With our Politics of Translation event coming up next Monday, this seems like a good time to post the video of a different event that we hosted last fall.
As part of the Reading the World Conversation Series, this “Translators’ Roundtable” brought together four literary translators—who work in a variety of languages and genres—to discuss their experiences. The conversation explored a number of different topics, from how they got started as translators, to the obstacles of retranslating classic works, to translating film scripts during the writers’ strike, etc.
In attendance were Michael Emmerich, Edward Gauvin, Marian Schwartz, and Martha Tennent. There’s a lot of brilliant discussion here—one of my favorite points coming from Michael who makes a case to those who lean on the phrase “Lost in Translation” that it is, instead, and “100% gain.”
This is a pretty loaded post, but this morning the new issue of UR’s Currents was released (which explains the above picture) and includes a long overview on Open Letter, including descriptions of our inaugural list of titles.
The books don’t come out until Fall 2008 (the first will have a September 26th pub date), but here they are:
Part of the reason for this article is to promote the upcoming event Commerce and Culture: The Impact of the Business of Books on the Literature of the Americas, which is part of UR’s Humanities Project.
With such a great list of panelist—Lisa Dillman (translator), Daniel Shapiro (Director of Literature at the Americas Society), Jack Kirchhoff (Book Review Editor at the Toronto Globe and Mail), and Jonathan Welch (co-founder and buyer at Talking Leaves should be an interesting conversation. And we will be able to record this and post it next week.
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .