The Literary Saloon has some coverage of a panel that Chad was on, called ‘Promoting Literature in Translation Online’:
While familiar with the sites, it was interesting to hear what they were doing and what they had planned, especially as several of the sites are in the process of being overhauled (or, in the case of Words without Borders, recently were). There is a good deal — and variety — of information available among them, even as they have different, sometimes overlapping objectives. Speaking for Dalkey, Martin Riker noted the difficulty of serving both a public non-profit objective (i.e. largely informational) as well as being on some level a commercial publisher (i.e. selling books) — albeit with non-profit status — an issue Open Letters will eventually also face. The French organizations are there to try to promote specifically French titles, while In Translation, Ww/oB, and, to some extent, PEN are trying to promote foreign literature and translators.
They also take issue with the idea of RSS feeds, saying, ‘I always think the emphasis should be on actual content’. We agree, which is why people who subscribe to our RSS feed get access to all of our content through their readers.
And he called us Open Letters, but what’s an extra ‘s’ between friends?
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. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .