I wasn’t previously familiar with this blog, but New Yorker In Seoul looks like a really interesting place to learn about Korean culture. The other day, Patricia Park—the site’s curator and former Columbia University Press editorial intern—published “this interview” with Jennifer Crewe, Associate Director and Editorial Director at Columbia University Press.
So, back to this interview: when I was studying at the Korean Literature Translation Institute, every major Korean literature work that was published into English was, basically, published by CUP. (Had I known this as that wee intern, I would have pilfered our office library.) It’s funny how things in your life sometimes come round full circle, so I’m especially chuffed to be posting this interview with Jennifer, the editor behind many of these titles. This interview would be particularly relevant to you literature translation folks who wish to gain a glimpse of what the industry is like and how the whole editorial process works. [. . .]
Take this as an opportunity to brag a bit. What were some of your award-winning, best-selling projects? Your personal favorite projects? Upcoming titles you’re excited about?
None of these books has been a best-seller, I’m sorry to say! But they are all well-known among the community of scholars of modern Korean literature in North America. The novel that has sold the most copies in English is Cho’e Yun’s There a Petal Silently Falls. The author came to the US to do some readings and that certainly helped get the word out. [. . .]
The media—both in Korea and stateside—can’t stop talking about the recent success of Shin Kyung-sook’s bestselling novel Please Look After Mom. Do you have thoughts on how this book became such a huge success, and how that success might impact the future of Korean literature in the US market?
As far as I know Please Look After Mom is the first Korean novel to hit the English-speaking mainstream readership.I’m sorry I didn’t know about it before it was translated! However trade publishers are looking for bestsellers and because the book did so well in Korea it obviously caught the eye of an editor here. I think the success had a lot to do with the subject matter of the novel. Everyone feels to a certain extent guilty about not caring for their parents enough! I hope it bodes well for further translations of Korean fiction.
Your thoughts on publishing North Korean literature?
I am very interested in publishing North Korean literature. The problem is that we need funding to publish translations of Korean literature, and the funding agencies are usually government-sponsored ones in South Korea, and they obviously have no interest in funding translations of writers from the North.
“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. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
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. . .