This year’s ALTA kicks off officially on Wednesday night with the special opening event celebrating Open Letter’s poetry series—in particular Eduardo Chirinos’s Smoke of Distant Fires, translated by Gary Racz, and Juan Gelman’s Dark Times Filled with Light, translated by Hardie St. Martin—but the real meat of the conference gets going at 9:15 Thursday morning . . . Here are a few of the highlights from those first couple sessions (remember, you can download the entire schedule here):
Thursday, October 4th
9:15 – 10:45
It’s No Pun Anymore: The Loss of Wit & Other Cultural Misunderstandings in Persian Verse Translation
Despite a rich 2,000-year literary tradition, linguistic as well as cultural elements integral to Persian poetry continue to get slighted in English renderings. This panel surveys both the classical and modern tradition of Iranian verse, foregrounding key problems that considerably limit the appreciation of style and theme in translation.
Roger Sedarat: Moderator
Mojdeh Marashi: “Saffron Paper: Rosewater Ink”
Kaveh Bassiri: “The Text Is in the Context”
Sara Khalili: “On Navigating Cultural Misunderstandings in Persian Literature”
Translating Murakami in Europe
This panel gathers three European translators of Haruki Murakami to discuss his translation into languages other than English. Focusing upon Murakami’s latest novel, 1Q84, panelists raise such problems as shifting tense, visual wordplay, and strategies for handling the English expressions and American references that appear natural in the English translation, but which stand out in other European languages, as they do in Japanese.
Mette Holm: “In Search of Lost Time in Murakami: Movement Between Past and Present”
Ika Kaminka: “Style and the Translator: Re-Exporting English Idioms out of Japanese”
Anna Zielinska-Elliott: “Visual Presence and Subjective Absence: Conjuring Japanese in European Languages”
11:00 – 12:15
Linguistics & the Culture of Humor
What makes an original text humorous and what should a translator understand about language, culture, and linguistics—both in regard to the source and target languages—to make this humor translatable? This panel also considers challenges translators may encounter.
Kaija Straumanis: “On the German Translation of George Saunders’s Pastoralia”
& Helen Anderson: “The Elephant, the Hellephant, and the Quest for Dynamic Equivalence”
Matt Rowe: “Turning The Alienist up to 11”
Emily Davis: “Hypervelocity Cloudlets: Linguistic Precision and the Importance of
Register in Damián Tabarovsky’s Medical Autobiography”
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.. . .
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?),. . .