The Bread Loaf Translators’ Conference (which should’ve been named “Translation Loaf”) is a great new initiative that was conceived of and implemented by Jennifer Grotz, poet, translator, assistant director of the Bread Loaf Writers’ Conference, and Open Letter’s poetry editor, and one that a lot of you will probably want to attend.
The Bread Loaf Translators’ Conference is an annual, week-long conference based on the Bread Loaf Writers’ Conference model that’s designed to provide training and community to beginning as well as experienced literary translators. A natural complement to two of Middlebury College’s signature programs—the Writers’ Conference and the renowned Middlebury Language Schools—this conference aims to strengthen the visibility and access to high quality literary translations in the United States and to acknowledge that translators require the same training and skills as writers.
2015 DATES AND LOCATION
Monday, June 1—Sunday, June 7, 2015. The conference will take place at the Bread Loaf Campus of the Middlebury College in Ripton, Vermont.
Anyone who’s been to Middlebury can back me up on this: that’s one of the most beautiful places in the country. It’s worth the price of admission to spend a week in that gorgeous atmosphere, where cell phones don’t get service, where the air smells like nature, and where there will be dozens of the best translators in the world.
The conference will incorporate the Bread Loaf Writers’ Conference model of small, focused, genre-based workshops coupled with lectures and classes focusing on the art of literary translation. Workshops will be limited to ten participants so that each manuscript will receive individual attention and careful critique. All participants will also meet individually with their workshop leader to amplify and refine what was said in the workshop itself.
This week-long conference of workshops, classes, lectures, readings, and discussions is for translators who want to improve their literary craft; for students mastering a foreign language and wanting to begin acquiring skills in the art of translation; for teachers interested in bringing the practice of literary translation into their classrooms; and for anyone wanting to learn more about and participate in the ever-growing community of literary translators.
Now, here’s the real selling point—the faculty.
Acclaimed and award-winning translators Susan Bernofsky, Maureen Freeley, Jennifer Grotz, Bill Johnston, and Don Share will constitute the faculty in this inaugural year of the conference. In addition to their literary accomplishments, each faculty member has been specifically chosen for his or her skill at guiding developing translators in a given genre.
Information about applying and the cost ($2,000) can be found on the Translation Loaf website. I’ll definitely be there talking to people about publishing their translations and working with editors, and hopefully I’ll see a lot of you there as well!
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. . .