Anna Clark has a post at Critical Mass this morning about Reading the World, praising it for pushing people to expand their reading boundaries, but also chastising publishers for the lack of women writers included in this year’s program.
And yet, even Reading the World’s exciting project is lacking. Of the 40 titles hand-picked for the campaign, only 12 are written or edited by women.
The 70/30 gender split is, sadly, a generous one, compared to lists and articles by other translation advocates,I detailed in a recent article for Women’s eNews, but what it comes to is this: while the gender gap certainly is rooted in who does and doesn’t get published, translation advocates must be vigilant about not exacerbating the the near-erasure of women’s voices around the world.
All of this is great, and makes sense, but just to clear things up a bit, each of the participating publishers in this year’s Reading the World select the titles they’d like to include. There is little oversight, although we do try and pay attention to covering as many countries of the world as possible.
Once this blog goes live, I’ll explain in greater detail, but RTW 2008 will be a bit different and will allow us to correct the scales a bit and hopefully include more women writers.
But just to bitch for a second, there are already enough obstacles facing those who publish and promote literature in translation, and adding on one more—you must represent equal amounts of men and women writers!—is hardly conducive. It’s not as if women writers are being intentionally excluded, and when we’re talking aobut such a small percentage of books in translation, in real numbers—12 women vs. 28 men—the difference ain’t all that great. Besides, if we’re successful in getting people to read international lit, and more and more books are published in translation, the numbers may well correct themselves.
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .