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.
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?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .