Antoinette Borg | Translation scratches a different itch from original writing

Could you tell us about your trajectory as a writer and translator? And what particular itch does translation scratch which is different to writing original prose?

My trajectory has been quite unconventional. After spending 20 years in the accountancy profession, I took the leap in 2015 to pursue my lifelong dream of writing, initially focusing on young adult and children's literature. Translation was always part of my creative world – even before becoming a published author, I would translate passages from my favourite authors for myself, as a way to observe writing closely and learn the craft.

The shift to translating the Montalbano novels happened during the pandemic, when circumstances made it difficult to work on original fiction requiring long stretches of concentration. Translation scratches a different itch from original writing – it allows you to work more intimately, paragraph by paragraph, without bearing the full weight of creating and holding together an entire fictional world. It lets you engage deeply with literature, but with a different, more collaborative form of creativity: finding the most authentic expression in Maltese to a voice that already exists.

Il cane di terracotta is one of the most beloved among Andrea Camilleri’s Montalbano novels. What drew you to translate it into Maltese, and what were some of the key challenges that you faced throughout the process?

After translating La forma dell’acqua, this novel felt like the natural next step as the second book in the series, and it's also one of my personal favourites. Il cane di terracotta is widely considered the novel where Camilleri truly fleshed out Montalbano's character and world – it’s a particularly powerful and emotional story with elements that go far beyond the traditional detective novel. Many regard it as one of Camilleri's finest.

The main challenge was preserving Camilleri's unique "Sicilianità" – his writing isn't in standard Italian, but woven with Sicilian words and expressions that create a distinctive linguistic tapestry. Catarella's absurdly eccentric speech patterns were particularly tricky. But thanks to our shared geographical, cultural, and linguistic proximity with Sicily, the Maltese translation can capture nuances and flavours that inevitably get lost in other languages. It's immensely satisfying when, at times, the Maltese version feels even closer to the Sicilian essence than the Italian original itself – creating a unique sense of complicity with the Maltese reader that is sometimes denied to Italian readers unfamiliar with the Sicilian language.

How did it feel to win the National Book Prize?

Winning the National Book Prize for this translation was an honour and deeply meaningful for me. Translation is often invisible work – when it's done well, readers simply experience the story without noticing the translator's efforts. What makes this prize particularly poignant is that Camilleri himself was of Maltese descent – his paternal ancestors left Malta for Sicily three hundred years ago. In a way, these translations represent a homecoming, bringing Camilleri’s work back to Maltese soil, which adds a profound dimension to the recognition.

Who are some of your favourite Maltese writers working today?

There are quite a few Maltese writers whose work I admire. Nadia Mifsud writes with a distinctive voice and plays with language in a way that deeply resonates with me, and I’m struck by the way Karl Schembri brings an unflinching social conscience to his novels. Though neither are particularly prolific, their work consistently speaks to me. I’m always excited to discover new works by Leanne Ellul, Clare Azzopardi and Loranne Vella, with their fresh distinctive voices and commitment to creating stories that matter. And then there's Trevor Żahra, who inspired me from childhood, was instrumental in motivating me to start writing, and continues to produce fresh, innovative work to the delight of readers.

What’s next for you?

I'm currently working on translations of more children's books, and I've also started working on a new original YA novel – so I'm keeping both sides of my creative life active. I'm mulling over translating more Montalbano novels eventually, provided the resources and editorial support are available.

Meanwhile, I'm taking pleasure in seeing my books in the hands of Maltese readers and in continuing to contribute to our literary landscape in whatever form that takes. The wonderful thing about being both a writer and translator is that there are always multiple paths forward.

In collaboration with the National Book Council, MaltaToday will be interviewing the winners of the 2025 National Book Prize. More information regarding the awards can be found at ktieb.org.mt