Last year around this time, Larry Rohter wrote this amazing piece about the mission of Open Letter and the need for literature in translation. Which did wonders for our reputation and subscription program, and was one of the coolest pieces of publicity we’ve ever received.
Well, as the holidays roll back around, Larry has another piece on international literature, this one looking at “translation as literary ambassador.” It’s a nice, lengthy article, and one that hits on a number of issues, from funding for literature in translation, to Amazon’s involvement in international literature:
Among foreign cultural institutes and publishers, the traditional American aversion to literature in translation is known as “the 3 percent problem.” But now, hoping to increase their minuscule share of the American book market — about 3 percent — foreign governments and foundations, especially those on the margins of Europe, are taking matters into their own hands and plunging into the publishing fray in the United States.
Increasingly, that campaign is no longer limited to widely spoken languages like French and German. From Romania to Catalonia to Iceland, cultural institutes and agencies are subsidizing publication of books in English, underwriting the training of translators, encouraging their writers to tour in the United States, submitting to American marketing and promotional techniques they may have previously shunned and exploiting existing niches in the publishing industry.
“We have established this as a strategic objective, a long-term commitment to break through the American market,” said Corina Suteu, who leads the New York branch of the European Union National Institutes for Culture and directs the Romanian Cultural Institute. “For nations in Europe, be they small or large, literature will always be one of the keys of their cultural existence, and we recognize that this is the only way we are going to be able to make that literature present in the United States.”
And in addition to talking about various Dalkey series, we even get a mention:
With limited budgets and even more limited access to mainstream media, foreign cultural agencies have also come to look upon the Web as an ally in promoting their products. They spread the word not only through sites of their own, Catalonia and Romania being typical examples, but also by using American sites established specifically to champion literature in translation.
One such site, with the tongue-in-cheek name Three Percent, was founded by Open Letter, the University of Rochester’s literary publishing house, and specializes in literature in translation. It has become a lively forum to discuss and review not just that subject but also the craft of translation. Another site, Words Without Borders, founded in 2003, publishes books in translation online and also provides an outlet where translators can offer samples of their work in hopes of interesting commercial publishers.
Overall, it’s an interesting piece that does a great job laying out the issues and bringing attention to the various groups working to increase access and appreciation for literature in translation.
A few weeks ago, Larry Rohter of the New York Times came up to interview just about everyone involved in Open Letter and the University of Rochester’s Literary Translation programs. The piece he was working on appeared in the paper over the weekend.
So, if you’re curious what we’re doing up here, and if you’re reading this I assume you have to be at least a little curious, the article will give you a good overview of our program and vision.
This is a few days old now, but it was great to see Larry Rohter of the New York Times do a special feature on Mexican novelist Mario Bellatin. Bellatin—and his books—are really interesting. Even the opening story in the piece is awesome:
A few years ago the Mexican novelist Mario Bellatin attended one of those literary conferences here where writers are asked to talk about their own favorites. Unwilling to make a choice, he invented a Japanese author named Shiki Nagaoka and spoke with apparent conviction about how deeply Nagaoka had influenced him, fully expecting the prank to be unmasked during the question-and-answer period.
Instead the audience peppered him for more information about Nagaoka, who was said to have a nose so immense that it impeded his ability to eat. So Mr. Bellatin (pronounced Bay-yah-TEEN) decided to extend the joke and promptly wrote a fake biography — complete with excerpts, photographs and bibliography — called “Shiki Nagaoka: A Nose for Fiction.”
And if this sort of intellectual game-playing wasn’t already intriguing enough, he also fools around with his body:
Mr. Bellatin himself is missing much of his right arm, the result of a birth defect that he says he “plays with, takes advantage of and acknowledges” in his work by “writing with my whole body.” He jokes about “my left hand knoweth not what my right hand doeth,” and depending on his mood, he sometimes appears in public wearing a prosthesis with an attachment, chosen from his collection of more than a dozen, that gives him the appearance of Captain Hook.
“People often say, with a lot of truth to it, that all good fiction writing comes from some wound, out of some distance that needs to be breached between a writer and normalcy,” said the novelist and critic Francisco Goldman, a friend of Mr. Bellatin. “In Mario’s sense, the wound is literal and comes with all kinds of psychological nuance and pain, and seems related to sexuality and desire, the desire for a whole body. One of my favorite aspects of him is this sense that he is writing for all the freaks — either literally freaks or privately and metaphorically, that he really touches us.”
Beauty Salon came out from City Lights this week (see “our review”: by Larissa Kyzer) and has been nominated for this year’s Best Translated Book Award. Definitely worth checking out, and hopefully City Lights will be bringing out more of Bellatin’s works in the near future.
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .