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 . . .
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. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
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. . .