The Obs. The preparation of “Operation Millennium 4″, one might call it, has been shrouded in secrecy. What were the terms of your contract about it and how, specifically, did you process Actes Sud to work confidentially?
Hege Roel-Rousson. The absolute secret until the publication date was imposed on 27 publishers worldwide. The contract reminded all the rules, namely the need to take every precaution to minimize the risk of leaks and piracy.
Within the publishing house (in Arles Ed) , we took all our provisions. A small team working on the project. A small office was entirely devoted to it. This office should be locked at all times, even five minutes to go to the bathroom. Nothing was out of it and not the least-printer output to be thrown away.
None of used computers were connected to the Internet, nothing could circulate via email, all files were locked by password, a code name was attributed to project. In short, as said in January Bublanski inspector in the novel: we live in a world where the most paranoid individual is sane.
You know the original text of David Lagercrantz. Is it a way writer, good, very good? Or the book he takes essentially the plot? How to define her style?
David Lagercrantz is a very good writer. It has a beautiful feather, a real sense of drama and, above all, a true talent to appropriate characters. For such a project, the main challenge was there. Are we really going back Mikael Blomkvist and Salander? The answer is yes. Lagercrantz has managed not only the challenge of resurrecting them, but to penetrate deeper psychology of the characters. Lisbeth in particular. He wanted to provide answers, to understand it, digging the surface for how she became the Lisbeth we know today. It was risky, it is a character that does not let happen, but David Lagercrantz has done him justice.
What difficulties did you encounter during this translation?
The main constraint was the time. We received the Swedish text mid-February for a release on August 27. We had to optimize the time at all levels to get to meet deadlines, as well as for translation proofreading, layout, correction. In this sense, the fact that nothing could be transmitted electronically was a double bind. We had to invent a new domestic route.
During translation, I was still working on two computers. A non-connected and locked by passwords which I wrote and another, connected, on which I was doing my research. Since we only had a paper output of the original text, the biggest constraint was so technical, that it was impossible to do research in the text to quickly find passages or words that came back, making quick checks. He had to do everything manually, which was obviously more time consuming.
How is your reading of “Millennium” previous Has it been a landmark for this work ? In this one, the heavy “coffee mug” present throughout the previous volumes disappears. Can you give us examples of other changes?
A translation is always unique is the famous choice of translator. There never only solution. However, it was obviously important to ensure consistency between the trilogy and “Millennium 4″, I think in particular the specific terms that occur, character names, nicknames … Bubbly for Jan Bublanski for example. It was important that readers find the
Translators are like old blowers in theaters. Precious and invisible. Being invisible woman “Millennium 4″ Is that okay?
The translator is the text service that me will very well.
Interview by Anne Crignon
Millennium 4. What does not kill me
by David Lagercrantz,
> translated from Swedish by Hege-Roel Rousson,
Actes Sud, 500 p., 23 euros (in bookstores August 27).
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