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.
Paul Klee’s Boat, Anzhelina Polonskaya’s newest bilingual collection of poems available in English, is an emotional journey through the bleakest seasons of the human soul, translated with great nuance by Andrew Wachtel. A former professional ice dancer(!), Polonskaya left the. . .
In Seiobo There Below, Lázló Krasznahorkai is able to succeed at a task at which many writers fail: to dedicate an entire novel to a single message, to express an idea over and over again without falling into repetition or. . .
There are curious similarities in three Italian mystery series, written by Maurizio de Giovanni, Andrea Camilleri, and Donna Leon.1
They’re all police procedurals, and all set in Italy: Naples, Sicily, Venice.
The three protagonists are Commissarios: Luigi Ricciardi, Salvo. . .
Poetry always has the feel of mysticism and mystery, or maybe this feeling is a stereotype left over from high school literature class. It is generally the result of confusion, lack of time committed to consuming the poetry, and the. . .
Our Lady of the Flowers, Echoic is not only a translation, but a transformation. It is a translation of Jean Genet’s novel Notre Dame des Fleurs, transmuted from prose to poetry. Originally written in prison as a masturbatory aid (Sartre. . .
Equal parts stoner pulp thriller and psycho-physiological horror story, a pervasive sense of dread mixes with a cloud of weed smoke to seep into every line of the disturbing, complex Under This Terrible Sun. Originally published by illustrious Spanish publishers. . .
From the start, Daniel Canty’s Wigrum, published by Canadian press Talonbooks, is obviously a novel of form. Known also as a graphic designer in Quebec, Canty takes those skills and puts them towards this “novel of inventory” and creates a. . .
Throughout his career—in fact from his very first book, Where the Jackals Howl (1965)—the renowned Israeli writer Amos Oz has set much of his fiction on the kibbutz, collective communities he portrays as bastions of social cohesion and stultifying conformity. . .
Antoon gives us a remarkable novel that in 184 pages captures the experience of an Iraqi everyman who has lived through the war with Iran in the first half of the 1980s, the 1991 Gulf War over the Kuwaiti invasion,. . .
Every fictional work set in L.A. begins with a slow crawl through its streets in the early hours of the morning right after sunrise. Maybe it’s always done this way to emphasize the vast sprawl of the city and highlight. . .