11 January 10 | Chad W. Post

Over at Publishing Perspectives, Emily Williams continues her series of articles on scouting with one about why more books aren’t published in English translation. Her focus is more on “large scale houses that compete for high profile submissions” than on the small, indie, nonprofits like Open Letter and Dalkey Archive and Melville House and New Directions that do do a number of books in translation, making this piece an interesting complement to a lot of the things we’ve written about here. (And thanks for the shout-out, Emily!)

Right from the start she hits one the bleak cycle of translations in today’s book market:

A vicious cycle develops where the difficulty of placing books in the US makes it less likely foreign publishers and agents will invest in packaging their authors to submit here, which makes it harder for US editors to develop an understanding of foreign markets and what authors might be the best match for their audience. This, in turn, arguably contributes to the scattershot nature of publishing translations here and the chances that the books that do get published will find success.

And if you want to catch a glimpse of the differences in editorial practices between a small press and a large one, check this out:

There is no comparably mature translation market for any one language in the English speaking world, and the fact that books coming into the American market come from many different countries and languages makes it harder for editors here to develop the expertise in what any market has to offer, and which books from that country have the best shot of appealing to American readers. The books that are sold for translation here are more likely to come through the handful of US agents with close ties to one region or another, who are themselves usually working through professional relationships with particular agents or publishers abroad. What books by foreign authors that end up crossing an American editor’s desk, then, depends in no small part on chance and good connections. Rachel Kahan, a Senior Editor at Putnam who reads fluently in Spanish, admits, “If they don’t have a US agent and they aren’t being conspicuously packaged for the US sale, which is the case a lot of the time, I tend to luck into things.”

There are some instances where the absence of an American agent offers a savvy editor the advantage of speed, but in most cases American representation makes things easier.

“Not all editors in the business have relationships with their colleagues overseas or with foreign agents, so if there’s an American on board, I think in some cases it lends the project a little more visibility,” said Kahan. “And also if there’s an American agent there’s usually a translation or a partial translation of the book itself. That [US] subagent will have packaged it in a way that’s the most accessible and maximizes its potential for the American market. Whereas when it’s been an author that I’ve discovered, then I’m doing all of that work myself. [I’m] the one saying, ‘You really have to trust me here, I think this is going to work, I’m staking my reputation on it.’”

The article—which you should really read in its entirety—ends on a much more positive note than it begins, although for a literary elitist like myself, it’s a bit bittersweet . . . Anyway, talking about how to make a book in translation sell:

Kahan emphatically agrees, citing authors Marek Halter, the French-speaking author of religious historical fiction whose books she acquired while working at Crown, and Luis Miguel Rocha, the Portuguese author of the thrillers The Last Pope and The Holy Bullet, which she publishes at Putnam.

“Both speak reasonably good English and are very charismatic and very interesting,” says Kahan, “and in both cases they came to New York, they met our sales people, they were involved in the publicity of the book. And, yes, that made a really big difference.”

These success stories have given Kahan the impetus to continue to look for great authors from abroad. “I know it’s very often said, Americans don’t read books in translation, and publishers aren’t interested in foreign writers, and that is not the case,” she asserts. “We’re not buying as much in other languages as our counterparts overseas are, but we are definitely buying them and there are certainly ones who break out. The first book I bought by Marek Halter [Sarah] has sold over 200,000 copies. They do work. They’re harder to make work, there’s no doubt about that, but there’s this idea that American publishers just throw up a wall and don’t take a chance on writers who don’t write in English, and I don’t think that’s the case.”

Comments are disabled for this article.
Death by Water
Death by Water by Kenzaburo Oe
Reviewed by Will Eells

Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .

Read More >

Twenty-One Cardinals
Twenty-One Cardinals by Jocelyne Saucier
Reviewed by Natalya Tausanovitch

Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .

Read More >

One of Us Is Sleeping
One of Us Is Sleeping by Josefine Klougart
Reviewed by Jeremy Garber

We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .

Read More >

Bye Bye Blondie
Bye Bye Blondie by Virginie Despentes
Reviewed by Emma Ramadan

Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .

Read More >

La Superba
La Superba by Ilja Leonard Pfeijffer
Reviewed by Anna Alden

Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .

Read More >

Intervenir/Intervene by Dolores Dorantes; Rodrigo Flores Sánchez
Reviewed by Vincent Francone

It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .

Read More >

All Days Are Night
All Days Are Night by Peter Stamm
Reviewed by Lori Feathers

As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .

Read More >

The Seven Good Years
The Seven Good Years by Etgar Keret
Reviewed by Vincent Francone

It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .

Read More >

Human Acts
Human Acts by Han Kang
Reviewed by J.C. Sutcliffe

Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .

Read More >

Nowhere to Be Found
Nowhere to Be Found by Bae Suah
Reviewed by Pierce Alquist

It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .

Read More >