Today’s Publishing Perspectives includes an editorial that I wrote about the “state of translations” in America attempting to explain the dip in the number of translations coming out this year:
For years, people have speculated that the number of literary works in translation being published in the United States has been in decline. I say “speculate,” because the publishing industry — which is notoriously poor at market research and data gathering — didn’t really keep track of how many translations were being published here, instead relying almost entirely on wistful memories of days gone by and other equally questionable anecdotal evidence. Two years ago, I started a “Translation Database” at the Web site ThreePercent.com to finally quantify what’s going on with literature in translation, and although data for 2009 is still coming in, it looks like there will be a bit of a drop off this year — of as much as 10%.
On one hand, this is pretty easy to explain: it’s because of the economy. But in my opinion, we’re talking about two different economic problems causing this. Book sales are down, which really hurts commercial presses and makes them less likely to publish “expensive” books like translations. And at the same time, nonprofits and university presses (which publish the bulk of translations already), are struggling to find funding, what with foundations losing a lot of their endowments in the stock market, and individual donors struggling as well.
It’s a crappy situation, and unless a few rainmakers appear, 2010 will most likely see a further drop in translations being published in America . . . Just a little happy note to kick off your Friday . . .
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. . .
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. . .