Space is marked by topography and the temporal and spatial dynamics correlate it with other spaces. The only importance was to be found in its resemblance to the geography of the original, which explains why it was not considered a zone for many years – a view that is still true. Were ever the field of Japanese Translator activities to be studied in relation to time and space, they would be interpreted as turbulent movements whose ridiculous outcome exemplifies the likelihood and the mystification of its concurrence. Movement is interpreted as oxymoronic and this interpretation in its own terms claims to oppose the rate of this movement which is faithfully and intrinsically in opposition to a sense of transition and passage – both spatial and temporal. This has kept translators and theorists from focusing on what has happened in-between the translation and the original for so many years. If the interstitial zone is to emerge, the idea of movement needs to be reconceptualized by separating it from the tension towards something other than itself, from a movement which erasing itself as it moves towards an authentic. The movement within the dynamic border of the interstices determines how the interstitial zone of translation exists and how the process of unification of two languages and cultures operates. According to Bartleby, not only does translation aim at being the original, but it also tries not to do so.

Whether humankind is capable of repossessing the uncalendarical, unlinear and unchronological time or not is the biggest unanswered question. Whether the Arabic translation services agencies are capable of delivering the sheer pleasure of settling down in the in-between where reality and possibility, inauthenticity and authenticity, actuality and potentiality become impossible to distinguish is the big question. “The Neuter is the literary space that seems to be constantly outdated, ceaseless, and incessant,” according to Thomas Carl Wall. Significantly, this is the space of Pounds’ literature, but also of Blanchot’s and other prolific twentieth-century writers. The list is really long but should include Giorgio Caprioni, an Italian to English Translation theorist. The space they inhabit is called the interim, which is the interstitial time which suddenly renders insignificant and unrelated the notion of what one is expectant of. Contemporary literature submerges into the space of the interstices in order to call to mind something that may be an absence or a presence, or the inferno of the self or its gradual recomposition in the territory of medianity and possibility. Ironically and quite paradoxically, the nature of art lies in the coexisting principles which mark the opposition between its fascination and its incorrigible sin, which form the body and flesh of art.

When we think of translation, we cannot but note that although it has to be truthful to the original it could be used to recapture the insightful meaning of art’s incompleteness through emphasizing, arranging and clearing up its epiphanic errancy, whose objective is to restore art to the originality of its plurilingualism and multiculturalism. It is evident that the contemporary hermeneutic of language and culture is perfectly served by the Russian Translation Services theory. It is also the ideological and existential home for those who are physically living in-between and who for many years have thought and lived their interstitiality as a loss, of home, the self, their traditions. By losing oneself one finally finds oneself – this is the locus of criticism and the geography of universe which all make now the time to see the error of being potential.