ABSTRACT
Where concepts of translation are concerned, written text/language is often privileged as a mode of transmission. But how reliable is the written (and read) in translation when so much still remains unsaid? Drawing on once hidden artefacts—specifically a few letters and photographs relating to my ‘unknown’ Polish grandmother who was deported to and died in a Siberian work camp in the 1940s—this chapter discusses how the process of translating the unwritten via an embodied, sensorial practice of makings and re-makings, enabled an unforgetting of a wounded memory, previously unspoken and concealed, and encouraged a re-thinking of the limitation to witness and testimony in scenes of inheritance.
