The main focus is on working with factual text types. Such text allows trainee translators to transfer information from one language to another with minimal loss or gain at the same time as they are able to improve their control of the languages involved. This foundation is then shown to be the spring-board for dealing with much more complex, creative text typical of the novel and short story, poetry and drama. By its very nature such text demands a much greater personal response on part of the translator.

What possibly could any pen say to one who has set down his poetry in a language not his own? But that is not all. The vocabulary language-chosen by this poet for setting down his thoughts-has been the English language which, surely, must be a tongue almost as far removed, as could be, from the poet's own native Arabic? Little wonder that Ibrahim Saad, whose family was forced to flee to Gaza in Al Nakba (catastrophe) of 1948, has written his collection of poems with the anger and bitterness most of his people feel, running through them. Only suffering can lead to deep thought-those with easy...