Following up on earlier announcements, Ed Nawotka writes about Kalima’s ambitious program in today’s International Herald Tribune.
Part of the United Arab Emirates’ Authority for Culture and Heritage, Kalima is a nonprofit enterprise with the goal of translating 100 titles a year into Arabic and distributing them throughout the Middle East. Which sounds like it will be quite a challenge:
Karim Nagy, Kalima’s chief executive, acknowledges the hurdles. The Arabic-speaking world comprises about 300 million people in more than 20 countries. Censorship laws vary, and often there is no strong bookselling community or distribution channel.
“First, we will worry about getting the books translated,” he said. “Then we will work to optimize their distribution.”
To put this program in perspective, Nawokta cites some interesting figures:
About 10,000 books have been translated into Arabic in the past millennium, according to a 2003 study by the United Nations Development Program. The demand has been small, partly owing to the historical tendency to focus most reading on religious texts and classical poetry. About 300 new translations appear each year, so Kalima’s planned 100 titles represents a substantial addition.
Along with Europa Editions new enterprise Sharq/Gharb, the Arab world is about to get in an influx of international literature.
Kalima is still in the process of acquiring rights to its first 100 books, but the current list includes Milton’s Paradise Regained, Isaac Bashevis Singer’s Collected Stories, Alan Greenspan’s The Age of Turbulence, and The Kite Runner.
The International Herald Tribune has a feature today on the production of Russian playwright Ivan Viripaev’s “Genesis No. 2” as directed by Bulgarian Galin Stoev, which sounds like a fascinating play.
Two men and a woman perform several roles against a backdrop of mirrors that reflect their outbursts and transformations. The setting is a psychiatric institute where a professor of mathematics named Antonina Velikanova has been interned, diagnosed with acute schizophrenia. She believes she is Lot’s wife, and converses with God – or her psychoanalyst.
The play opens on the narration of a letter Velikanova purportedly has written to Viripaev asking him to stage her script. Her name even appears next to his in the credits as co-author, and a character named Viripaev also appears on stage.
Too bad there’s no reference to touring America . . .
To keep on with my dislike of the term “Summer Reading,” and how it’s frequently used only in reference to aesthetically-suspect titles, I want to share these two articles from the International Herald Tribune as examples of what “summer reading” can be.
Both are listed under the rubric “Summer Reading.” So take that Salon!
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .