Every semester I tell my publishing students about the time I was walking around BEA with Jerome Kramer and he pointed out how the whole fair was “filled with failure.” Mostly I want to shock and break them—every good professor needs to upend his/her student’s expectations and their latent belief that they “know a lot of things”—but it’s also a statement that I stand by.
Pretend you’re a writer. Or rather, someone who wants to be a writer. You spend years working on your novel (or worse—collection of poems) and then spend three times that amount of time trying to find an agent willing to send this around to a bunch of editors who read approximately five pages (this is actually what happens, sorry) before deciding that your years of labor aren’t “good enough” (a.k.a. “potentially profit-making”) to be published. Even if you do find a publisher, unless you wrote the next Fifty Shades, you’ll end up selling less than 2,000 copies. Most likely, you’ll end up self-publishing your work through Amazon and 1/10 of your 400 Facebook friends will buy the $.99 ebook version. Congrats!
Or pretend you’re a publisher. You wade through hundreds of awful manuscripts every year and find 10-12 that you actually like. Along the way, you respond to approximately 1,000 emails from authors and agents harassing you for answers, questioning your judgement, making you wish that worked in a job that actually made money. Finally, the book you love, that you edited with all the best intentions, that you promoted to all your favorite Brooklyn tastemakers comes out . . . and no one talks about it. It sells 2,000 copies. Such a great book! And fuck, man . . .
Let’s say you’re a translator. You do samples on spec. You get someone to finally publish the book that you have always wanted to work on. You and your editor exchange five emails. The book comes out without your name on the cover. Reviewers praise the author’s style without mentioning you. The book sells 2,000. Because you only earn 1% of the list price on ever sale, you never earn back your $2,500 advance. (Which was what you received for a year of work.)
Booksellers don’t have it any better. You have to cater. You might have your own opinions on what books are great, and which ones you would rather not ever have to sell. But the customer is always right. Amazon killed your mojo. Ebooks are bitching up your profit margins. And instead of buying the extremely well-written, well-translated Dutch book you love, everyone is chuffing off with Freedom. The book you staff-picked and put in every customer’s hands sold 6 copies at your store. And you still earn just a smidgen above minimum wage.
I wouldn’t want to be a reviewer at a major publication. All the courting must make you want to puke. “No really, this is her breakout book. It’s got relatable characters, unexpected twists, and a midget! Can I buy you a drink?” And then you have to review the “big” books: Franzen, Eggers, etc., etc. Books that are fine, but which don’t make the world a better place. Life-changing, challenging books “aren’t of interest” to your demographics . . . So you pretend to give a shit about the latest debut author from Bushwick who “realistically” portrays her generation, knowing all the while that this whole thing is a fucking scam: that the only reason this book is being printed is because Ms. Bushwick used to write for the most-popular of popular blogs . . . And everyone hates you for not reviewing the much better book that only sold 2,000 copies . . .
There really is no logical reason to be in the book business. Kids would rather play with their iPhones than read a book, you’ll never earn as much as you’re worth, and even when you feel like you’re doing something good for the world, a minimum of 25 people are right there ready to complain and tell you how much you suck at life.
Case Study Number One. I have no idea why no one reviewed Dubravka Ugresic’s Europe in Sepia. Her last book was a finalist for the National Book Critics Circle award. I sent the new one to everyone. All the reviewers and booksellers were excited. It’s as good as Karaoke Culture and more timely. And yet? . . . Not enough. Every time I see that book on the shelf I feel like I let her down. I failed.
Case Study Number Two. We just finished editing one of our biggest books for the fall. As always, Kaija went through it, sent her edits to the translator (something that only a few presses do!), appreciated the translator’s kind response, inputted the changes, and proofed the book. Then, said translator emailed me to explain that, because Kaija switched three “as if I were” constructions to “like I was,” she was “concerned” and wondered if English was Kaija’s native language. (This translator also claimed Kaija wasn’t a “professional translator,” which is just untrue.) If I didn’t love the author, I would sabotage this book. Or just not publish it at all. Attacking my employees is crossing the line. Nevertheless, I feel like a failure because I can’t actually tell this person how pissed off I am—or how absolutely wrong they are—without seeming petty. Or anti-translator. And no matter how much I’ve done for translators over the past 15 years (just because I love international literature, I’m not a translator myself), I still get shit like this because I hired an editor who actually edits. FAILURE!
Case Study Number Three. The Best Translated Book Awards are up for the International Book Industry Excellence Awards presented by the London Book Fair and the UK Publishers Association. The other two finalists in the International Literary Translation Initiative category are Penguin India and Shanghai 99, two of the largest companies in the world. Two of the largest companies in India and China up against an idea originating from some guy who works in an office in the slowly imploding Rochester, NY . . . Guess who’s not going to be at the awards ceremony? The University of Rochester “doesn’t have $2,000” to send me to an awards ceremony with the publishing industry’s best and brightest. (Tuition plus room and board for the 2014-15 school year is $60,000.) Apparently, “they” don’t want to take advantage of the public relations opportunity or reward one of their employees for CREATING AN AWARD THAT’S A FINALIST FOR AN INTERNATIONAL AWARD. No money for failures?
It’s almost impossible to work in this industry and not feel like you’re being gamed on some cosmic level. The pay is moderate in comparison to other professions, and the hate mail way outnumbers the messages of appreciation. Great books never sell as well as they should. No one cares if you spent your weekend answering emails and reading hundreds of pages from a book that you don’t love, but want to promote in some way. (This is why all publishers are in New York. Not only because it’s the center of all media, but because if you work in books you can get invited to a bunch of scenester parties each weekend. And free booze and the company of other simpatico book people makes it all that much easier to swallow.)
I guess my point is as cheesy as it could be: Why don’t we all just calm the fuck down? It’s not like anyone’s intentionally trying to fuck anyone over—the game is just rigged. If the NPR reviewer doesn’t talk about how mindblowing your translation is, it’s not because he hates you; if an editor makes some suggestions to your book, it’s because they respect you and want your translation to be the best translation possible; if a bookstore can’t sell your book, it’s not because it’s bad, it’s because most people all want to read the same thing and that thing is banal; if Flavorwire won’t review your books, it’s because they receive . . . or, well, actually, that one’s because you, Chad W. Post, made fun of Jason Diamond on Twitter, and TWITTER NEVER FORGETS.
I didn’t have time to read shit this past month, so the April Previews are mostly of books I want to read, and I’ve highlighted them with stupid jokes. Enjoy my failures.
Talking to Ourselves by Andrés Neuman, translated from the Spanish by Nick Caistor and Lorenza Garcia (FSG)
This is, hands down, the best book I’ve read this year. It’s depressing as fuck, but so well written with its three voices and three timelines. I can’t wait to talk to my students about this novel, and am even more excited that Andrés will be in Rochester on April 22nd for an event with Carlos Labbé (see below). That will likely be one of the best Reading the World Conversation Series events ever, and will be followed by an epic afterparty.
Navidad & Matanza by Carlos Labbé, translated from the Spanish by Will Vanderhyden (Open Letter)
If there’s one thing that the Internet has utterly ruined, it’s April Fools Day. Instead of spending months coming up with interesting, convoluted pranks to pull on family members and enemies, this “holiday” now consists of posting random lies online and seeing who’s willing to retweet it. Granted, NPR’s prank was pretty ingenious, but for every joke of this kind there’s a Flavorwire 10 Must-Read Books for April, which I didn’t even realize was an April Fools joke until I noticed that neither Talking to Ourselves nor Navidad & Matanza are on there. YOU GOT ME, FLAVORWIRE!
Nine Rabbits by Virginia Zaharieva, translated from the Bulgarian by Angela Rodel (Black Balloon)
This Tuesday is the second annual Bulgarian Fiction Event at 192 Books in Manhattan. Kaija Straumanis will be representing Open Letter and talking with Virginia Zaharieva and Albena Stambolova about Nine Rabbits and Everything Happens As it Does. These are the only two novels by Bulgarian women available in English translation. Everyone participating in #ReadWomen2014 should be there.
