ABSTRACT Taking Orhan Pamuk’s trajectory from an underground Turkish writer to a Nobel laureate as a case study, this article questions current narratives of the production of world literature that attribute agency to just a few central players in Paris and New York. It uncovers the role of a wide range of actors (including editors, publishers and translators) in establishing the distinctive “translatability” and “worldliness” of Pamuk’s writing. Contending that the 1990 publication of The White Castle represents Pamuk’s first breakthrough into global literary markets, the article demonstrates that Victoria Holbrook’s award-winning translation was in fact substantially rewritten, without reference to the original Turkish, by a junior editor at a small UK publishing house. English versions of Pamuk’s work in this early period typically enhance the worldly qualities of his prose by emphasizing parallels with, for example, the novels of Umberto Eco and Garcia-Marquez. The more unfamiliar a language is to publishing houses within global literary markets, this article argues, the more likely that editors and translators will shape the text’s entry into world literature.

中文翻译：

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幽灵和双打：帕慕克的编辑和翻译

摘要 本文以奥尔罕·帕慕克 (Orhan Pamuk) 从土耳其地下作家到诺贝尔奖获得者的轨迹为案例研究，质疑当前世界文学创作的叙述，这些叙述将代理权归因于巴黎和纽约的少数核心人物。它揭示了广泛的参与者（包括编辑、出版商和翻译者）在建立帕慕克作品独特的“可译性”和“世俗性”方面的作用。认为 1990 年出版的《白色城堡》代表了帕慕克首次突破全球文学市场，这篇文章表明，维多利亚·霍尔布鲁克获奖的翻译实际上是由英国一家小型出版社的初级编辑在没有参考土耳其原文的情况下进行了大幅改写的屋。早期帕慕克作品的英文版本通常通过强调与翁贝托·艾柯和加西亚-马尔克斯等小说的相似之处来增强他散文的世俗品质。本文认为，全球文学市场中的出版社越不熟悉一种语言，编辑和翻译人员就越有可能影响该文本进入世界文学的进程。