Next week, Book Expo America, “North America’s premier meeting of book trade professionals,” will take over the Javits Center in NYC. This year’s guest of honor at BEA is none other than RUSSIA, your humble author’s area of beloved expertise, and Russia will be the focus of a TON of super-cool events/panels/readings/parties as well as the “2012 Global Markets Forum” (aka: the business of books in and out of Russia, including my favorite Russian indie publisher, Ad Marginem Press!) all between June 2-7 as part of BEA’s READ RUSSIA 2012 initiative.
According to the fine folks at READ RUSSIA: “Russia’s 4,000-square-foot BEA exhibition space at the Javits Center will host presentations for industry professionals on the Russian book market, Russian literature in translation, and new works by Russian writers, publishers, historians, and journalists.”
Open Letter’s own Mikhail Shishkin, whose incredible English-language debut, Maidenhair, comes out October 13, will be one of the many contemporary Russian writers present at BEA. He’s part of a panel at 4:30 on Wednesday with Andrei Gelasimov, and will sit in on the presentation of the “Big Book” (Bol’shaya Kniga) Award Thursday at 10am.
Shishkin will also be doing a discussion with translator-extraordinaire Marian Schwartz and Open Letter publishing wizard Chad Post, hosted by The Bridge Series at McNally Jackson Books in SoHo on Thursday night at 7pm. So come and hang out with the Open Letter family at any of these awesome events and meet Shishkin, who is, from all accounts, a hilarious and awesome dude who speaks highly fluent English, so you don’t have to suffer through one of those awkward translator-trying-to-make-jokes-work moments. The good times will fly free.
Also, check out this bad boy under the Russian “Writers at BEA: Featured Writers” section:
Look familiar? Oh yeah, that’s not Mikhail Shishikin, nor is it Zakhar Prilepin, Dmitry Bykov, or any of the contemporary writers who will actually be at BEA, it’s our old friend Aleksandr Pushkin, who of course died 200 years ago, and who will only be present at BEA in the form of a tattooed portrait on my arm, but whose birthday we will allllll be celebrating on Wednesday in “true Russian fashion” (you can guess what that means)!
But READ RUSSIA is a killer endeavor, filling the streets of NYC with some of the greatest living Russian writers (especially Shishkin and the mustachio’d Bykov and the intensity-in-ten-cities Prilepin, but I really really wish Mikhail Elizarov were there!), and giving the publishing world a much-needed glimpse into the Russia beyond the classics and outside of the overtly political commentary in Western media and literature about the country.
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.
Last week we featured David Bellos’s Is That a Fish in Your Ear? on our Read This Next, website and after reading the sample we made available (along with the interview and full review), I’m sure that everyone in the greater NYC area will want to go see Bellos talk about his book as part of The Bridge Series.
To be more specific, David will be talking at McNally Jackson (52 Prince Street, between Lafayette & Mulberry) on Thursday, October 13th at 7pm.
Here’s some info from The Bridge website:
“Forget the fish—it’s David Bellos you want in your ear when the talk is about translation. Bellos dispels many of the gloomy truisms of the trade and reminds us what an infinitely flexible instrument the English language (or any language) is. Sparkling, independent-minded analysis of everything from Nabokov’s insecurities to Google Translate’s felicities fuels a tender—even romantic—account of our relationship with words.”
—Natasha Wimmer, translator of Roberto Bolaño’s Savage Detectives and 2666
“In the guise of a book about translation this is a richly original cultural history . . . A book for anyone interested in words, language and cultural anthropology. Mr Bellos’s fascination with his subject is itself endlessly fascinating.”
Funny and surprising on every page, Is That a Fish in Your Ear? offers readers new insight into the mystery of how we come to know what someone else means—whether we wish to understand Astérix cartoons or a foreign head of state. Using translation as his lens, David Bellos shows how much we can learn about ourselves by exploring the ways we use translation, from the historical roots of written language to the stylistic choices of Ingmar Bergman, from the United Nations General Assembly to the significance of James Cameron’s Avatar. Is That a Fish in Your Ear? ranges across human experience to describe why translation sits deep within us all, and why we need it in so many situations, from the spread of religion to our appreciation of literature; indeed, Bellos claims that all writers are by definition translators. Written with joie de vivre, reveling both in misunderstanding and communication, littered with wonderful asides, it promises any reader new eyes through which to understand the world.
Definitely go check this out—I can guarantee that it will be fascinating, fun, and interesting.
The next event in The Bridge series—a reading and discussion series for literary translation that takes place at McNally Jackson in NYC and is organized by Bill Martin and Sal Robinson—is tied into the Chicago Review special issue on New Italian Writing that we wrote about yesterday.
Taking place on Wednesday at 7pm, Michael Moore (Chair of the PEN Translation Fund and an interpreter/translator for the Italian Mission to the United Nations) will read from his work, as will Patrick Barron, who has a few translations in the aforementioned special issue of the Chicago Review.
This event will serve as the NYC launch for the “New Italian Writing” issue and will surely be entertaining and informative.
If anyone attends and wants to write this up for us (or write a review of the Chicago Review), just let me know. Either post a comment or email me at chad.post [at] rochester.edu.
Last month we mentioned the first Bridge event (Steve Dolph and Edith Grossman) at the very last minute, so this month I thought I’d give everyone a heads up 22 hours ahead of time . . .
Tomorrow at 1pm at the Swiss Institute (495 Broadway, 3rd Floor, NYC), Edwin Frank will be moderating a discussion with Susan Bernofsky and Christopher Middleton about their translations of Robert Walser’s work.
I would LOVE to be at this . . . Never met Christopher Middleton, but his translation of Jakob von Gunten is spectacular. And Edwin and Susan are both always brilliant . . .
Anyway, check out the new Bridge website for all the details.
As noted yesterday, I’m way behind with web stuff right now, but I wanted to take a minute out of my NEA grant (almost done . . . almost . . .) to point out the awesome new Bridge Series, “the first independent reading and discussion series in New York City devoted to literary translation.”
Bill Martin and Sal Robinson are both involved in this, which guarantees (to me and everyone who knows them) that the series will be of the highest quality.
The first event is tonight at McNally Jackson at 7pm, and features Edith Grossman (Why Translation Matters, translator of Don Quixote and dozens of other books) and Steve Dolph (translator of The Sixty-Five Years of Washington).
Click here for all the details. And we’ll give better advance warning on all the future events . . . .
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In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
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