As any and all long-time (or probably even short-time) readers of Three Percent know, we pick on publisher websites quite a bit. (See for instance, any and every post about Houghton Mifflin Harcourt.)
Most often they deserve it for many of the same reasons that we like to make fun of book ads. I’m totally ripping off Richard Nash here, but if every company advertised its products the way book publishers do—a picture of the product with three quotes saying how great it is—capitalism would’ve crumbled long ago.
And just look at this mess. All the “You Might Also Like . . .” crap is annoying at best, especially since it’s followed at the bottom by “New Books Similar to This One.” And where’s the info about the book (ISBN, price, page count)? Near the bottom of the listing in all italics. You’d never know it, but if you click on the image of the book cover, you get to read an excerpt! And what’s up with all the ads and “Hot@Harper” shit? My six-year-old daughter has better aesthetic sense than the people who designed this.
BUT, occasionally a corporate press gets it right. Like with FSG’s Work in Progress monthly newsletter/website. (Granted, this is apples to oranges in comparing to Harper’s trainwreck, but I’m willing to bet Harper’s monthly promo emails are as aesthetically confused.) Not only is this site elegant, it looks like something you’d want to read, and the marketing aspects of it are subdued and enhanced with interesting content. Such as this conversation between Marion Duvert and Richard Howard on Roland Barthes (Barthes? Can’t imagine another “big” publisher referencing him—AND Samuel Beckett—in their monthly promo-newsletter):
So he called me just to say hello, and say that he would like to come to New York, and could I show him around a little bit because he had never been here.
I said certainly, and that I looked forward to it very much. He arrived. He had the first copy of, I think, Mythologies in print. The first day was very proper and careful. But we got along very well. It was apparent that he had made the right choice, and that we were going to be friends. I suppose that means I met the man first. But he came carrying a book, and I think he knew that I was a translator; and he wanted me to see it. I did translate right away three or four of those pieces that were published in various periodicals here. That was the beginning.
I don’t think he ever again read any of my translations [of him]. I don’t think he had any . . . it isn’t that he didn’t have interest. He would say that he didn’t know English well enough to have it make any difference; it was just his satisfaction that they were in English. At the beginning I think there was some interest in that fact, but I never heard from him again on that subject.
I would ask him questions. I remember calling him up once and saying that he had referred to somebody inadequately or incorrectly, as I just knew. Did he want me to silently correct the mistake? He said, “Oh, of course. Do whatever you want. I have no idea.” And then there was some question of some king or even Egyptian pharaoh, and he said, “Well, make it up. Make it up. I don’t remember the case myself. If it’s not correct in the French text, just make up something.” He had decided that I was trustworthy, and he could rely on me to take care of such things, and there was no further discussion about it. He was not an anxious author about his translations.
This month’s issue also includes interviews with Edith Grossman and Natasha Wimmer on Mario Vargas Llosa, both of which are pretty interesting:
Chapman: You’ve translated a number of García Márquez’s novels—another Latin American Nobel laureate—who is lionized as much for his influence as for his writing. Do you also see the Vargas Llosa imprimatur in younger writers?
Grossman: I can’t really answer that question except in the broadest terms. Vargas Llosa’s influence may lie in the intertwining of the personal and the political. García Márquez’s influence is more stylistic, I think: the intertwining of fantasy and reality, perhaps. They both owe a great debt to William Faulkner and, most of all, to Miguel de Cervantes. On the other hand, the impact of the Latin American Boom on young writers everywhere was enormous, and I don’t think Toni Morrison or Salman Rushdie, for example, would write the same way without that older generation of Latin American writers.
Chapman: Speaking of the next generation, what was your reaction to Granta‘s “Best of Young Spanish-Language Novelists” list?
Grossman: I was very happy that Granta devoted an issue to young Spanish-language writers. In fact, I translated one of the stories, by a Peruvian, Santiago Roncagliolo. He’s a wonderful writer—I did a novel of his, Red April, a couple of years ago.
Kudos to you, FSG, for figuring out this interwebs thing and how 21st-century digital marketing can work. If you’re interested, you can subscribe here.
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. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .