Deborah Smith Quotes

“Wish it, believe it, and it will be so.”

— Deborah Smith

“The hardest memories are the pieces of what might have been.”

— Deborah Smith

“There's something very freeing about losing the anchors that have always defined you. Frightening, sad, but exhilarating in a poignant way, as well. You're free to float to the moon and evaporate or sink to the bottom of the deepest ocean. But you're free to explore. Some people confuse that with drifting, I suppose. I like to think of it as growing.”

— Deborah Smith

“We are all bodies of water, guarding the mystery of our depths, but some of us have more to guard than others.”

— Deborah Smith

The best sex takes us somewhere. Somewhere warm and expansive, a paradise of lust and happiness. Sex is and can be and should be but only very rarely is an act of communion with something bigger than ourselves. Men fuck and women make love, people say, but we men make love when we fuck a woman we adore: it's the same thing to us. We mean it sincerely. I had places inside me only Cathy could fill with her body, and I made her happy with my body more than I ever thought I could.

— Deborah Smith

“Happy people look young. You're really afraid of getting older, aren't you? You should only be afraid of getting less happy.”

— Deborah Smith

A chorus of tough southern belles whispered, You need a loyal husband around here. Loyal to you, loyal to your family, loyal to your land.
I added, Good in bed, smart, and romantic. Politically, socially, and religiously compatible. And he had to want children.

— Deborah Smith

“Children lose their innocence piece by piece. The layers are carved away until our hearts have been exposed and polished into an unnatural gloss. We spend the rest of our lives trying to remember why we ever loved so passionately and how we dreamed so simply, before life chiseled us down to the core.”

— Deborah Smith

“Life doesn't take itself seriously for long. Joy leaves an imprint even in the hardest sorrow.”

— Deborah Smith

“I stood there, my head bowed, my shoulders hunched. This is how it feels to be dragged from the cement shoes of a comfortable rut. The slow, steady strain on my legs became an excruciating amputation. My ankles pulled free from my feet. Bones snapped, cartilage tore, veins pulsed blood onto the soft brown clay of the yard.”

— Deborah Smith

“There are people nobody notices, but the world revolves around them. They're the quiet ones, the strong, peaceful ones, who form the unbreakable hub for a bunch of fragile spokes. True families aren't bred, they're spun together. And at their center, at the center of the infinite wheel of every family of every kind, blood or otherwise, there is a hub, that person, those people, who hold the wheel together and keep it turning.”

— Deborah Smith

“I don't ask for guarantees. I'll tell you what I want. I want to laugh with you. Sit and look at you. Wake up with nothing to think about but how warm and smooth you feel against me. Make a life together. All of this has been worth it if we can have that.”

— Deborah Smith

“I buried my grief for my son, not my memories, but my grief.”

— Deborah Smith

“There's never been a war in the history of the world that wasn't started by the wealthy for the wealthy”

— Deborah Smith

“At the center, on the lawn of the courthouse, sat a log manger with a life-size nativity scene cut out of plywood. If an civil libertarian had complained about the nativity being on public property, he would have been hunted down like Santa's reindeer during bow season.”

— Deborah Smith

When hope is offered, hope responds.

— Deborah Smith

A kitchen that's too clean has no soul. No flavor.

— Deborah Smith

Their mystique comes from the fact that, once upon a time, someone cared enough to hide them.

— Deborah Smith

“I'm not happy, I'm cheerful. There's a difference. A happy woman has no cares at all. A cheerful woman has cares but has learned how to deal with them. -Beverly Sills”

— Deborah Smith

“Frowned. Help you out, how? Unless
you're”

— Deborah Smith

“Instead of fearing what might happen if I failed, I should be excited about what could happen if I succeeded!”

— Deborah Smith

I taught myself the first year course while I was on the dole, then moved to London to do an MA at SOAS, which led straight into a PhD.

— Deborah Smith

“I did my BA in English lit, and hated the restriction - I'd always read more in translation than not; coming from a working-class background, what I knew of as British literature - the writers who made big prize lists and/or were stocked in WH Smith, Doncaster's only bookshop until I was 17 - seemed incredibly, alienatingly middle-class. Then in 2009, just after the financial crash, I graduated with no more specific skill than 'can analyse a bit of poetry'.”

— Deborah Smith

“The LORD detests lying lips, but he delights in men who are truthful. PROVERBS 12:22”

— Deborah Smith

“But there's also a strong emotional core to counterbalance the experimentalism, with some incredibly moving passages around the narrator's relationship with her (also female) German teacher. It's beautiful.”

— Deborah Smith

“Flattery is a lie covered in a bed of flowery words.”

— Deborah Smith

“A photograph is a souvenir of life!”

— Deborah Smith

“What do you call love, then? Someone I can't live without.”

— Deborah Smith

“I was in the second year of my PhD when I first had the idea - I'd recently started working as a translator, which meant firstly that I was hearing about amazing-sounding books from other translators, and also that I was getting enough of an insider's view of the publishing industry to be aware of all the implicit biases that made it so difficult for these books to ever get published, especially if they weren't from European languages (harder to discover, editors can't read the original, lack of funding programmes, authors who don't speak English).”

— Deborah Smith

“Plus, publishing's inherent conservatism, means that what little did get through was weighted towards the commercial end of the scale, which is not the kind of writing that excites me.”

