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 . . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .