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The Challenge of Translating ShakespeareThe great Argentine writer Jorge Luis Borges, who translated William Faulkner, André Gide, Franz Kafka and Virginia Woolf into Spanish, drew the line at Shakespeare. Speaking of the moment when Hamlet asks the ghost why it returns to haunt "the glimpses of the moon", Borges commented: "I don't think it can be translated. Perhaps the words can be translated. Certainly Shakespeare cannot be translated. 'The glimpses of the moon' means exactly 'the glimpses of the moon'."All, however, is not lost. "It has been said that Shakespeare cannot be translated into any other language," Borges added. "But Shakespeare cannot be translated into English, either, since he wrote what [Robert Louis] Stevenson called 'that amazing dialect, the Shakespeare-ese'." This might not be entirely true, as the translator Daniel Hahn points out in this superbly diverting book. Recalling a hip-hop production of Romeo and Juliet he once saw, he persuades us instantly that "the phrase 'Do you kiss your teeth at me, fam?' proved to be a perfect translation of 'Do you bite your thumb at us, sir?'"Shakespeare Across LanguagesAnd if into English, then why not into Portuguese, or French, or Māori? Hahn's project is to argue that "Shakespeare with every word changed can still be great, and can remain Shakespeare", and to that end he reproduces chunks of Dutch, Russian, Welsh, Thai, Arabic, Japanese, and a dozen other languages, betting that by simply counting syllables or observing alliteration in a language one doesn't understand (as he cheerfully admits, he doesn't understand Danish), one can learn something about the quality of a translation. I wasn't convinced that wager worked much of the time, but the typesetters, as you can imagine, were certainly getting a decent workout, and the gambit does finally pay off when a long passage from Twelfth Night is annotated by boxes mentioning dozens of different translators' choices.Cultural Adaptations in TranslationWhat really illuminates the book are Hahn's conversations with his fellow translators, who can explain their choices directly. In Māori, we learn, Lady Macbeth's question to her husband, "Are you a man?", makes no sense at all, so the translator Te Haumihiata Mason renders it as something roughly meaning "Have you got balls?" – "which is," Hahn notes contentedly, "exactly what Lady M is asking." Meanwhile, Prince Hal's name means "fish" in Hungarian, which would be unhelpfully distracting, so it gets changed to Riki, short for Henrik.Hahn also offers many asides about the annoyances and pleasures of translation in general. "The word 'literal' is annoyingly overused to suggest a sort of 'neutral' translation, which cannot exist," he complains; and he shows that, in many cases, a non-literal choice would be better. When Mark Antony imagines Caesar's spirit to "cry 'Havoc'", for example, the closest Portuguese word is the rather weak-sounding "devastação"; a better choice, Hahn shows, is "matança" (killing), because it's shorter and more easily shoutable.Translating Verse and JokesEach chapter addresses a different question translators face, for example whether to translate into verse (careful: as one French translator observes, you risk making "a genius into a talented versifier"), or how to translate jokes: it's usually best, everyone agrees, to create an entirely new joke – "being faithful to the laugh", as Hahn calls it. In a German Midsummer Night's Dream, to preserve the doggerel rhymes, we are promised not that Thisbe will be in "mulberry shade" but that she will be "hiding like a newt". Translators might even embrace the possibility of a joke where none previously existed – which Hahn illustrates brightly by mentioning that the "sorting hat" in Harry Potter has become, in French, le choixpeau (the chapeau that chooses).Poetic Elements and Title AdaptationsCan you even preserve alliteration? Sometimes, if you're lucky: Love's Labour's Lost received the surely unimprovable Greek title of "Agapēs Agōnas Agonos" ("the struggles of love are barren"). But when no such fortunate tricks are available, you can simply replace one idiom with another: so, in Spanish, Much Ado About Nothing is often called "A lot of noise, not many nuts".There are quibbles to be made here and there. Hahn calls a line from Richard III "irregular" after counting syllables, but it's a perfectly regular line that begins with an anapest (da-da-dum). And when Juliet says to Romeo "You kiss by th'book", Hahn glosses this as her approvingly noting his "formal courtship", but she is surely issuing a flirtatious challenge. And – this being the publisher's rather than the author's fault – the book has been produced, inexplicably, without an index.The Value of TranslationAll may be forgiven, though, for the delight and endless curiosity displayed in these pages. "In Shakespeare, people get sad with precision," Hahn enthuses. And he is cherishably bitchy about certain literary "translators" who somehow produce new English versions of Chekhov or Ibsen without speaking the source language – the process being, as he surmises, "a sort of high-status prettying up of a so-called 'literal' translation". By the end of the book, Hahn has amply demonstrated not only the treasures of other languages, but also the rich and strange inexhaustibility of Shakespeare himself.

Overview of the Accusations Against Mosengo-OmbaThe Confederation of African Football’s (CAF) audit and compliance committee (AACC) says that Véron Mosengo-Omba, then CAF general secretary, used intimidation tactics during a two‑hour meeting on 19 October 2024. According to a recorded conversation, Mosengo‑Omba threatened to sue committee members and report them to the FIFA ethics committee after they endorsed a critical 2023‑24 governance, risk and compliance (GRC) report.Details of the October 2024 Audit MeetingThe meeting, convened by Mosengo‑Omba rather than the committee chair Mohammed Zaazi, quickly shifted from a routine review to a confrontation. Committee members reported that Mosengo‑Omba warned of potential FIFA sanctions, legal action, and alleged that the committee was part of a “campaign of calumny” against him.Meeting duration: two hoursKey participants: Mosengo‑Omba, AACC members, head of legal Felix Majani (present), head of governance Hannan Nur (author of the GRC report)Outcome: Committee members felt coerced; several considered resignationFinancial and Governance Figures Highlighted in the GRC ReportThe nine‑page GRC report, authored by Hannan Nur, documented “undue interference” by Mosengo‑Omba’s office, obstruction of compliance duties, and delayed release of key governance documents such as the compliance handbook and code of conduct. While the report does not contain monetary figures, it underscores systemic governance failures that could affect CAF’s financial oversight.Implications for CAF Governance and the DRC Football Federation ElectionThe allegations arrive as Mosengo‑Omba, aged 66, is the sole candidate for the presidency of the Democratic Republic of the Congo football federation (Fecofa), with elections scheduled for Wednesday (date not specified). If elected, his leadership would coincide with ongoing disputes over his previous tenure, including accusations of running CAF as a “proprietorship” and a pending lawsuit by former head of governance Hannan Nur for victimisation.CAF President Patrice Motsepe previously expressed “complete trust and confidence” in Mosengo‑Omba, a stance now under scrutiny. Former DRC captain Jean‑Claude Mukanya and other stakeholders have called for the election to be suspended pending an independent investigation.Potential Outcomes and Calls for InvestigationLegal experts, including former FIFA governance committee chair Miguel Maduro, urge a thorough probe into the dismissal of Nur and the alleged intimidation. Possible scenarios include:Formal investigation by FIFA ethics committee, potentially leading to sanctions against Mosengo‑Omba.Rescheduling or suspension of the Fecofa presidential election.Re‑evaluation of CAF’s internal governance structures to prevent future interference.As the story develops, the intersection of sports governance, legal accountability, and regional football politics will shape the future of both CAF and the DRC’s football administration.

Arthur Fils has turned a career‑threatening back injury into a springboard, emerging as one of the sport’s most charismatic contenders just as the French Open looms. The Parisian’s recent ATP 500 triumph in Barcelona and back‑to‑back Masters 1000 semi‑finals have vaulted him to No 5 in the ATP Race, while his candid interviews reveal a player who refuses to back down.The Comeback Narrative: From Back Fracture to ATP Race Top FiveFils spent eight months recovering from a stress fracture that forced his withdrawal from the 2025 French Open. During that period he overhauled his training, shedding weight and re‑engineering his strokes. The results are evident in his recent form:Winner of the ATP 500 Barcelona (June 2026)Semi‑finalist at the Miami Masters 1000 and Madrid Masters 1000Current position: No 5 in the ATP RaceInside the Technical Overhaul: New Service Motion and Forehand AdjustmentsGuided by coach Ivan Cinkus and mentor Goran Ivanisevic, Fils introduced several biomechanical tweaks:Lengthened service motion to increase racket head speedShortened forehand swing for a more compact, explosive hitAdopted open‑stance backhand slides across all surfacesReduced overall body mass to alleviate back stressThese changes have translated into a heavier, more reliable forehand and a steadier serve, key factors in his recent deep runs.Numbers That Matter: Rankings, Titles, and Prize MoneyThe statistical impact of Fils’s resurgence is striking:ATP Race points: 3,850 (up from 1,200 pre‑injury)Prize earnings 2026 (to date): $2.3 millionMatch win‑loss record 2026: 22‑5His climb to No 5 places him ahead of seasoned rivals such as Jannik Sinner and Carlos Alcaraz in the race for year‑end championships.Cultural Resonance: French Expectations and Family InfluenceFils’s story resonates beyond the court. Raised by his father Jean‑Philippe, a Haitian‑born former basketball player, the duo embodies a “tough love” ethos that contrasts with traditional French sporting narratives. Their close partnership—Jean‑Philippe travels to nearly every tournament—has become a talking point in French media, where athletes are often scrutinized harshly.His outspoken nature, from confronting trainers to calling out critics like Simon Dutin, underscores a shift toward more authentic athlete voices in French tennis.Looking Ahead: What Fils’s Trajectory Means for the 2026 SeasonWith the French Open imminent, expectations are high. If Fils maintains his physical health and continues to refine his game, he could:Challenge for his first Grand Slam semifinal or finalPotentially break into the top‑3 of the ATP rankings by year‑endInspire a new generation of French players to adopt a more aggressive, personality‑driven styleRegardless of the outcome, Fils’s blend of talent, tenacity, and transparency promises to keep him at the centre of tennis conversations throughout 2026 and beyond.

The Leap: Conversational Access to Quantitative Drug‑Discovery ModelsIn a bold move to democratize high‑performance chemistry, SandboxAQ has integrated its proprietary large quantitative models (LQMs) into Anthropic’s conversational AI, Claude. The partnership eliminates the need for users to provision costly computing resources, allowing scientists to query complex quantum‑chemistry simulations in natural language.SandboxAQ Teams with Anthropic to Embed LQMs in ClaudeThe five‑year‑old Alphabet spin‑out, chaired by Eric Schmidt, announced the integration after raising $950 million from investors. The LQMs are “physics‑grounded,” meaning they are built on scientific equations and real‑world lab data rather than purely on text patterns. They can perform quantum chemistry calculations, molecular‑dynamics runs, and micro‑kinetics simulations, delivering predictions about candidate molecules before any wet‑lab work begins.Financial and Market Scale of the Quantitative Economy$950 million raised to date by SandboxAQ.The company positions its LQMs within a $50+ trillion quantitative economy spanning biopharma, finance, energy, and advanced materials.Traditional drug‑discovery projects can cost billions of dollars and take a decade to yield a viable molecule.Why a Conversational Interface Could Disrupt Pharma R&D;Historically, only computationally sophisticated teams could leverage large‑scale chemistry models, requiring on‑premise GPUs or cloud clusters. By surfacing these capabilities through natural‑language chat, SandboxAQ lowers the barrier for:Computational scientists seeking rapid hypothesis testing.Experimentalists who lack deep AI‑infrastructure expertise.Large pharmaceutical and industrial firms aiming to accelerate material discovery.Customers have reported that existing software failed to translate complex problems into actionable results, a gap SandboxAQ hopes to fill.Future Outlook: Scaling AI‑Driven Chemistry Across IndustriesWith the Claude integration, SandboxAQ expects broader adoption beyond pharma, extending into energy, finance, and advanced materials where quantitative simulations are critical. As more firms adopt conversational AI for scientific workflows, the competitive advantage will shift from model performance to usability and integration speed. The next wave may see LQMs embedded in other enterprise assistants, further blurring the line between AI chat and high‑performance scientific computing.

The Criticism of the US Voting Rights Act Gutting Stacey Abrams, a prominent American politician, recently appeared on the 'Stateside with Kai and Carter' podcast. During her appearance, she strongly criticized the gutting of the US Voting Rights Act, labeling it as 'evil'. This development has significant implications for the voting rights landscape in the United States. The Podcast Discussion The discussion took place on the 'Stateside with Kai and Carter' podcast, where Stacey Abrams shared her insights on the current state of voting rights in the US. Her comments highlight the growing concerns about the erosion of voting rights and the impact on democracy. The Impact on Voting Rights The gutting of the US Voting Rights Act has been a contentious issue, with many arguing that it undermines the progress made in ensuring equal access to voting. Stacey Abrams' criticism underscores the need for continued efforts to protect and expand voting rights in the US. The Future of Voting Rights As the US continues to grapple with issues related to voting rights, Stacey Abrams' comments serve as a reminder of the importance of safeguarding democracy. The conversation around the Voting Rights Act is likely to continue, with many advocating for stronger protections and expansions of voting rights.

Axel Willner—known as The Field—had been silent for years, working as a kindergarten chef in Berlin and grappling with creative doubt. A random queue at Stockholm’s Funky Chicken food truck connected him with label co‑founder Axel Boman, leading to a fresh record deal and the EP Now You Exist on Studio Barnhus. The Unexpected Burger‑Van Catalyst In February 2025, Willner waited for a burger when he noticed another man named Axel two places ahead. The second Axel turned out to be Boman, a veteran of the Scandinavian club scene. Their conversation shifted from casual small talk to a music exchange: Boman asked for tracks, and Willner sent two songs from 2019, which became the seed of the new EP. Chronology of The Field’s Silence and Return 2007 – Breakthrough album From Here We Go Sublime launches his career. 2011‑2013 – Releases Looping State of Mind, Cupid’s Head, expanding his sound. 2018 – Last release before hiatus, Infinite Moment. 2019 – Completes touring, decides to step back from road life. 2025 – Meets Boman, sends two unfinished tracks. 2026 – EP Now You Exist drops via Studio Barnhus. Creative Renewal and Label Shift The EP marks several firsts: a full a‑capella vocal line cleared through Tracklib, a bright, distorted cover art, and a departure from the uniform Kompakt aesthetic that defined his earlier catalog. Willner also left the Cologne‑based Kompakt label, seeking a “relaxed vibe” that Studio Barnhus offers. The music reflects a blend of relief and lingering anxiety, mirroring his personal journey from chef back to producer. What Lies Ahead for The Field Willner is weighing touring offers but feels empowered to decline, citing his new culinary job and a desire to stay close to home. The positive reception of “Now You Exist” suggests a sustainable path that balances music, family, and his chef career. Observers expect further releases that continue his experimental edge while possibly exploring more vocal collaborations, given his recent foray into a‑capella sampling.

Wallace Shawn Confronts Skepticism About His ActingWallace Shawn acknowledges that many doubt his acting abilities, reflecting on a career often defined by his distinctive voice and character roles.Therapy as a Lifeline in a Demanding IndustryHe credits ongoing therapy for helping him navigate the pressures of Hollywood and maintain creative stamina.Advocacy for Palestine Amidst Hollywood ControversyShawn discusses his decision to speak out on Palestine, describing the personal and professional risks involved.What Lies Ahead for Shawn and the ConversationHe hints at future projects that may blend his artistic work with his activist stance, suggesting a continued push for both artistic and political dialogue.

