As you probably noticed, we underwent a pretty significant redesign over the weekend. E.J. could explain this a lot better than I can, but basically, over the past two years, we’ve come to use the site is a slightly different way than initially conceived. When launched, we had no idea Three Percent would come to host the only Translation Database tracking U.S. publications, or the Best Translated Book Award. And even our most recent idea of a monthly bookstore feature was getting a bit lost in the old design . . .
So E.J. came up with what you see here. The big difference is the top menu which now has links to Open Letter Books, the Best Translated Book Award, the Translation Database, and the Translation Studies program at the University of Rochester. (The other striking change is that it’s no longer orange.)
Some things are still in progress—especially the column on the far right, which currently has “links.” Soon (this week?) that will become the “featured bookstore of the month” column, and will also contain a calendar of nationwide translation related events . . .
But in the meantime, if you have any comments, suggestions, etc., please e-mail them to me (chad.post at rochester dot edu) or to E.J. (e.j.vanlanen at rochester dot edu).
E.J.: Definitely let me know if anything isn’t working properly on your end. There are a lot of moving parts, and I’m sure to have missed a bunch of things.
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
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. . .
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. . .