For those of you who haven’t yet seen the Facebook posts and re-posts, we are thrilled (and grateful) that Open Letter has once again received an Arts Works grant from the National Endowment for the Arts (NEA). The grant awarded to the press for 2015 was one of the largest awarded this year.
From the press release published by the University of Rochester:
“The $60,000 grant will support the publication and promotion of several books in 2015, including Rochester Knockings, a novel based on the Rochester-based religious movement of Spiritualism and the famous Fox Sisters.
‘We’re extremely grateful to the NEA for this generous award,’ said Open Letter Publisher Chad W. Post. ‘To be awarded the third largest grant in the literature category is one of the highest honors a nonprofit publisher can receive. But even more importantly is that this award allows us to introduce English readers to six amazing new books.’
The press was one of 55 organizations to receive a grant in this year’s literature category. In 2014, the NEA received more than 1,400 applications for Arts Works grants, requesting more than $75 million in funding.
. . .
In addition to supporting the publication of Rochester Knockings (translated by Jennifer Grotz, associate professor of English at Rochester), the grant will support the publication of five additional books: Post-Exoticism in Ten Lessons, Lesson Eleven (translated by J.T. Mahany ’13); Traces of Time; Rock, Paper, Scissors; So Much, So Much War; and Loquela (translated by Will Vanderhyden ’13).”
For the full release and more information, go here.
For more information on the NEA and its work, go here.
This is for all the CNY folks: Paul Auster will be on campus on September 30th to give a George H. Ford Lecture on “Fiction and Translation.” This event is being co-sponsored by the George H. Ford Lecture Fund, the Department of English, and the Reading the World Conversation Series.
Very cool opportunity to see Auster in an intimate setting (if you consider a room that seats 150 people to be intimate), and I’m sure he’ll have a lot of interesting things to say about translation. He’s always been a big advocate of French—and world—literature, and has published a number of translations, including pieces by Edmond Jabes, Pierre Clastres, Jacques Dupin, and others. (The complete list is available here.)
The event will take place from 5-6 on Thursday, September 30th in the Hawkins-Carlson Room in the Rush Rhees Library on the University of Rochester’s campus. Should be cool, should be crowded. I recommend getting there early, since there’s no ticketing process . . .
With our Politics of Translation event coming up next Monday, this seems like a good time to post the video of a different event that we hosted last fall.
As part of the Reading the World Conversation Series, this “Translators’ Roundtable” brought together four literary translators—who work in a variety of languages and genres—to discuss their experiences. The conversation explored a number of different topics, from how they got started as translators, to the obstacles of retranslating classic works, to translating film scripts during the writers’ strike, etc.
In attendance were Michael Emmerich, Edward Gauvin, Marian Schwartz, and Martha Tennent. There’s a lot of brilliant discussion here—one of my favorite points coming from Michael who makes a case to those who lean on the phrase “Lost in Translation” that it is, instead, and “100% gain.”
Beginning this fall semester (which is literally upon us), undergraduates at the University of Rochester will be able to receive a Certificate in Literary Translation Studies. This info has been at the bottom of the page since we went live, but for anyone interested, we now have PDFs of the requirements and application form.
John Michael (firstname.lastname@example.org) is the CLTS advisor, so please feel free to contact him with any questions.
Information about graduate-level programs will be available later this year.
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .