On Wednesday, November 9th at 7:30pm, Two Lines is collaborating with The Bridge reading series to put on a special event at McNally Jackson (52 Prince St.) in celebration of the new issue, Counterfeits. “Counterfeits” editor Luc Sante will host the event, and will be joined by translators Aaron Kerner, Patrick Philips, Alex Zucker, Alyson Waters, and author Magdaléna Platzováfor.
In preparation for this event, Two Lines just posted an interview with Alyson Waters about Albert Cossery and her translation of The Colors of Infamy, which is coming out next month from New Directions.
Scott Esposito: We’re here to talk about your excerpt from The Colors of Infamy, which comes from the third novel by Egyptian-French writer Albert Cossery to be published in the past couple of years. Cossery, who died in 2008 and did most of his writing decades ago, has become something of a sensation lately, with these new translations getting rave attention in a lot of leading periodicals. Why do you think Cossery has caught on so much?
Alyson Waters: I wish I could say that he’s moved into best-sellerdom, but that would be overstating the case a bit! I think that Cossery’s a great writer, and maybe it’s taken some time for people to realize that here—an Egyptian author who writes in French translated into English is not everyone’s first choice as a “go-to” book. We’re fortunate to have wonderful publishers like New Directions and New York Review Books who took a chance on publishing these translations in the last few years, although some of his work was translated into English decades ago, but it’s all gone out of print. I started translating The Colors of Infamy for the pleasure of it some seven or eight years ago, but it wasn’t until I won a PEN Translation Grant for the book that publishers sat up and took notice. I was lucky that Barbara Epler of New Directions wanted me to translate A Splendid Conspiracy as well. And now, in addition to The Jokers, brought out last year in Anna Moschovakis’ translation, New York Review Books is bringing out a revised version of a translation by Thomas Cushing of Proud Beggars that was originally done in 1981. It would be nice to think that all this interest has to do with the Arab Spring, and that may be true right now as far as new readers are concerned, and I hope interest continues to grow. But those of us who have been pushing for Cossery to have a bigger presence in the English-speaking world have been doing so for about a decade, some even longer. He’s got a wicked sense of humor, a very appealing anti-work/anti-capitalist/anti-materialist philosophy that goes with our current recession mood, I think, and a rather cynical—though some might say accurate—view of the benefits of any revolution for the poorest of the poor—all of which can be seen quite clearly in The Colors of Infamy.
Click here to read the full interview, and be sure to order a copy of the new issue while you’re there.
The eighteenth annual installment of Two Lines will be edited by Luc Sante and Rosanna Warren, and we’re looking for the best of the best new translations in any genre (poetry, fiction, drama, essay, non-conformist).
In addition to nearly two hundred pages of poetry and fiction from around the world we will also be running a special section of international noir literature. When we say noir, however, we’re not merely looking for the next Stieg Larsson, we’re looking for work that walks the edges of the genre, that attempts something greater or other within (or around) the traditional model. We want poetry that incorporates thematic music, excerpts from graphic novel whodunits of a political slant, or anything you feel might interestingly play with the tropes of noir.
Previously unpublished work only.
Deadline to submit your work is December 1, 2010. No late submissions accepted!
All other details (length, mailing address) can be found at the link above.
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .
One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
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. . .