Last Thursday, we held our final Reading the World Conversation Series event of the fall, featuring a group of four international writers and translators in residence at Ledig House — an international writers residency in New York that specializes in hosting authors and translators from around the world.
Now, the video of the event is available. Contained within this eight-part playlist is some reading, some commentary, some strong opinions on translating, and some Q&A:
And here are some more specifics about the event, Ledig House, and our four guests:
November 5, 2009 – Ledig House International Writers Residency is one of the only residences of its type in the United States. Since its creation in 1992, Ledig House has hosted hundreds of writers and translators from roughly 50 countries around the world.
At this event, Chad Post (Director of Open Letter at the University of Rochester) leads a panel of writers and translators from around the world—all of whom are currently in residence at Ledig House. The panel includes readings and discussion from:
Kathrin Aehnlich (Germany): Her first novel, published 2007, became a bestseller in Germany.
Tom Dreyer (South Africa): His second novel received the Eugene Marais Prize. His third was shortlisted for the M-Net Prize.
Linda Gaboriau (Canada): She is an award-winning translator of Quebecs most prominent playwrights.
Pravda Miteva (Bulgaria): She has worked as a literary translator since 1994, and owns a small publishing house.
(This event is hosted by Open Letter and University of Rochester Arts & Sciences. It is supported in part by the National Endowment for the Arts and the New York State Council on the Arts.)
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .
On that September 11th I had a conversation with a professor friend who was teaching a creative writing class that evening. He questioned, “What can I possibly teach when all of this has happened?” While the dismay and grief were. . .
In a story of two emotionally distant people, Japanese author Takashi Hiraide expertly evokes powerful feelings of love, loss, and friendship in his novel The Guest Cat. The life of the unnamed narrator and his wife, both writers, is calm. . .