And now here’s the second half of Friday’s events. Remember, you can read the whole ALTA preview by clicking here.
Friday, October 5th
3:15 – 4:30 pm
Humor & Speculative Fiction
What are some of the challenges specific to translating humor in speculative fiction? Panelists will discuss examples from the works of Russian satirist Mikhail Bulgakov, French novelist Antoine Volodine, Haitian American short story author Ibi Zoboi, and French writer and illustrator Guillaume Bianco.
Sara Armengot: Moderator
Iván Salinas: “Irony and Alternate Worlds in the Post-Exotic Work of Antoine Volodine”
Edward Gauvin: “Billy Fog and the Pleasures of Doggerel”
Lori Nolasco: “The Loogaroo Laughed in Spite of Herself: Translating Ibi Zoboi’s Survival Epic The Fire in Your Sky into French and Spanish”
Lenka Pánková: “And the Canadians Didn’t Laugh: Culturally Conditioned Humor in Mikhail Bulgakov’s The Master and Margarita in Translation”
Problems & Approaches in Translating Contemporary Polish Poetry
This panel explores problems particular to translating contemporary Polish and American poetry into English and Polish respectively. Topics will include interrogating the relative ignorance of the Polish language among translators now working in the U.S. and the UK; and the reciprocal influence between modern and contemporary Polish and Anglo-American poetry from the Soviet era and the New York School. A range of perspectives will be offered on these topics. Two panelists are native speakers of Polish who work in the U.S.; two are Americans with some knowledge of Polish; and the fifth is a Polish poet and scholar of American and Polish poetry.
Marit MacArthur: “Why (or Why Not) Collaborative Translation?”
Piotr Gwiazda: “Why (or Why Not) Collaborative Translation?”
Kacper Bartczak: “The New York School in Poland: Pragmatic Matters of Influence”
Piotr Florczyk: “Reading Polish Poetry in America”
William Martin: “On the Use and Abuse of Polish Poetry for America”
And remember, you can download the entire schedule here.
Though far from the most convincing reason to read literature in translation, one common side effect is learning of another culture, of its history. Within that, and a stronger motivation to read, is the discovery of stories not possible within. . .
Despite cries that literature is dead, dying, and self-replicating in the worst way, once in a while a book comes along to remind readers that there’s still a lot of surprise to be found on the printed page. To be. . .
“I was small. And my village was small, I came to know that in time. But when I was small it was big for me, so big that when I had to cross it from one end to the other,. . .
A few weeks after moving into a farm house in the Welsh countryside, Emilie, an expatriate from the Netherlands, starts to think about her uncle. This uncle tried to drown himself in a pond in front of the hotel where. . .
Think back to the last adventure- or action-type book you read. Wasn’t it cool? Didn’t it make you want to do things, like learn to shoot a crossbow, hack complicated information systems, travel to strange worlds, take on knife-wielding thugs,. . .
In Aira’s Shantytown, while we’re inside the characters’ heads for a good portion of the story, the voice we read on the page is really that of Aira himself, as he works out the plot of the book he’s writing.. . .
Noir is not an easy genre to define—or if it once was, that was a long time ago, in a galaxy far, far away; as a quick guess, maybe Silver Lake, Los Angeles, 1935. When two books as different as. . .
Some time ago I read this phrase: “The page is the only place in the universe God left blank for me.”
Pedro Mairal’s short novel The Missing Year of Juan Salvatierra is more about these blank spaces than the usual full. . .
“What if even in the afterlife you have to know foreign languages? Since I have already suffered so much trying to speak Danish, make sure to assign me to the Polish zone . . .”
So reads a typical aphoristic “poem”. . .
If you somehow managed to overlook the 2012 translation of Andrés Neuman’s breathtaking Traveler of the Century (and woe betide all whom continue to do so), you now have two exceptional works of fiction from the young Argentine virtuoso demanding. . .