Courtesy of old college friend Naomi Firestone of the awesome Jewish Book Council, here’s an insane blog post that seems too insane/amazing to be true from a fellow North Carolinian on the blog Ocracoke Island Journal:
Some weeks ago I decided that I wanted to read Tolstoy’s War and Peace. Lou Ann loaned me her copy. At more than 1100 pages, reading it in bed required as much strength as balancing a box of bricks in my hands. In my senior years I have developed arthritis in my thumbs, which made the effort not only difficult, but painful.
I had read about half of the novel when I was given the gift of a Nook, the e-reader from Barnes and Noble. Although I am committed to supporting my neighborhood independent book store (Books to be Red), and enjoying honest-to-goodness books, the .99 Nook edition was so lightweight that it has made reading War and Peace a genuine pleasure. For those of you who have not tackled this tome as yet, it is a page-turner.
As I was reading, I came across this sentence: “It was as if a light had been Nookd in a carved and painted lantern….” Thinking this was simply a glitch in the software, I ignored the intrusive word and continued reading. Some pages later I encountered the rogue word again. With my third encounter I decided to retrieve my hard cover book and find the original (well, the translated) text.
For the sentence above I discovered this genuine translation: “It was as if a light had been kindled in a carved and painted lantern….”
Someone at Barnes and Noble (a twenty year old employee? or maybe the CEO?) had substituted every incidence of “kindled” with “Nookd!”
If this story of intrepid word replacement is true, it’s another remarkable example of the. It’s a form of censorship, plain and simple, that takes advantage of EVERYONE . . . it takes advantage of the meaning of the word in a text, the role of the translator, the role of the publisher, the role of the reader, and the role of Barnes & Noble to keep their dirty money-lovin’ fingers out of the e-readers they are providing to the reading public. Want to compete with Amazon? Go for it, I’m all about it. But this isn’t the way to do it, and if Barnes & Noble keeps it up, they will most certainly hear of it with mass market rejection far beyond what they and their peer big-box retailing institutions have suffered. Dammit, I hate any example of anybody making Jeff Bezos look better by comparison.
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. . .
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.. . .