It would be hard to overstate all the amazing things the Elizabeth Kostova Foundation for Creative Writing (and Elizabeth herself) has done for contemporary Bulgarian writers. Sure, there’s the Sozopol Fiction Seminars, but they also organized a special day of panels on Literary Diplomacy to take place in Sofia, helped bring publishers and Bulgarian writers & translators together, sponsor the Dyankov Translation Award for the most outstanding translation from English into Bulgarian, and now have helped launch the Contemporary Bulgarian Writers website to help promote Bulgarian writers abroad.
For publishers, these sorts of sites are invaluable. Aside from random meetings at the Frankfurt Book Fair, or personal connections developed slowly and one-by-one over the years, it can be extremely hard for editors to find out about contemporary literature from countries such as Bulgaria. (And by “countries such as Bulgaria” I mean ones that don’t have an active governmental organization like the Finnish Literature Exchange, German Book Office, French Cultural Services, Japanese Literature Publishing Project, etc., promoting their contemporary writers to the rest of the world.) Beyond identifying new writers to check out, a site like this helps provide a bit of context for any submissions that an editor does happen to receive. I mean, there are only a handful of Bulgarian novels that have ever been published in English, so it’s hard to understand the tradition and evolution of Bulgarian literature.
Seriously—anyone interested in Bulgarian (or simply international) literature should check this out. I’m sure that it’ll expand greatly over the next year, but the site already features maybe two dozen writers (and a handful of Bulgarian-to-English translators), and has biographical info, excerpts, critical reviews, contact information for all of them.
One author worth looking at is Zachary Karabashliev, whose first novel won the Book of the Year Award from the Vick Foundation and was chosen as one of the 100 Most Loved Books of All Time by Bulgarians, and his first collection of short stories won the Book of the Year Award from Helikon. He’s a very funny guy, and his stories are quite sharp.
In terms of translators, Angela Rodel deserves some special attention. She translated all of the pieces by the Bulgarian writers at the Sozopol Seminars AND she just was awarded a PEN Translation Fund Award for Georgi Tenev’s Holy Light, which sounds pretty interesting:
Alloying political sci-fi with striking eroticism, the stories in Holy Light depict a world of endless, wearying revolution and apocalypse, where bodies have succumbed to a sinister bio-politics of relentless cruelty and perversion. “In first class they offered easy emancipation, perhaps even electrocution, but he was traveling economy class where they wouldn’t even serve him food.” (No publisher)
(I was actually on a panel with both Georgi and Angela—both very smart, very interesting people.)
By the way, if I haven’t said this in a while, all fiction writers should apply to the Sozopol Fiction Seminars . . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .