19 September 07 | Chad W. Post

The one panel from Monday that hasn’t gotten a lot of coverage online is the Editors Buzz Panel. Consisting of French, German, and American editors (and Scott Moyers from Wylie—lot more below), this panel was an opportunity to highlight some really interesting forthcoming books.

Paul Otchakovsky-Laurens talked about Marie Darrieussecq’s latest book (which is the subject of a fascinating controversy); Jenna Johnson from Harcourt talked about I Have the Right to Destroy Myself and Michael Zollner from Tropen Verlag presented a book called What We Talk about When We Talk about Doping.

All the presentations were great, but what most got me going was Scott Moyers opening comments about fiction in translation. As someone who worked at Random House, Penguin, and now Wylie, he’s come into contact with a lot of big international authors. And I’m sure he’s a nice guy. But the things he said at the panel were a perfect example of how commercial publishing treats “international fiction” as a pure commodity and basically undercut a lot of the good interactions that happened earlier in the days.

First off, he started talking about W. G. Sebald’s Austerlitz, and that although Sebald had been “getting his name out there a bit,” this was an opportunity for Random House to put the “stamp of authority” on Sebald as a great European writers. Which is pretty inaccurate. New Directions (and Harvill in the UK) had been publishing Sebald for years and had already cultivated a huge reputation for him. Sebald was by no means unknown when Random House wrested the rights to Austerlitz away from New Directions in what seemed to be a pretty savage business move better suited to Wall Street than literary publishing. But RH saw an opportunity—not to promote Sebald, but to capitalize on him.

The next book he mentioned was The Shadow of the Wind by Carlos Ruiz Zafon. Which is a book with some merit, but not really the “great Barcelona novel” that it was portrayed as. But that’s an aesthetic debate, and it may be because I can name more than a dozen Spanish/Catalan writers that I have a slightly different perspective on where this fits in the Spanish literary tradition than Scott does.

What bugged me though was his insistence that, like with Esquivel’s Like Water for Chocolate, The Shadow of the Wind sent publishers rushing to find other Spanish novelists writing just like him. Even if true, that precisely describes one of the things wrong with American publishing. This sort of pigeonholing, this looking to replicate what “worked” leads to the publication of a lot of pale imitations that are generally uninteresting and create the viewpoint that all fiction from country X is all the same.

All of these events—like everything the French American Foundation, the French Cultural Services, and the German Book Office do—were designed to promote a widening appreciation of literature from other cultures. But this perspective that Scott presented—which actually is pretty dominant in the marketplace—represents the exact opposite. Instead of appreciating art from other cultures, these publishers treat these books as commodities. The Shadow of the Wind is great because it sold well, not necessarily because it’s a great book.

There’s nothing wrong with for profit companies running their business in profitable ways, but in my opinion, expressing such a condescending, somewhat ignorant viewpoint at such a panel designed to celebrate cultural exchanges made Americans look crass and culturally naive.


Comments are disabled for this article.
....
This Life
This Life by Karel Schoeman
Reviewed by P. T. Smith

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. . .

Read More >

A Dilemma
A Dilemma by Joris-Karl Hyusmans
Reviewed by Christopher Iacono

In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .

Read More >

Walker on Water
Walker on Water by Kristiina Ehin
Reviewed by P. T. Smith

There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .

Read More >

The Nightwatches of Bonaventura
The Nightwatches of Bonaventura by Bonaventura
Reviewed by J. T. Mahany

Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .

Read More >

Pavane for a Dead Princess
Pavane for a Dead Princess by Park Min-Gyu
Reviewed by Christopher Iacono

In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .

Read More >

Tram 83
Tram 83 by Fiston Mwanza Mujila
Reviewed by Caitlin Thomas

Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .

Read More >

Twenty-One Days of a Neurasthenic
Twenty-One Days of a Neurasthenic by Octave Mirbeau
Reviewed by Lori Feathers

Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .

Read More >

Sphinx
Sphinx by Anne Garréta
Reviewed by Monica Carter

Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .

Read More >

Morse, My Deaf Friend
Morse, My Deaf Friend by Miloš Djurdjević
Reviewed by Vincent Francone

There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .

Read More >

The Crimson Thread of Abandon
The Crimson Thread of Abandon by Terayama Shūji
Reviewed by Robert Anthony Siegel

The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .

Read More >

The next few events from our Translation Events Calendar: See More Events >