This past weekend Columbia University (and the Center for Literary Translation) hosted the Graduate Student Translation Conference. E.J. and I were lucky enough to be there, and with so many great translators attending and events taking place, it’s worth recapping some of the activities.
First off, in case you’re not familiar with the conference, this started a few years ago at UCLA at the urging of Michael Henry Heim. It’s a biennial conference, organized by grad students studying translation and takes place (on a rotating basis) in L.A., Iowa City, and New York. The conference consisted of a combination of morning workshops and afternoon panels (the panels were free and open the public) on topics like “Translation and Publication,” “Translation and Canon Formation,” “Translation and the Academy,” and “Translation and Theory.”
Before talking about anything else, I want to praise Idra Novey, Lytton Smith, Mary Kate Hurley, and Audrey Truschke (and anyone else involved) on the fantastic job they did putting this conference together. Everything was incredibly smooth, and panels even started and ended on time! There was a great turnout, especially for the opening reception, the keynote address with Charles Simic and Michael Scammell and the panels. Esther Allen also deserves special thanks for all that she’s done for the Center and for making the event possible. (And I want to thank Dedi Felman again for reading one of the Fonseca stories we’re publishing at the opening event.)
I was on the Translation and Publishing panel, so it’s hard for me to judge how successful this was, but I loved meeting all the people in the audience, and it was great to finally have a chance to meet Bob Weil from Norton and Jennifer Kronovet from Circumference. The conversation was pretty lively and fun. And I was personally thrilled to find out that the galley for the forthcoming Antonio Lobo Antunes book — What Can I Do When Everything’s on Fire? — will be available in the next few weeks . . .
The session on “Translation and the Academy” was pretty interesting, with the conversation circling around the problem of positioning translation work within the university setting. There are a multitude of issues related to this, the most crucial being the fact that translations generally don’t help one’s case for tenure.
The most shocking story I’ve heard about this is the case of Susan Bernofsky and Bard. She was on the panel and made passing reference to this situation, but basically she was denied tenure at Bard despite being one of the true “rock star translators” working today. She’s translated Robert Walser, won the 2006 Helen and Kurt Wolff Translator’s Prize for her translation of a book by Jenny Erpenbeck, and is generally considered one of the best German translators working today. Quite frankly, among people interested in international lit, she’s almost a household name, and one would think that a university with an interest in translation would really want to hold on to her. . . .
I don’t know much about the tenure process, but I think this, as it relates to literary translators, is going to become a really hot issue over the next decade or so as more programs start up, graduates enter the workforce, etc., etc. ALTA has some info about this situation on their website, and in theory could become the national “lobbyists” for this issue.
There are a few other items that came up over the conference that are worth noting in bulleted fashion:
Paul Klee’s Boat, Anzhelina Polonskaya’s newest bilingual collection of poems available in English, is an emotional journey through the bleakest seasons of the human soul, translated with great nuance by Andrew Wachtel. A former professional ice dancer(!), Polonskaya left the. . .
In Seiobo There Below, Lázló Krasznahorkai is able to succeed at a task at which many writers fail: to dedicate an entire novel to a single message, to express an idea over and over again without falling into repetition or. . .
There are curious similarities in three Italian mystery series, written by Maurizio de Giovanni, Andrea Camilleri, and Donna Leon.1
They’re all police procedurals, and all set in Italy: Naples, Sicily, Venice.
The three protagonists are Commissarios: Luigi Ricciardi, Salvo. . .
Poetry always has the feel of mysticism and mystery, or maybe this feeling is a stereotype left over from high school literature class. It is generally the result of confusion, lack of time committed to consuming the poetry, and the. . .
Our Lady of the Flowers, Echoic is not only a translation, but a transformation. It is a translation of Jean Genet’s novel Notre Dame des Fleurs, transmuted from prose to poetry. Originally written in prison as a masturbatory aid (Sartre. . .
Equal parts stoner pulp thriller and psycho-physiological horror story, a pervasive sense of dread mixes with a cloud of weed smoke to seep into every line of the disturbing, complex Under This Terrible Sun. Originally published by illustrious Spanish publishers. . .
From the start, Daniel Canty’s Wigrum, published by Canadian press Talonbooks, is obviously a novel of form. Known also as a graphic designer in Quebec, Canty takes those skills and puts them towards this “novel of inventory” and creates a. . .