This article discusses the politics of translation of eleven negro spirituals,
which Czesław Miłosz produced in 1948, while working as a cultural attaché of the
Polish embassy in Washington D.C. Initially, Miłosz intended to publish all of these
translations in the Polish literary weekly Nowiny Literackie. Although only a few of
these translations appeared in the weekly, the article proposes that Miłosz’s project
played a role in opposing the Soviet cultural and political domination of Poland after
World War II. Drawing parallels between research on slavery and the analysis of
power structures in post-war Poland presented in The Captive Mind, the article argues
that Miłosz’s translations were driven by the “ethics of deception” akin to resistance
strategies inscribed in the original contexts of production of negro spirituals. The article
relies on theories of translation developed by deconstruction to question the traditional
hierarchies between “translation” and “the original,” and, consequently, to complicate
Miłosz’s position as “a translator” of spirituals. Since spirituals are improvisational by
origin, specifi c examples of Miłosz’s translation choices demonstrate that his role in
the translation process was participatory and creative rather than imitative. Thus the
article concludes that the translation of spirituals enabled Miłosz both to be and not to
be the author of these texts, a subversive move in the Soviet-dominated system, where
direct expressions of longing for freedom (only implicitly voiced in the spirituals) may
not have been welcome. This interpretation is consistent with Miłosz’s other early
works, which draw parallels between Polish post-war and slavery/colonial experiences,
and adds to current debates on the possible convergences between post-Soviet and
postcolonial conditions.

This article discusses the politics of translation of eleven negro spirituals,
which Czesław Miłosz produced in 1948, while working as a cultural attaché of the
Polish embassy in Washington D.C. Initially, Miłosz intended to publish all of these
translations in the Polish literary weekly Nowiny Literackie. Although only a few of
these translations appeared in the weekly, the article proposes that Miłosz’s project
played a role in opposing the Soviet cultural and political domination of Poland after
World War II. Drawing parallels between research on slavery and the analysis of
power structures in post-war Poland presented in The Captive Mind, the article argues
that Miłosz’s translations were driven by the “ethics of deception” akin to resistance
strategies inscribed in the original contexts of production of negro spirituals. The article
relies on theories of translation developed by deconstruction to question the traditional
hierarchies between “translation” and “the original,” and, consequently, to complicate
Miłosz’s position as “a translator” of spirituals. Since spirituals are improvisational by
origin, specifi c examples of Miłosz’s translation choices demonstrate that his role in
the translation process was participatory and creative rather than imitative. Thus the
article concludes that the translation of spirituals enabled Miłosz both to be and not to
be the author of these texts, a subversive move in the Soviet-dominated system, where
direct expressions of longing for freedom (only implicitly voiced in the spirituals) may
not have been welcome. This interpretation is consistent with Miłosz’s other early
works, which draw parallels between Polish post-war and slavery/colonial experiences,
and adds to current debates on the possible convergences between post-Soviet and
postcolonial conditions.