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.
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .