Click here to read the latest issue of Aldus, a new literary translation journal from Brown University. The pioneers behind this ambitious new publication are Three Percent contributors Matthew Weiss and Tim Nassau. Tim’s also a former Open Letter intern, and recently reviewed Tomas Tranströmer’s The Deleted World.
In this issue you’ll find a conversation between Steven T. Murray, translator of The Girl with the Dragon Tattoo, and his wife and fellow translator, Tiina Nunnally. Also included in this edition: translations from Forrest Gander, winner of the 2012 Best Translated Book Award for his translation of Kiwao Nomura’s Spectacle and Pigsty ; translations by Lytton Smith, translator of Children in Reindeer Woods and The Ambassador (both published by Open Letter); and new works by C.D. Wright, Susan Bernofsky, Andrei Codrescu, and Andrew Barrett – as well as a piece or two by Tim himself.
Back in the tumultuous summer of 2009, Timothy Nassau was an intern here at Open Letter. He read some manuscripts, he packed some orders, he listened to a variety of rants, wrote a few blog posts and reviews, and returned to Brown University a bit wiser and with ambition in his heart.
Fast-forward two years, and young little Tim has helped launch Aldus, Brown University’s Undergraduate Journal of Translation.
The first issue is available via the link above, and is pretty damn star-studded: Red Riding Hood by BTBA 2011 winner Ales Steger, translated by fellow BTBA winner Brian Henry; excerpts from A Stroll through Literature by Roberto Bolano, translated by Laura Healy; Etchings by Paul Verlaine, translated by Keith Waldrop; excerpts from Triste Tristan by Paol Keineg, translated by Rosmarie Waldrop; The Voice by Charles Baudelaire, translated by Erik-Dardan Ymeraga; The Philosophy Teacher by the Marquis de Sade, translated by Timothy Nassau; and Since Nine by C. P. Cavafy, translated by Peter Kenros and Emily Oglesby, with assistance from Daniel Mendelsohn, among many others. (And I heard from Tim that Susan Bernofsky has something the new Walser collection in the next issue . . .)
To give you a sense of the vision of this journal, here’s the letter from the editor that Tim and fellow editor Matthew Weiss wrote:
Speaking without fear of repercussions, we can organize contemporary literature around two poles: the literature that marshalls all the faculties of the soul in full cognitive stimulation, the reader’s brain lit globally on the screen of an MRI machine; and the literature of completeness, pages already cut, that tries to make story and identity cohere. These poles have always existed; today’s inheritors are post-modernism, on the one had, and the New Yorker’s fiction section, on the other. The battlelines have been drawn since the end of the last century, yet no one recognizes that today’s readers have long ago erased these lines in the sand, rushing to the shore and the ocean, their attention on the mystery of the lands beyond it.
This situation is nothing new. In 1925, when Russian literature found itself in the same predicament, Boris Eikhenbaum wrote about a recent influx of translated literature into the market. Today, he tells us, “translated literature fills a vacuum which has come about in our native literature—only a seeming vacuum perhaps, but for the reader one unquestionably there. The reader is no historian of literature . . . What he needs is to have an absorbing book on hand for leisurely reading. He needs a finished product, one ready to use.” And how do works in translation fill the space of uncertainty in the literary marketplace? A translated work is always already finished to us; it presents itself as an emissary from a completed world, removed from the pettiness of one’s own language, literature, and culture—and no matter how it is perceived in its own land, it always appears unified in another language. As such, it stands above contemporary controversies, like a manuscript from antiquity or a message from the future. It brings into view the following: that a different kind of whole is possible.
Now, the most exciting things happening in American literature bear the mark of a translator, and the authors need not be named. For when things get tough for letters, one looks abroad for new exemplars, new reminders.
This volume, brings together authors and translators speaking from across time, place, language, and genre. There is no path, exactly; each work opens up a new height and a new abyss. All together, they superpose a globe and a timeline; grasp them before they collapse.
If you want to submit something—a translator or “treatise on a related matter”—email the text (and original) to aldusjournal [at] gmail.com by October 15th.
Floating around the internet amid the hoopla of a new Haruki Murakami release, you may have come across a certain Murakami Bingo courtesy of Grant Snider. It is exactly what it sounds like, and it’s funny because it’s true,. . .
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .
One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .