I know I’ve written it before, and will do so again, but the Wolff Symposium is one of the absolute best annual translation-related gatherings. It’s held every June and is centered around the awarding of the Helen and Kurt Wolff Translator’s Prize, which is given to the best translation from German into English published in the previous year. All genres are eligible, but translators can only win once.
Anyway, the symposium took place a few weeks back and was absolutely amazing. Great panels, wonderful to see Ross Benjamin receive the award, very nice tribute to Breon Mitchell re: his new translation of The Tin Drum. (I maybe shouldn’t admit this, but I’ve never read this, although every time I see Breon I swear that it’ll be the next book I pick up . . . And it will be! Soon. Soon . . .)
I was planning on writing up some notes and thoughts and whatever from the day of panels, but well, it’s been a busy time and besides, WBEZ was there to record the whole symposium. And although I can’t imagine many people listening to all of these podcasts, they’re a much better record of what was discussed than anything I could babble on about . . .
If you do decide to listen, you might want to do so in order—at least when it comes to the “Increased Interest in Foreign Fiction?” and “Cultivating Audiences” panels, otherwise my random 15-minute speech at the beginning of the latter panel will make next to no sense . . .
First off is the tribute to Breon Mitchell that included an interview with NY Times journalist David Streitfeld.
(There was another panel with Peter Constantine, Drenka Willen, Susan Bernofsky, Krishna Winston, Ross Benjamin, and Breon Mitchell, but I can’t find the podcast . . . Which sucks! This was a great conversation . . . Maybe I’m just missing something? If anyone knows where this is, please e-mail me.)
Then the panel with Dennis Loy Johnson of Melville House, Daniel Slager of Milkweek, Jeremy Davies of Dalkey Archive Press on An Increased Interest in Foreign Literature?
And then the Cultivating Audiences – Particular Examples, Viable Models? panel that started with my rant and ended with all of us (Susan Harris of Words Without Borders, Susan Bernofsky, and Annie Janusch) talking about technology and reaching readers . . . while my phone buzzed with the dozen or so text messages I received during that panel . . .
Finally, we wrapped up with a
contentious argument about Amazon.com discussion about Publishing Literary Translations and New Publishing Technologies. Dennis Loy Johnson of Melville House, Henry Carrigan of Northwestern University Press, and Jeff Waxman of Seminary Co-op were on this panel, which was a great way to end the day, having moved from a grand appreciation of Breon and the craft of translation to the dirty details of the book business and how all the various segments always feel like their getting screwed. Speaking of screwing, this panel also had one of the funniest exchanges of the day:
Jeff: “Being a bookseller, it’s kind of an unrequited love affair with books where you know that you’re going to get screwed.”
Chad: “That’s not really an unrequited . . . It’s actually just a love affair.”
This then led to a series of sexually charged double entendres . . . Man, those end of the day panels—brilliant!
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .