The present article focuses on a largely set aside subject in translation studies : the very imprint that the translator leaves in the translation. The endeavor to dig him/her from his/her grave is all the more complex and paradoxical since we are dealing with the translation of surrealist automatic texts. Surrealist automatism questioned its originating source precisely by its claim of automaticity, that if, of not being originated in the conscious, as defined by Freud ; this claim was later to trigger the death of the author in literary theory after an initial dialectical moment. In this article, I intend to study Mary Ann Caws’ translation into English of Breton’s automatic writings, by defining her « translating position », her «translating project » and her « translating horizon ».
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