I'm reading "Writing Tools, 50 essential strategies for every writer", by Roy Peter Clark. Instead of rules to follow, his book provides tools to exploit (although many of the tools sound quite similar to the rules provided by other books on writing).
Each tool has its own chapter, and each chapter gives practical examples from many different authors, including some foreign writers. For instance, in his chapter on ordering words for emphasis, Clark quotes the famous opening of Cien años de soledad: "Muchos años después, frente al pelotón de fusilamento, el Coronel Aureliano Buendía había de recordar aquella tarde remota en que su padre lo llevó a conocer el hielo."
But Clark quotes this in English: "Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice." Yet, in providing an example about words and their placement for emphasis, Clark attributes them to Gabriel García Márquez, alone, not also to Gregory Rabassa.
If these words serve as an example in a book in English about writing, Clarke should have mentioned that who chose them in English (and not others that might have legitimately been used), was Rabassa, the translator, not Márquez, the original author.
This is "the translator's invisibility", according to both meanings Lawrence Venuti gives to the term.
As translators, we lend our pens and words to others, and let them make them their own... unless we blunder: when we choose well, transform powerful source into spellbinding target, the translator's words become the original author's own. But if we fail in our choice of words, then the failure is ours: it's only then that we become visible.