As mentioned a couple months back, this year’s Wolff Symposium will be taking place today and tomorrow at the Goethe Institut in Chicago.
It all kicks off tonight with the reception honoring Ross Benjamin for winning this year’s Wolff Prize for his translation of Speak, Nabokov by Michael Marr. (Which I still want to read. . . .)
Then tomorrow there’s a day of panels, including a reading from Breon Mitchell’s new translation of Gunter Grass’s The Tin Drum, a conversation on the “Wolff Prize and the Art of Literary Translation” featuring Susan Bernofsky, Krishna Winston, Drenka Willen, Ross Benjamin, and Breon Mitchell (and my translation-loving nerd heart just exploded . . . I mean, holy shit! this is the very definition of a star-studded panel . . . in translation circles, ‘natch), a conversation on “An Increased Interest in Foreign Literatre?” (with Dan Slager of Milkweed, Jeremy Davies of Dalkey, and Dennis Johnson of Melville House—and again, nice, nice, nice), one on “Cultivating Audiences: Particular Examples, Viable Models?” (with Susan B. again, along with Susan Harris of Words Without Borders and German translator Annie Janusch), and finally one on “Publishing Literary Translations and New Publishing Technologies” (which brings back DLJ, along with Henry Carrigan of Northwestern University Press, and Jeff Waxman from Seminary Co-op).
This should be brilliant. And I’ll do my best to recap as soon as possible. Probably when I get back . . . but hey, maybe I could tweet these?
Anyway, it should be excellent . . .
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. . .
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. . .
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. . .
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. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .