In The Hidden Bend, the Ukrainian mother, Nastasiya, is in New York and dealing with authorities in a language, English, which she barely speaks. She has an appointed translator to explain facts to her and to carry out her decisions, but otherwise, she is mute. She is restricted in her own mind.
Another character in The Hidden Bend, Piers, escapes to France and finds a similar linguistic barrier but without a translator. His real translation problem is the woman he is with and the difficulty in sharing with her the same sense or meaning.
The Hidden Bend’s Asian soldier character has a more nuanced and treacherous translation problem: the words that meant something during the revolutionary war have changed meaning after the revolution. And the alteration in meaning threatens him.
In My Wife the idea of translation is taken further through the detective story of the narrator in Europe, amidst languages he does not know, interpreting the behavior and rationale of people at a certain time in order to solve a historical puzzle.
And in Corporate, specifically in The Complete Story (With Notes), the piece is a narrative about making stories, about choices and how several items are converted into the bits, character and episodes, which constitute a story.
When tropes keep recurring the reason for them may be intrinsic. In my case it may be moving between different dialects of English: America, Australia and England at various times, understanding and negotiating idioms and definitions, later adding other languages, and perhaps the seed for this translation leitmotif is clearer.
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