Over at Entre Los Espacios, Rose Mary Salum is continuing her line-up of bad-ass interviews. Last month she talked with a slew of editors at translation literary journals (such as Absinthe and Calque), and today she has a nice interview with Annie Janusch from Two Lines.
And tying in to the previous post about editing translations:
What would seem to be the essential editorial challenge when working with translations?
Since translation editors aren’t in a position to, say, recommend revising a particular passage so that it moves the narrative along differently, the editorial focus is on honing and crafting the language, maintaining consistency in voice, style, or intangibles like “spirit.” When I read a draft of a translation of a story, I read it as closely as I would a poem, pausing over every word and weighing every choice. This can lead to endless questioning.
This started a while ago, but Rose Mary Salum of Entre los espacios has been interviewing a number of translation journals/magazines about issues of readership, editing, etc., with pretty interesting results.
Each question is a separate post, so here are links to the four already online, along with a quote from one of the responses. (Just for the record, editors from CALQUE, Absinthe, Words Without Borders, Tameme, One Edit, No Man’s Land, and CipherJournal are being interviewed.)
Question #1 is about the perceived lack of interest in international literature among English readers.
Brandon Holmquest from CALQUE: I’m not sure if I agree with the idea that readers are disinclined to read things from other countries. There are a hell of a lot of people in this country who are not readers, and a great many who read things like genre fiction. It does the publisher of serious literature, translated or not, no good to consider these people as readers. A record label that puts out hip-hop records cares about hip-hop fans, people who hate music and rock fans can take of themselves.
Question #2: What would seem to be the essential editorial challenge when working with translations?
Tim Adkins from One Edit: Make it interesting.
Question #3: Is expression in one language completely transmittable into another language?
Dwayne Hayes from Absinthe: I’m not sure the thoughts in our own heads are completely transmittable in our own language! That said, translation stands on its own as a literary work and is definitely capable of transmitting the heart of the text.
Question #4: Should the question be more about how much of a culture we try to transmit and how much we intervene, when working with our journals?
Samantha Schnee from Words Without Borders: The mission statement of WWB sums this up nicely: Words Without Borders opens doors to international exchange through translation, publication, and promotion of the world’s best writing. WWB publishes selected prose and poetry on the web and in print anthologies (the next one to focus on the Islamic world), stages special events that connect foreign writers to the general public and media, develops materials for high school teachers to use foreign literature in classrooms, and continues to build an unparalleled online resource center for contemporary global writing.
Not sure if there are more questions to come, but what’s available so far provides an interesting look into these diverse translation journals—all of which are worth checking out in their own right.
What a wonderful, idiosyncratic book Weinberger has written. I say book, but the closest comparison I could make to other works being published right now are from Sylph Edition’s “Cahiers Series“—short pamphlet-like meditations by notable writers such as Ann Carson,. . .
Early in Sun-mi Hwang’s novel The Hen Who Dreamed She Could Fly, the main character, a hen named Sprout, learns about sacrifice. After refusing to lay any more eggs for the farmer who owns her, she becomes “culled” and released. . .
When Sankya was published in Russia in 2006, it became a sensation. It won the Yasnaya Polyana Award (bestowed by direct descendants of Leo Tolstoy) and was shortlisted for the Russian Booker and the National Bestseller Award. Every member of. . .
Stalin is Dead by Rachel Shihor has been repeatedly described as kafkaesque, which strikes a chord in many individuals, causing them to run to the bookstore in the middle of the night to be consumed by surreal situations that no. . .
Paradises by cult Argentinian author Iosi Havilio is the continuation of his earlier novel, Open Door, and tells the story of our narrator, a young, unnamed Argentinian woman.
The very first sentence in Paradises echoes the opening of Camus’s The Outsider. . .
This pearl from New Directions contains one short story from Russian literary master Fyodor Dostoevsky (translated by Constance Garnett) and one short story from Uruguayan forefather of magical realism Felisberto Hernández (translated by Esther Allen). Both pieces are entitled “The. . .
I’m talking about pathological individuals; six twisted people taking part in an unpredictable game.
Carlos Labbé’s Navidad & Matanza is the story of two missing children and the journalist trying to find them. Actually. it’s the story of a group of. . .