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.
When I was about two-thirds of the way through Neuman’s very ambitious, very engrossing novel, Bromance Will Evans asked me what I thought the purpose the rapist had in this book. Not who the rapist was—something that’s held in suspense. . .
“At night Amarâq is coated with a darkness as viscous as unmixed colors, neither the fjord nor the mountains, valleys, lakes, or the river exist, there is only a black mass, a void that spreads across the landscape sporadically, pressing. . .
If you’ve been following any of the recent Antoine Volodine talk going around Three Percent—both on the blog or on the podcasts—and have heard his fans wax obsessive over all his alter author-egos, you’re probably starting to feel some Volodine. . .
Muireann Maguire’s Red Spectres is a stunning and engaging collection of eleven Russian gothic tales written by various authors during the early Soviet Era, all but two stories of which are featured in English for the first time ever. These. . .
“The small stone plaza was floating in the midday heat. The Christ of Elqui, kneeling on the ground, his gaze thrown back on high, the part in his hair dark under the Atacaman sun—he felt himself falling into an ecstasy.. . .
This slender, uncanny volume—the second, best-selling collection of stories by Russian author Ludmilla Petrushevskaya to appear in the U.S.—has already received considerable, well-deserved praise from many critics and high profile publications. Its seventeen short tales, averaging ten pages each, are. . .
The Urdu word basti refers to any space, intimate to worldly, and is often translated as “common place” or “a gathering place.” This book by Intizar Husain, who is widely regarded as one of the most important living Pakistani writers,. . .
The Whispering Muse, one of three books by Icelandic writer Sjón just published in North America, is nothing if not inventive. Stories within stories, shifting narration, leaps in time, and characters who transform from men to birds and back again—you’ve. . .
Luis Negrón’s debut collection Mundo Cruel is a journey through Puerto Rico’s gay world. Published in 2010, the book is already in its fifth Spanish edition. Here in the U.S., the collection has been published by Seven Stories Press and. . .
To have watched from one of your patios
the ancient stars
from the bank of shadow to have watched
the scattered lights
my ignorance has learned no names for
nor their places in constellations
to have heard the ring of. . .