This is a bit of an interlude post in the series. I don’t have a picture of Charlotte—she wasn’t at the ALTA conference—so I’m hardly following through on the “visible” aspect of these entries, but after writing about the “most published translators” of the past few years, it was brought to my attention that Charlotte Mandell should basically top this list.
Which is true. Over the past two years, she’s translated:
Abdelwahab Meddeb, Tombeau of Ibn Arabi and White Traverses, with an afterword by Jean-Luc Nancy. (Fordham University Press, 2009)
Jean-Luc Nancy, The Fall of Sleep. (Fordham University Press, 2009)
Jonathan Littell, The Kindly Ones. (HarperCollins, 2009)
Pierre Bayard, Sherlock Holmes Was Wrong: Reopening the Case of the Hound of the Baskervilles. (Bloomsbury, 2008)
Jean Paulhan, On Poetry and Politics (co-translated with Jennifer Bajorek and Eric Trudel). (University of Illinois Press, 2008)
Marcel Proust, The Lemoine Affair. (Melville House, 2008)
Peter Szendy, Listen: A History of Our Ears. (Fordham University Press, 2008)
Pierre Birnbaum, Geography of Hope. (Stanford University Press, 2008)
Honoré de Balzac, The Girl with the Golden Eyes. (Melville House, 2008)
Mathias Enard, Zone. (Open Letter, 2010)
Which is phenomenal, impressive, Herculean even. Just in terms of total pages, this is impressive (Zone’s a long book, but not nearly as long as The Kindly Ones), but in terms of overall quality, difficulty of the texts, etc., this is an incredible feat.
And just to explain: The reason Charlotte didn’t pop up on the list yesterday is because a number of these are works of nonfiction, which aren’t logged into our database. I wish we could track nonfiction to, but we’re only three people (and honestly, I’m the only one who enters stuff into the database), who also have to run a publishing house, write grants, sell books, teach interns, etc., etc. But one day! One day when we receive a healthy-sized grant from a progressive foundation/individual/government organization who realizes the true value of this study, we’ll be able to add on nonfiction, kids books, graphic novels . . . And go back in time so that we can better identify translation/publication trends. So if you know anyone with a little extra money . . .
Anyway, since I can’t make her visible with an ALTA pic, instead I’ll just repost this video of a conversation between Charlotte and E.J. VanLanen that took place here in Rochester a couple months ago and features a very odd moment of chair theft:
And Charlotte—keep up the amazing work!
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .