Continuing the series of ALTA preview posts (for those of you who are coming, or who wish you could be here), here’s a list of choice events from Thursday afternoon (which is only one week from now!). Also, just as a reminder, we’ll be videotaping a bunch of these events, so if you see one that intrigues you, stay tuned—you might be able to watch it online by the end of next month.
Thursday, October 4th
1:45 – 3:00 pm
History, Myth & Language in Francophone Literature
In Francophone countries, French is still often the language of literature and thus of the very literate, creating a distance from the indigenous languages of myth, folklore, and the everyday. The way, then, that a Francophone writer chooses to bend and subvert French to reflect his/her experience as a member of an ex-colony is telling. What are the ways in which the translator recognizes and respects these subversions?
Addie Leak: Moderator
David Ball: “Why Translating ‘Francophone’ Writers Means Translating French”
Marjolijn de Jager: “Freedom with French or Freedom from French”
To MFA or Not to MFA: The Translation Question
More and more universities are now offering certificates and degrees in literary translation, and many creative writing MFA programs include translation courses among their regular offerings. What is the status of translation within the creative writing program? Should it be its own track, or program? Can thinking about teaching writing in general make us better teachers of translation?
Susan Bernofsky: Moderator
Geoffrey Brock: “Translation as Creative Writing”
Becka Mara McKay: “Getting MFA Students Involved with Translation”
Russell Valentino: “As Opposed to What?”
Sidney Wade: “The Importance of Imagination in the Pedagogy of Translation”
3:30 – 4:45 pm
Literary Translation & Creative Nonfiction
This panel will consider the ways in which nonfiction writing might serve as a productive
analog for translators. To what extent do literary translation and creative nonfiction share similar “genre” concerns? Can creative nonfiction serve as a feasible alternative to commercial translation for literary translators? And to what extent can translation itself be practiced as a form of creative nonfiction writing?
Annie Janusch | Jennifer Zoble | Lina Maria Ferreira Cabeza-Vanegas
Rachael Small | Anne Posten | Janet Hendrickson
The Marketing Toolkit: How Translators Can Make Their Work Matter
A translator’s work isn’t over when the manuscript is submitted. This roundtable will offer a nuts-and-bolts approach to helping your publisher market your work, and to helping the media respond to it and to you. This roundtable is part of an ongoing series of events convened by the PEN Translation Committee as it updates its online Handbook for Literary Translators.
Minna Proctor (Moderator) | Margaret Carson | Tom Roberge |
Ira Silverberg | Matvei Yankelevich
And remember, you can download the entire schedule here.
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?),. . .