— Deborah Smith

“So the aim for the press was a mixture of things: to publish under-represented writing, which is an intersection of original language, style, content, and often its author's gender. To publish it properly, in a way that makes it clear that this is art, not anthropology. To spotlight the importance of translation in making cultures less dully homogenous.”

— Deborah Smith

And to improve access to the UK publishing industry - I'm hoping to set up an internship or work experience for someone from a low-income background, as soon as we have the funds. While we don't have the funds, we won't have an intern.

— Deborah Smith

Our first-year list is Sangeeta Bandyopadhyay (translated by Arunava Sinha), Hwang Jung-eun (translated by Jung Yewon), and Khairani Barokka.

— Deborah Smith

“Sangeeta Bandyopadhyay is a stylistically daring writer in love with surrealism, credited with being 'the woman who reintroduced hardcore sexuality to Bengali literature'. But though the (male) establishment used this label of erotica to dismiss her work, the sex scenes have exactly the same transgressive function as her use of chronology and narrative voice.”

— Deborah Smith

“Hwang Jung-eun is one of the brightest stars of the new South Korean generation - she's Han Kang's favourite, and the novel we're publishing scooped the prestigious Bookseller's Award, for critically-acclaimed fiction that also has a wide popular appeal. She stands out for her focus on social minorities - her protagonists are slum inhabitants, trans women, orphans - and for the way she melds this hard-edged social critique with obliquely fantastical elements and offbeat dialogue.”

— Deborah Smith

“There's no linear narrative - the structure is more like a series of variations on a theme (how identity is shaped by language), with the past constantly bleeding into the present, dreams into reality. And the language, while incredibly lyrical in places, also has this underlying dissonance, the sense of it having itself been translated.”

— Deborah Smith

“I've translated two of Bae's novels, A Greater Music and Recitation, which are coming from Open Letter and Deep Vellum in October and January respectively. A Greater Music is a semi-autobiographical book centred on a Korean writer moving to Berlin, learning to live and even write in a foreign language.”

— Deborah Smith

I suspected learning a language would be both useful and enjoyable (I love memorising lists of things), and would get rid of the embarrassment of being monolingual at 21. I'd been obsessed with reading for as long as I could remember, the only thing I'd ever thought I might want to be was a writer, but I was much better at crafting sentences than at stringing plots together.

— Deborah Smith

“All of which suggested literary translation, and Korean seemed a good bet - barely anything available in English, yet it was a modern, developed country, so the work had to be out there, plus the rarity would make it both easier to secure a student grant and more of a niche when it came to work.”

— Deborah Smith

“Actually, I'm frequently described as the UK's only translator of Korean literature, but even that isn't accurate - Agnita Tennant is UK-based, Janet Poole is British though lives in Toronto, Brother Anthony was born here though is now a naturalised Korean citizen. There's also Chi-young Kim and Sora Kim-Russell, who are younger and do fiction for commercial houses.”

— Deborah Smith

I teach Korean translation at the British Centre for Literary Translation summer school, so I see an emerging generation too, who are around my age. I'm hoping to find time to mentor, and to help emerging translators to a first contract through Tilted Axis.

— Deborah Smith

“I read The Vegetarian and fell in love with it. A year later, I was invited to go and speak at the London Book Fair (which I'd never even heard of before), as they were gearing up for Korea being the market focus country in 2014. I met Max Porter there, Kang's editor at Portobello, sent him my sample, and the rest is history.”

— Deborah Smith

Possibly the best thing about the whole experience is that Kang and I are now really good friends. It's as much of a pleasure and privilege to know her as a person as it is to translate her work. She's been over for two UK publicity tours, which means lots of time to chat on trains etc., and she was hear all last summer for a writer's residency in Norwich, where I got to meet her son too.

— Deborah Smith

Whenever I visit Korea she [Kang] buys me lunch and takes me to a gallery. As if all this wasn't enough, she has incredible respect for translation as a creative, artistic practice - she insists that each English version is 'our book', offered to share her fees with me when she found out I wasn't getting paid for translating her publicity stuff, always asks the editor to credit me, and does so herself whenever she's interviewed. Too good to be true.

— Deborah Smith

“Alongside Han Kang, there's only one other author I've chosen to translate so far - Bae Suah. Her work is radical both stylistically and politically, influenced by her own translation practice (she's translated the likes of Kafka, Pessoa, and Sadeq Hedayat into Korean). Her language is simply extraordinary.”

— Deborah Smith

“I first came across her [Bae Suah] when I read some elderly male critic castigating her for 'doing violence to the Korean language', which of course was catnip to me, especially as I'd recently discovered Lispector doing pretty much the same to Portuguese.”

— Deborah Smith

“Khairani Barokka is a writer, spoken-word poet, visual artist and performer whose work has a strong vein of activism, particularly around disability, but also how this intersects with, for example, issues of gender - she's campaigned for reproductive rights in her native Indonesian, and is currently studying for a PhD in disability and visual cultures at Goldsmiths. She's written a feminist, environmentalist, anti-colonialist narrative poem, with tactile artwork and a Braille translation. How could I not publish that?”

— Deborah Smith

“Not only are unpaid internships exploitative, they're one of the main forces keeping publishing in this country a primary white middle-class industry, which has a direct knock-on effect on what gets published and how.”

— Deborah Smith