Fulbright scholar taught a course on creative translation of literature at the University of Chicago in 1991. His work as a translator was also guided by his relentless endeavour to introduce writers from distant countries to Yugoslav/Serbian readers. Such a mission produced anthologies such as Anthology of Classic Chinese Poetry, Anthology of Classic Japanese Poetry, Anthology of Afro-American Poetry, Anthology of Contemporary Flemish Short Stories, collections of stories by Bret Harte or F. S. Fitzgerald, as well as the collection of Australian short stories previously mentioned. Andrić’s anthology of contemporary Australian fiction was the first book of Australian literature ever published in any of the Balkan countries (Bihalji-Merin 84; Đoković 17-18). It includes 15 authors and 17 stories, listed below:7 Marjorie Barnard (‘Beauty is Strength’) John Cleary (‘Hello, Joe’) Don Edwards (‘He Walks Home with His Wife’) John Ewers (‘Harvest’) Ken Levis (‘The Kid’) Alan Marshall (‘Out of the way, mug!’ and ‘Tell Us about the Turkey, Jo’) John Morrison (‘Night Shift’) KAMPMARK: Australian Literature in Serbian Translation Guest Editors: Leah Gerber and Rita Wilson 3 JASAL: Journal of the Association for the Study of Australian Literature 14.1 Russell Oakes (‘No-one Spoke’) Shawn O’Leary (‘Sleep’) Vance Palmer (‘The Stump’) Hal Porter (‘Act One, Scene One’) Olaf Ruhen (‘The Dark of the Moon’) Eric Otto Schlunke (‘The Heretic of Isola’) Carl Shannon (‘Hardship, Yer Lovely Creature!’) Dal Stivens (‘You Go, Florence Nightingale’ and ‘You Call Me by my Proper Name’) In his four-page long ‘Afterword’, Andrić briefly sketches the trajectory of the development of Australian literature and stresses the importance of the Bulletin writers, concluding that contemporary authors have grown out of the Bulletin’s critical influence.8 Speaking of Australian literature at the time of the anthology’s publication, Andrić stresses its ‘youth and rapid development . freshness . and vitality’, stating that ‘although it is undoubtedly young, it has already reached maturity’ (237-40). The contemporaneity of Andrić’s anthology and his familiarity with the Australian literary scene of the day is evidenced by the fact that half of the authors who appear in his collection are found in Ken Levis’ selection titled Coast to Coast: Australian Stories 1951-1952, published in Sydney two years prior. While it might be remarkable in its contemporaneity and also in being the first translation of Australian literature in the Balkans, Iz savremene australijske proze reflects almost exclusively white male writers from the Australian literary scene in the early 1950s and before, the same feature noticeable in Levis’ collection. Indeed, in 1983, Elizabeth Webby invented the term ‘WACM—white, Anglo-Celtic, male’ in order to denote ‘what had been till then the dominant tradition in Australian literature’ (Webby 51). The first noticeable spike indicated in Figure 1 points toward an increased interest in Australian authors in the period from 1974 to 1978. This may not be surprising, given that Patrick White was awarded the Nobel Prize for literature in 1973. That White’s success triggered the interest of Yugoslav translators and readership is supported by the fact that six short stories (four in literary magazines and two, ‘The Night the Prowler’ and ‘The Cockatoos,’ in the form of the book titled The Night, the Prowler) and the novel Voss (1957) were translated in that period. It should be noted that the translation of Voss also sparked several pieces of critical reception, which appeared in the same year as the translation (1974). In 1977, the literary journal Mostovi (Bridges) devoted an issue to Australian literature, featuring translated short stories by Henry Lawson, John Morrison, Hal Porter and Katherine Susannah Prichard as well as two poems by Rosemary Dobson and one by Katherine Gallagher; they were translated by different people. An informative introduction about Australian literature and life and work of the authors included in the selection, written by Vidosava Janković, a professor of English Language and Literature at the University of Belgrade at the time.