Exophony is the practice of (normallycreative) writing in a language that is not one'smother tongue.[1] While the practice is age-old, the term is relatively new: French linguists such asLouis-Jean Calvet discussed "littérature exophone" since 1979,[2][3] while the German equivalent,Exophonie, was used within the field of literary and cultural studies by Susan Arndt, Dirk Naguschewski and Robert Stockhammer in 2007.[4] In English, Chantal Wright proposed its more widespread use in 2008,[5] wrote a paper on it in 2010,[6] and went on to teach a course at theUniversity of Warwick in 2016/7.[7]
Some exophonic authors may bebilingual ormultilingual from their childhood years, evenpolyglots, while others may write in an acquired language. In some cases thesecond language is acquired early in life, for example through immigration, and it is not always clear whether the writer should strictly be classed a non-native speaker. However, by no means all bilingual/multilingual writers are exophonic: for example,J. M. Coetzee has commented that despite being bilingual in English and Afrikaans and having "a fairly wide-ranging acquaintance with Spanish" he has "absolutely no competence as a writer" in that language, and even his "command of English, spoken and written, feels like the kind of command a foreigner might have”.[8] He further says "the versions that my translators produce are in no way inferior to the original” and even "the Spanish translation of 'El Polaco' reflects [my] intentions more clearly than the original English text does", adding that he likes being “read in a language in which I feel myself to be a somewhat more humorous writer than in the original”.[9]
In other cases, the language is acquired through exile or migration: "Exophonic writing, the phenomenon of writing literature in a second language, is increasing across Europe due to labour migration".[10]
It is one form oftransnational literature, although the latter also encompasses writing that crosses national stylistic or cultural boundaries without being written in another language. "Extraterritoriality and exophony are indeed important notions, not only for comparative literature but in general for the question of the status of the literary text [of] the 21st century".[11]
It also overlaps withtranslingualism, andtranslingualist writer is one of many terms that has been coined to describe the phenomenon. Related concepts in English includetransculturalism/transculturation, axial writing,postnationalism andpostcolonialism, and in German, Exophonie, Anders-Sprachigkeit,[12]Interkulturelle Literatur ('intercultural literature'), Gastarbeiterliteratur ('guest worker literature'), Ausländerliteratur ('foreigner literature') and Migrantenliteratur ('migrant literature').[13] In Japanese the term used is 越境文学 (ekkyō-bungaku, lit. border-crossing literature). The scholar Yuri Kumagai wrote that it "is said to shatter the myth of unique difficulty of Japanese, and bring new perspectives and creative power into the language", and that it can challenge "categories that mark what/who is inside and outside".[14]
Motivations for becoming an exophonic writer may be manifold: to make a political statement (for example,Yoko Tawada attempted "to produce exophony both in her mother tongue [Japanese] and her acquired tongue [German] ... to dismantle ... the ultranationalistic concept of a 'beautiful' Japanese language"),[15] to adopt/avoid stylistic elements of particular languages ("for Tawada, a native speaker of a language whose grammar makes no distinctions of gender, case, definite and indefinite articles, or singular and plural ... each Western word, phrase or idiom becomes a conundrum",[16] "I grope for some unlikely expression in my native language, trying to find the proper equivalence in translation for an English word or phrase"),[17] to evade the risk of being lost in translation, or to gain a wider readership – translated literature in the UK and US accounts for only a small percentage of sales, so "it makes commercial sense".[18] When asked why he didn’t write in his native language,Joseph Conrad replied, "I value too much our beautiful Polish literature to introduce into it my worthless twaddle. But for Englishmen my capacities are just sufficient."[19] It may defy definition: whenChika Unigwe was asked whether her writing felt Belgian or Nigerian, she said it "depended on the time of day ... some stories needed to be written in English, whereas others could only be told in Dutch".[20] Argentinian podcaster and author Zoe Gomez Cassardo has commented that in addition to the reasons above, she writes in English because she doesn't know "which Spanish" to write in, the number of variants and lack of standardization conversely making her mother tongue a harder choice.[21]
Some exophonic authors are alsotranslators, including (in some cases) of their own works.[22] The phenomenon of translating into a second language - including non-literary works - is generally referred to as "L2 translation", and there was once "strong resistance to it on the grounds of it being perceived as unprofessional and inherently deficient […] although the academic dispute about [its] validity seems decidedly milder now".[23]
Conversely, translationof exophonic works can present problems due to the "defamiliarisation of the new language through stylistic innovation".[24]
Many exophonic authors have won recognition for their writing via topliterary awards, as well as a variety of national honours and distinctions. Thefr:Prix Rivarol was specifically awarded to novels in French by 'non-first language' authors, as was theAdelbert von Chamisso Prize for non-native German works. Even awards that have been historically limited to native speakers for decades, such as theAkutagawa Prize, have now begun to be awarded to non-natives and even non-nationals.[25]
^Calvet, Louis-Jean (1979).Langue, corps, société (in French). Payot.ISBN9782228122702. Retrieved29 July 2023.une littérature endophone et une littérature exophone
^Zach, Matthias (January 2014)."Extraterritoriality, Exophony and the Literary Text". In Lassalle, Didier; Weissmann, Dirk (eds.).Ex(tra)territorial: Reassessing Territory in Literature, Culture and Languages. Amsterdam – New York: Editions Rodopi BV. pp. 217–230.ISBN978-90-420-3866-0. Retrieved26 December 2023.
^Perloff, Marjorie (August 2010). "Language in migration: multilingualism and exophonic writing in the new poetics".Textual Practice.24 (4):725–748.doi:10.1080/0950236X.2010.499660.S2CID144820478.
^Ha, Thu-Huong (17 January 2023)."Could the Akutagawa Prize get its first American winner?".The Japan Times. Retrieved29 July 2023.Non-native Japanese speaking recipients … have been relatively few: The first was Yang Yi, born in China, who won in 2008, and most recently, Li Kotomi of Taiwan won in 2021. Khezrnejat would be the first ever winner from the United States since the prize was launched in 1935.