Opening the Silent Corridors of Cork’s AsylumThe Guardian’s latest review spotlights *Said the Dead*, a meticulously researched yet poetically daring study of the Cork Mental Hospital – once Ireland’s longest Gothic building, shuttered in the 1990s and now being turned into apartments. Doireann Ní Ghríofa uses the archive as a portal, giving voice to women whose stories were consigned to dusty casebooks.How Doireann Ní Ghríofa Reconstructed 19th‑Century Patient LivesWorking primarily from the hospital’s massive green casebooks, the author is forced to stop a century before the present to respect confidentiality, so the narrative centers on Victorian and Edwardian voices. She extracts vivid portraits – Bridget, a pregnant emigrant turned back home; Anna Martha, a painter who brandished a gun on magistrates; Dora, a sixteen‑year‑old yearning for death; and Muriel, wife of republican lord mayor Terence MacSwiney. The book also foregrounds Lucia Strangman, the first woman psychiatrist in the British Isles, as a thematic double for the author‑reader.Archive constraint: records stop at a 100‑year distance.Key patients: Bridget, Anna Martha, Dora, Muriel.Medical language: “fairies work on her nerves”, “dull”, “intelligent”.Why Revisiting the Asylum Matters for Irish Memory and Mental‑Health DiscourseThe review argues that the book does more than recount forgotten biographies; it interrogates the ethics of reading and surveillance. By positioning herself as “the Reader”, Ní Ghríofa acknowledges the power imbalance inherent in extracting lives from institutional records, echoing contemporary debates on mental‑health stigma and historical accountability. The work thus becomes a catalyst for broader conversations about how societies remember—and often erase—marginalised voices.What This Revival Signals for Historical Narrative and Public EngagementAs the former asylum is repurposed into luxury flats, *Said the Dead* reminds readers that commercial redevelopment can obscure painful histories. The book’s blend of scholarship and imagination may inspire similar projects that rescue silenced narratives, encouraging museums, publishers, and educators to foreground archival voices before they disappear beneath modern façades.

The Hollywood Backlash Against #MeTooCate Blanchett has lamented that the #MeToo movement "got killed very quickly" in Hollywood, while speaking at the Cannes film festival. In a wide-ranging conversation on Sunday, the acclaimed actress expressed concern that the tide of #MeToo has been turned in an industry where she has been outspoken about gender equality.Blanchett's Observations on Gender Disparity"It got killed very quickly, which I think is interesting," said Blanchett. "There are a lot of people with platforms who are able to speak up with relative safety and say this has happened to me. And the so-called average woman on the street, person on the street, is saying me too. Why does that get shut down?"Blanchett detailed her daily experiences on film sets, stating: "I'm still on film sets and I do the headcount every day. There's 10 women and there's 75 men every morning."The Evolution of Gender Representation in FilmIn 2018, when Blanchett was president of the jury at Cannes, she participated in a red-carpet protest with 81 other women, representing the total number of female directors who had been selected for the Cannes competition lineup, compared with the 1,866 male directors who had been selected over the same period."I love men, but what happens is the jokes become the same," she said. "You just have to brace yourself slightly, and I'm used to that, but it just gets boring for everybody when you walk into a homogeneous workplace. I think it has an effect on the work."Industry Perspectives on ChangeJulianne Moore also spoke at Cannes on the weekend about gender disparity on film sets, saying she believed numbers had improved in the last decade. Speaking at a Kering Women in Motion talk on Saturday, Moore recalled being one of two women on a set around 2016. "I can remember being on a set not too long ago where the only women were me and the third AC [assistant camera]," she said.Blanchett's comments come as she prepares to star in The Brutalist director Brady Corbet's next film, an "X-rated" feature set in the 1970s, alongside Selena Gomez and Michael Fassbender.