And anyone participating in #ReadWomen2014 might also be interested in knowing that on Thursday, April 10th, Viriginia and Albena will be up in Rochester and will join Danish author Iben Mondrup and translator Kerri Pierce for a panel on “Women in Translation.”
Viviane by Julia Deck, translated from the French by Linda Coverdale (New Press)
Last night, trying to find some crappy TV to entertain me after Kentucky’s last-second win, I came across Amish Mafia. This is an absolutely terrible show—you must watch it!
Now, I’m sure this is common knowledge, but this “Pennsylvania German” language that the Amish speak is totally insane. It’s just a bunch of German words—pronounced as if you’re absolutely wasted—put into an English syntax. This is the least threatening language a “mafioso” could use.
And speaking of these “Amish mafiosos,” they sure do have a hankering for sledgehammers. In the episode I watched, anytime shit went wrong, one of the “toughs” would attack with a sledgehammer. I kept wanting this to devolve into the “Gun Fever” episode of It’s Always Sunny in Philadelphia featuring Mac trying to prove to Charlie that he could defeat a gunman with a samurai sword. “What if I zig-zagged like this?” BANG BANG BANG. Sledgehammers are stupid.
Finally, from what I could figure out, the “Amish Godfather” is a schlubby dude named Levi whose main criminal activity was SELLING BEER. Beer? That’s like the lemonade of mafia activities, buddy. Get yourself some hookers and a point-shaving scandal and we’ll talk.
Radio by Tõnu Õnnepalu, translated from the Estonian by Adam Cullen (Dalkey Archive)
Is that a concealed nipple on the cover of this book?
This summer, I’m going to be skipping BookExpo America this year to attend HeadRead, Estonia’s annual literary festival. I haven’t been to Talliinn in almost a decade, and this is a perfect opportunity to return, with Sjón, Ben Okri, John Banville, A.S. Byatt, Georges-Olivier Châteaureynaud, and many more authors on the docket. So if you’re looking for a reason to visit the Baltic States . . .
A Fairy Tale by Jonas T. Bengtsson, translated from the Danish by Charlotte Barslund (Other Press)
Recently, my ex-wife signed my kids up for a weekend “Kids CrossFit” class at someplace called “BoomTown.” I’m not a big fan of the crossfit cult (more on cults below!), but whatever, the kids love it because they get to run around and throw balls at walls and swing on hanging rings and pretend that they’re bad ass. So when I had them last weekend, I took them myself, and may well have stumbled upon some underground revolutionary party of Rochester.
The crossfit “gym” was just a small room tucked behind a half-abandoned strip mall. (I know, I know, what in Rochester isn’t half-abandoned?) If the tires waiting to be flipped weren’t enough to prove you were in the right place, there was a sales counter selling all sorts of gear with “CROSSFIT” written all over it. Because if you crossfit but don’t tell the world in every way possible that you’re a crossfitter, you’re just not doing it right.
All of the walls were scratched over with people’s names, as if this were one huge bathroom featuring the worst graffiti ever: “MUSCLE CLUB 2014! JENNI! ALEX! SHAUN!” I have the feeling that if you graduated from high school you’re not allowed to join.
The weirdest part had to be all of the kegs and beer for sale. Who crossfits and then does a keg stand?
Wait, no, check that, the weirdest part had to be this sign:
Yes, that is an axe and a AK-47. Thanks, but I’ll take my exercise without the advertisement for deadly weapons.
Pybrac by Pierre Louÿs, translated from the French by Geoffrey Longnecker (Wakefield Press)
A new translation from the author of The Young Girl’s Handbook of Good Manners! If by chance you haven’t see the Handbook, it’s the filthiest book I’ve ever read in my life. It’s not something you should give your niece. Ever.
And Pybrac, a collection of Louÿs’s poems, is equally as “erotic.” I just spent way too long trying to find a verse that I can quote on here that won’t get me in too much trouble, and this was the safest thing I came across:
I do not like to see the immortal mother
Jerk her son off in bed, get him stiff as a tree
Then encunt him and say: “Now fuck me, you duffer!
