Next year, I hope to start the “Best Translations” list a lot earlier in the fall, giving us more time to research, read, recommend, and decide on which to include. One thing that would help though would be a single source of all the original translations published throughout the year. And once again, since this fits the Three Percent mission, there’s no reason why we can’t start a sort of informal catalog of translations here . . .
So, beginning in January, we’re going to start posting monthly (or bi-weekly) round-ups of forthcoming original literary translations. There’s a slew of great presses that send us catalogs, review copies, etc., and there are a number of people I’ll be able to contact to make sure we’re including as many books as possible.
That said, it’ll be hard to catch everything, so, if you work for a publisher, or know one, please feel free to pass along information about this project, and anyone interested can e-mail me at chad.post at rochester dot edu with title, author, translator, language, pub month, and price for forthcoming titles and we’ll include them in the postings.
We’ll also try and review a couple of these titles each month, and include short descriptions of a few each week as well.
This is one of the primary goals for Three Percent in 2008 (along with increasing the number of reviews of untranslated titles featured here), so I thought I’d pass this along . . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
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.. . .