Here’s a thought-provoking interview from PMc Magazine, in which editor Tyler Malone interviews Chad Post on Open Letter Books, the world of American publishing, and the importance of international literature. Chad debriefs us on Open Letter’s history and concept, and unfolds his philosophy on the mission of a small press in the U.S.: “I’m truly dedicated to the idea that a nonprofit should do all it to better the part of the world that it’s related to,” he says. “And for us that means helping spread a love and appreciation of international writing and the art of translation.” Even though it may seem like a “losing battle” to many, Open Letter is committed to publishing high-impact books from other cultures, and refuses to cater to the lowest common denominator or to sacrifice art for profit.
It’s scary, and financially daunting, to take on such an enterprise; why does Open Letter do it? – So that the American book market doesn’t degenerate into a boring swamp of cultural incest, and so that American readers have access to inventive, meaningful new books that open our minds. “The more artistic voices available to readers and writers, the better,” Chad says. “A healthy translation culture helps to ensure that the literary world in the U.S. keeps renewing itself and evolving and expanding.” If we fail to expose ourselves to voices of other cultures, the American readership winds up with “books that are “entertainments” that appeal to the largest possible audience.” To keep our culture vibrant, energized, and informed, we need to carve out a place for international writers. On the joy of publishing these new voices, Chad shares lively personal enthusiasm: “. . . there’s probably no better feeling in publishing than when a book you’ve been obsessed with for a few years comes back from the printer and you can hold it, reread it, and finally share it with all your friends.” That’s what Open Letter is here for – to scout out great works from around the globe and share them with American readers, who deserve variety, inspiration, and a truly good read.
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
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. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .