Crime Writer Margot Kinberg

One of the most important aspects of any culture is its language. That’s just as true in fiction as it is in real life. But that can sometimes present a challenge to authors. On the one hand, authors want their readers to engage in a novel, including its language. On the other hand, readers don’t always speak other languages. So, what do authors do when they want to write an authentic story that also invites readers of all languages to interact with the story?

Some authors limit themselves to words and short phrases in other languages. Often the meanings of those words can be inferred from context. For example, Agatha Christie’s Hercule Poirot is Belgian; his first language is French. So, it’s natural for him to use French, although he speaks fluent English. Christie’s solution was to have Poirot use occasional French words and phrases (e.g. mais oui, ça depende, mon ami) that aren’t, strictly speaking, vital to understanding the action, and that can be understood through context. And many of those French words and phrases are familiar to readers, even if they don’t speak French.

Kelly Young has a similar approach in her Haunted and Harassed series. Her protagonist is Carmen Rodriguez, a Canadian with a Portuguese background. She speaks English, but also Portuguese, and sometimes uses words and phrases in that language, especially when she’s startled or angry. For instance, in Sloppy Joe, Carmen’s irritated at her husband, Sebastian:

‘I glared at him. “Cala se!” I snapped, channeling my Portuguese mother, who often told me and my sisters to shut our mouths when we were young.’

This approach helps the reader understand a word or phrase in another language without interrupting the flow of the story. What’s more, Young doesn’t use long sentences in Portuguese, again, so readers can follow the story without having to stop to translate.

Tony Hillerman’s Jim Chee is a member of the Navajo nation. He is also a member of the Navajo Tribal (now Nation) Police. He’s more or less traditional in his ways and speaks Diné (Navajo). Several of the characters in the series are also Navajo and speak that language. Most readers, though, don’t. So, when Hillerman uses Navajo words and phrases, he also includes their meaning, either through context or direct translation. For instance, in Sacred Clowns, Chee has a conversation with a witness who might have seen someone he’s trying to find.

‘Chee felt sick. “Is his name Eric Dorsey?”
Grey Old Lady produced an ancient-sounding chuckle. “We call him our begadoche. Our water sprinkler. Because he brings our water.”

In this way, readers get an authentic feel for the language and culture, but at the same time, aren’t slowed down by the need to translate.

Some authors take a slightly different approach. For instance, Rhys Bowen’s Constable Evan Evans series takes place in North Wales. In the town he serves, people tend to speak Welsh, although they also speak English. So it’s natural that the characters use Welsh, at least sometimes. Not everyone speaks Welsh, though, so Bowen includes a glossary of terms and expressions, as well as providing a bit of context for non Welsh-speaking readers. That strategy allows the reader to learn a bit of Welsh and provides a ‘one-stop’ place to refer to for meaning.

Tarquin Hall takes a similar approach in his Vishwas ‘Vish’ Puri series. Puri is a Delhi-based private investigator who lives with his wife Sitara (usually called Rumpi). They have grown children, and Puri is also close to his mother, Mummyji. Since the novels take place in and around Delhi, it’s natural that the characters speak in English and Hindi. Puri himself is Punjabi, so he speaks that language as well. In several places in the novels, the characters use expressions in Hindi or Punjabi. There are also discussions of local foods, which don’t have English names. Some of those Hindi or Punjabi words and phrases that can be understood through context, but it’s a little more difficult for others. So, Hall provides a glossary at the end of the novel. It’s a useful reference tool for better understanding.

There’s also Kwei Quartey’s Wife of the Gods, the first of his series featuring Detective Inspector (DI) Darko Dawson. The novel takes place in Accra as well as the small Ghanian town of Ketanu, where the body of Gladys Mensa is found in a wood. Dawson is seconded from Accra to help in the investigation, and he soon learns that the victim was a medical student who volunteered with Ghana’s Ministry of Health. That work put her at odds with several people. Locals who believe in traditional medicine and rituals might have resented her science-based approach. What’s more, she was working on raising awareness of AIDS and other sexually transmitted infections, and that could have upset people who didn’t want ‘such things’ discussed. Add to that that she was opposed to the High Priest of the local village, who keeps three wives. She saw their presence as a form of slavery and wanted to free them to leave. All of this means that Dawson faces a complicated investigation. Several languages are spoken in that part of Ghana, most particularly Ewe. So, the book does have some Ewe expressions and words, along with a few from other languages. Quartey uses context to make it clear what those words mean. There’s also a glossary for extra information.

Part of the enjoyment of reading is exploring different places that have different languages and cultures. That can be challenging for readers who may not speak those languages. It can also be challenging for authors, who want to reach as many readers as possible. Many authors have developed strategies for inviting readers to stay engaged, including glossaries, immediate translation, and context cues. Whichever an author chooses, it’s important to reach across linguistic barriers. If you’re a reader, what helps you understand words from other languages? If you’re a writer, how do you address this challenge?

*NOTE: The title of this post is a line from Billy Joel’s Don’t Ask Me Why.