Russell Valentino is a superstar in the world of literary translation. Just look at his bio from the University of Iowa:
Russell Scott Valentino is professor of Slavic and comparative literature and chair of the Department of Cinema and Comparative Literature. He has published a monograph on nineteenth-century Russian literature and seven book-length literary translations from Italian, Croatian, and Russian. His essays, translated fiction, and poetry have appeared in journals such as The Iowa Review, Two Lines, POROI, Circumference, Asia, Modern Fiction Studies, Slavic Review, and 91st Meridian. He is the recipient of a 2002 NEA Literature Fellowship and a 2004 Howard Foundation fellowship, both for literary translation, as well as two Fulbright research awards to Croatia.
And if that’s not enough, he’s also the founder and publisher of Autumn Hill Books (a few months back we reviewed Becka McKay’s translation of Suzane Adam’s Laundry, which was published by Autumn Hill), and was recently named the editor of the Iowa Review, replacing David Hamilton, who has been editing the journal for the past 2 years. (And yes, Russell has plans for bringing more translation to the pages of the Iowa Review. And launching an online review section that may even cover some books not yet translated into English.)
Unfortunately, we interviewed Russell before coming up with the “favorite word in any language question” (Russell: maybe you could add something in the comments?), but here are the rest of his responses with my comments in italics:
Most Difficult Translation You’ve Ever Done: Persuasion and Rhetoric by Carlo Michelstaedter
As you might have noticed, Russell rephrased our question from “best thing you’ve ever translated” to “most difficult,” pointing out that it took him ten years to complete this book, which was published by Yale University Press in 2004 and is available (in part) via Google Books. I don’t know much about the book itself, but this brief description from Amazon.com sounds intriguing . . . and a bit depressing:
Ostensibly a commentary on Plato’s and Aristotle’s relation to the pre-Socratic philosophers, Michelstaedter’s deeply personal book is an extraordinary rhetorical feat that reflects the author’s struggle to make sense of modern life. This edition includes an introduction discussing his life and work, an extensive bibliography, notes to introduce each chapter, and critical notes illuminating the text.
hours of completing Persuasion and Rhetoric, his doctoral thesis, 23-year-old Michelstaedter shot himself to death. The text he left behind has proved to be one of the most trenchant and influential studies in modern rhetoric, a work that develops Nietzschean themes and anticipates the conclusions of, among others, Martin Heidegger.
Books You Think Need to Be Published in English: La Langue maternelle and Apres J.C. by Vassilis Alexakis
One of the joys of asking a lot of translators what books should be published in English is finding out about authors you’ve never heard of . . . although maybe you should have. Alexakis isn’t exactly unknown, having won the Prix de l´Académie Française in 2007 for Apres J.C. Of course, there’s not much info available on him in English, but according to Wikipedia (World’s Favorite Go To Source for Quick Info), he “is a Greek-French writer of numerous novels in Greek, his mother tongue, and French. His works, drawn from two cultures, are full of tender irony; his style gives the reader an intimate and personal perspective on his stories.” Although neither of these two books are available in English, Autumn Hill published Alyson Waters’s translation of “Foreign Words“http://www.autumnhillbooks.com/foreign_words/foreign_words.htm a few years back. Here’s the AHB description:
Foreign Words is a book that takes us on a journey through time and space with the story teller as he travels from Paris where he lives as the book opens, to Greece where he grew up, and where his father has just died, to the Central African Republic as he undertakes the study of Sango.
Why learn Sango is a question the book’s narrator himself has trouble answering. His ruminations on the surprising decision to study it are both humorous and penetrating.
One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“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. . .