At long last, I just posted an updated 2013 Translation Database, and following the trend of recent years, the number of books has increased—significantly.
In fact, this is the first year since we started tracking the publication of never-before translated works of fiction and poetry that we surpassed 500 total books for the year. That’s huge. Very huge. Let me show you just how huge.
In 2008, we identified 360 translations in total (278 works of fiction, 82 poetry).
2009 was almost identical: 362 total translations (290 fiction, 72 poetry).
2010 was a step backwards, with only 344 translations (266 fiction, 78 poetry).
Everything got back on track in 2011 with 374 total translations coming out (304 fiction, 70 poetry).
2012 was another increase, and was the first time the total broke into the 400s. Specifically, 456 translations came out (386 fiction, 70 poetry).
And now, we’re up to 517 (427 fiction, 90 poetry). That’s a 50% increase from 2010, or, in actual terms, 173 more translations came out in 2013 than in 2010. Seems unbelievable . . .
Someone asked me about this increase the other day, and from looking at the list of publishers, it looks like two things are contributing to this increase: publishers who have traditionally published literature in translation are now doing a couple more books every year, and there are far more publishers publishing books in translation than there were just a few years ago. (In 2010, 139 publishers did at least one translation. That number jumped to 187 in 2013.)
I going to talk about this more in a later post, but this database update reinforces my belief that there’s a lot going on in the international literature world in the U.S. these days, and it’s time to transition from discussions about how little is being made available to American readers and into discussions about what great books we should be paying attention to.
For example, how many of you have heard of Lontar Foundation? Anyone? Well, as part of their programs to support Indonesian literature, they published 8 titles last year. Granted, I doubt these are available anywhere outside of Amazon, but still. Let’s talk about the interesting new projects and the should-be successes, instead of the fact that only 87 French books were published in translation last year.
And looking ahead, I think 2014 could feature another significant increase, what with Restless Books logging some titles into the Database (I’m particularly excited about Nest of Worlds because it’s Polish. And it sounds like really literary sci-fi.), AmazonCrossing continuing to expand, a whole new batch of books from Dalkey Archive, etc., etc. I’m not sure we’ll end up at 600 books, but 550? That sounds possible.
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
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. . .