SASL Journal Vol. 1, No. 1 | Page 66

ASL Literature Byrne construct, and present literary works effectively, imaginatively, and eloquently. Every work should comprise literary devices (e.g., rhyme, rhythm, imagery, and style), correct ASL language (e.g., word production, grammar, and non-manual signals), aesthetics (e.g., innovative and complex yet simple, highly cohesive, and delight inducing), and ASL socio-cultural aspects (e.g., authenticity of native signers’ experiences, thoughts, and emotions). At the same time, differences between the folkloristic and single-authored works must be noted for the former emphasizes content whereas the latter expands to include on the structure of the work. The benefits of ASL literature include the literary experience appreciated with an enduring interest in the visual and gestural modality and how it applies to all individuals. The Question of Translation One may wonder why originality matters for ASL literature. What is wrong with those works translated from English? In the Canadian province of Ontario, ASL literature is subject to integration into the curriculum for use in schools for the deaf. A teacher who is employed at one of these schools, Linda Wall, made this important observation: “Original ASL stories and poetry convey the experiences and emotions of ASL culture” (Miller, 2008, n.p.). The term ASL culture may not be widely used in the literature, but this teacher was trying to make the point that the literature is tied to the language. Heather Gibson who leads the curriculum work at the Ontario provincial schools for the deaf provided an explanation for why originality is important and why English-to-ASL translations should be avoided: [L]iterary works are intimately tied to the culture from which they spring and have their deepest meaning and strongest impact when the storyteller and audien ce share a common cultural ground. Previously, poetry, songs and stories were translated from English to ASL. Deaf Cinderella is a classic example. This translated curriculum never fully resonated with [ASL-using deaf] children because it came from an experience foreign to them. It would be like an anglophone learning English only through translations of French literature. (Miller, 2008, n.p.) The ASL and Deaf Studies experts interviewed in the author’s doctoral dissertation provided their perspectives on English-to-ASL translations. One expert was adamant about the oppressive nature of translation and how languages ought to be separated when it comes to literature. Another expert ironically commented, “To translate a book from English to ASL is easier than creating an original ASL literary work. [This is why] there are so many translated works out there”. The translation issues that arise in ASL literature occur in other languages. Because of linguistic and cultural differences and complexities, not every work can be appropriately and accurately translated. For example, “poems, [humor], puns, a play between different linguistic registers or vocabulary, stylistic qualities, multi-levels of meaning, connotations, imagery, and culturally specific allusion” cannot be translated (Finnegan, 1992, p. 178). Sapir (1921, p. 237) states the following: SASLJ, Vol. 1, No. 1 – Fall/Winter 2017 66