You don’t have to ask twice, just stick it to me.”
Wakefield Press is the most daring publisher of the present moment. And their books are amazing—not just for the sheer vulgarity, but for the quality, range, and uniqueness or all that they bring out. Kudos.
With My Dog-Eyes by Hilda Hilst, translated from the Portuguese by Adam Morris (Melville House)
I love Hilda Hilst, and feel like she’s the frontrunner for the 2015 BTBA. Multiple books, loved by everyone literary . . . this may be her year. Also, she was from Brazil and Brazil is hosting the World Cup this year. That’s a clear advantage.
Sankya by Zakhar Prilepin, translated from the Russian by Jeff Parker (DISQUIET)
We have a review of this book posting in the next few days. And any book that comes recommended from both Bromance Will and Jeff Parker HAS to be good.
So, this “Happy” song? It can fuck itself. Total propaganda. Most people, unfortunately, aren’t happy. Why? Incredible wealth disparity, the fact that douches like Sean Hannity hate anyone who can think, winter is never going away ever, it seems like earthquakes are about to rip apart half the hemisphere—a million reasons.
But this song is all about feeling good. Take a old timey musical arrangement—one our brains all recognize and feel is “safe”—add nonsensical lyrics and create a trend. That way you have a swarm of people ready to berate the handful of people who fail to get the message and aren’t quite sure if they should be clapping their hands because they “feel happy.” Also, what the fuck?
Clap along if you feel like a room without a roof
Because I’m happy
Clap along if you feel like happiness is the truth
Because I’m happy
“If you feel like a room without a roof”? My seven-year-old son thinks this is a bullshit lyric. What does that even mean? A house has a roof, a room has a ceiling. “A room without a ceiling” makes more sense. And “If you feel like happiness is the truth”? These lyrics make no sense at all, and every time you sing along, a G.W. Bush supporter gets his wings.
Selected Stories by Joaquim Maria Machado de Assis, translated from the Portuguese by Rhett McNeil (Dalkey Archive)
I love Joaquim Maria Machado de Assis, and Brazil, and football. Also, I met Rhett McNeil at Penn State before it became “Sandusky State” and for those reasons you should buy this book.
Last week I finished reading/listening to Lawrence Wright’s Going Clear: Scientology, Hollywood, & the Prison of Belief, and I really hope this sold more than 2,000 copies. It’s an amazing book—I bought the audiobook of Wright’s Looming Tower because of how good this is—and something everyone should read. Not because Scientology is awful—it is, and man am I never watching a Tom Cruise movie again, because, asshole—but because this book lays out the way power structures work in a way that’s incredibly useful. Scientology is even weirder than the Amish. I mean, I get the Amish—just not their mafia—but Scientology? What’s the point? It’s clear that the “church” has a handful of hippie ideals, but the claim that this is bettering the planet is totally batshit given the preponderance of evidence in this book. Yet, Tommy Davis, the Church’s spokesperson, had this to say:
The real question is who would produce the kind of material we produce and do the kind of things we do, set up the organizational structure that we set up? [. . .] Or what kind of man, like L. Ron Hubbard, would spend an entire lifetime researching, putting together the kind of material, suffer all the trials and tribulations and go through all the things he went through in his life . . . or even with the things that we, as individuals, have to go through, as part of the new religion? Work seven days a week, three hundred sixty-five days a year, fourteen-, fifteen-, eighteen-hour days sometimes, out of sheer total complete dedication to our faith. And do it all, for what? As some sort of sham? Just to pull the wool over everyone’s eyes? [. . .] It’s ridiculous. Nobody works that hard to cheat people. Nobody gets that little sleep to screw over their fellow man.”
That comes after 348 carefully documented pages of abuses and should-be-illegal-if-they-aren’t-already behaviors. I mean, shit, the FBI was going to raid Scientology because of human trafficking violations involving slavery. That’s not good.
Also, the only published book I’ve ever burnt was Dianetics. It took forever. That book is way too thick to catch on fire. Should’ve used more lighter fluid. I suppose I failed.
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. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
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. . .