Say what you will about Central New York (and trust me, I do, and how), but we’re one of the most vital parts of the country when it comes to literature in translation. In addition to Open Letter, BOA Editions is also in Rochester and White Pine Press is just down the road (a long, wintry road, even in July, but still) in Buffalo.
I didn’t realize until reading this interview with White Pine founder Dennis Maloney that White Pine’s been publishing for 37 years . . . In other words—and yes, I know I probably shouldn’t say this—White Pine has been publishing since before I was born. That’s awesome. Especially since Dennis started the press at 22 and has been running it ever since:
SR: Can you talk about what compelled you to start a publishing company at the tender age of twenty-two?
DM: I studied Landscape Architecture in college and spent my last semester doing an independent study project in Kyoto, Japan on Japanese Gardens. During my college years I began writing and later translating poetry. Two of my early influence were Robert Bly and Gary Synder. Bly was the first poet I heard read, which was in the spring of 1970. Our English professor at the time recommended his work based on his anti- Vietnam war stance (this was the time of Teeth Mother Naked at Last). I read his poetry and his work in translation led me to the Spanish and Latin American poets including Pablo Neruda, Antonio Machado, and Juan Ramon Jimenez all of whom I would later translate myself. He also introduced me to the work of a wide variety of poets including James Wright and Tomas Transtromer. [. . .]
During college I began doing some translations from the Spanish with two years of high school Spanish and a big dictionary. That along with reading what I could find of work in translation lead me to many wonderful voices that were little known in the US. I realized there was not a lot of poetry in translation being published in the country aside from the small literary press pioneers like Bly’s Sixties Press. It occurred to me that it might be interesting to start something to publish both poetry in translation and the work of lesser known poets like Edith Shiffert, who I met in Kyoto. After returning home in the late spring of 1973 and graduating I decided to start a small publishing venture not knowing at all what I was doing or how to do it. I wrote to a couple of other publishers and magazines asking for some advice. I also had very little money so I started out doing poetry postcards and chapbooks. It was about five or six years before we did our first book with a spine on it. [. . .]
SR: Publishing poetry in translation is a key component to what you do. Is there a growing interest in international poets as the world becomes more connected?
DM: As pointed out above, poetry in translation was one of the main reasons for starting the press. Here we are almost four decades later and the percentage of literature in translation published each year in this country is less than three percent of the total amount of books published. So there is still clearly work to be done. Surprisingly, after four decades, it is still largely the small literary publishers and university presses that are publishing the majority of work in translation. The online translation website Three Percent tracts all the translations published in the country every year. In 2009 White Pine Press published more volumes of poetry in translation than any other publisher in the country, which I find both gratifying and shocking. I am stunned and amazed, particulary given our rather small budget, that we could have such an impact on the world of translated literature.
Interesting interview of one of the really, truly great people involved in publishing, producing, promoting, and translating international poetry.
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
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Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .