Couple more days of ALTA to preview, to help all of you decide which panels you might want to attend. Today we’ll highlight all of Friday’s events, cover Saturday on Monday, and then do all the special events and readings on Tuesday. It’s unbelievable that after a year of preparing for this conference, it’s finally almost here . . .
Friday, October 4th
9:00 – 10:15 am
Roundtable: The Routine of Translation: Strategies, Habits & Everyday Life
This roundtable brings together five or six ALTA members who have other professional commitments (teaching, editing, publishing), but still manage to remain productive as literary translators. The guiding question for the roundtable is a simple one: how do we make time for literary translation in the face of our other duties, especially when translation rarely pays well and often doesn’t “count” as scholarship at academic institutions? The panelists will speak about the practical aspects of planning their workday, and their insights will no doubt fascinate those of us who constantly scramble to make time for our own translation projects.
Jamie Olson | Sean Cotter | Sibelan Forrester | Bill Johnston | Erica Mena | Russell Valentino
Translating the Transition: History & Humor in Post-Communist Literature
This panel will explore the issues surrounding the translation of Eastern European literature written after 1989, and will especially focus on the themes of historical representation and humor. The panelists will refer to recently completed translations or to works in progress.
Magdalena Mullek: “East Meets West in the Backwoods of Slovakia: Culture Clashes in Lukáš Luk’s Považský Sokolec Tales”
Julia Sherwood: “Deep in the Heart of Europe: The Debunking of Slovak Nationalism in the Works of Pavel Vilikovský and Daniela Kapitáňová“
Peter Sherwood: “Transylvania and Other Troubles: Diversions and Subversions in Noémi Szécsi’s The Finno-Ugrian Vampire”
Alex Zucker: “Tradition Shmadition: Patrik Ouředník’s Attempts to Puncture Czech Provincialism.”
Janet Livingstone: “Socialism through a Child’s Eyes: Absurdistan Revealed”
10:45 am – 12:00 pm
Words on Music & the Music of Words
When the subject of poetry or fiction is musical experience, the writer is often moved to use special features to evoke that experience. Such features may include nomatopoeia, pacing, structural elements such as repetition, and patterns of rhythm or sound—all devices that can pose tough challenges for a translator. Of course, writers also use highly musical language for other purposes, such as the rendering of exceptionally lively speech or thought. The panelists will present examples of both types of writing and will discuss how they tackled the challenges these texts presented.
Carolyn Tipton: “Music in Alberti’s Chopin”
Stephen Kessler: “Luis Cernuda, Poet as Pianist”
Suzanne Jill Levine: “If Language Be Music, Play On”
Roger Greenwald: “The Peacock Dance and the Prince of Madrigals”
Humor & Its (Dis)Constraints
This roundtable will make a foray into the realm of translating texts that were written under constraint—and also happen to be funny. Despite translation guides that counsel against parsing humor (and translating it), the discussants will undertake to do just that. We will speak about translating humorous texts while replicating their constraints. After all, to paraphrase one translator, rendering a sonnet in free verse would be like sculpting the Venus de Milo in wet sand. We will also give particular emphasis to translating works written under Oulipian constraint.
Rachel Galvin | Camille Bloomfield | Jordan Stump | Pablo Martín Ruiz
And remember, you can download the entire schedule here.
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .
On that September 11th I had a conversation with a professor friend who was teaching a creative writing class that evening. He questioned, “What can I possibly teach when all of this has happened?” While the dismay and grief were. . .
In a story of two emotionally distant people, Japanese author Takashi Hiraide expertly evokes powerful feelings of love, loss, and friendship in his novel The Guest Cat. The life of the unnamed narrator and his wife, both writers, is calm. . .