Havana Year Zero by Karla Suárez,translated by Christina MacSweeney, is a brilliant, intense mystery where the past resurfaces in the present to suggest new possibilities for the future, amidst growing tension and constantly subverted expectations.
Originally a fringe experiment dreamed up by novelist Neil Griffiths, and now in its second year, The Republic of Consciousness Prize for Small Presses 2018 is making waves and highlighting the superb and genuinely original writing being published by diverse independent publishers.
“Most writers make less than 600GBP per year from writing and the average sales of a literary fiction title is 264 copies, so literary fiction is a super niche area of the arts,” according to Griffiths. “An award points readers towards overlooked gems with a specialized appeal.” This echoes what was expressed to me back in February 2016 by publishers and punters when I launched the BookBlast® celebrates independent publishing promotion online via The BookBlast® Diary, and the inspiration outlined in the piece: Why Independence Matters.
“The books shortlisted include one turned down by almost every mainstream publisher and one that was too experimental to even be considered . . . the Inpress roster of 60 small presses shows how small presses do something else, something different, and something all-important. There are no artificial bestsellers here. This is the age of small presses,” declared Griffiths from the stage in the University of Westminster’s oak-pannelled Fyvie Hall. The screen behind him flashed up the shortlisted authors, book covers and publisher logos.Continue reading Spotlight | The Republic of Consciousness Prize for Small Presses 2018
Are (were) your parents great readers? Tell us a bit about yourself. My father owned and ran a large bookshop right in the centre of Buenos Aires, Argentina, where I am from originally. It was a bookshop that had been in the family for three generations, and where the likes of Borges, the Ocampo sisters and Bioy Casares had current accounts. Both my parents were and are great readers and I grew up surrounded by books from a very early age. No doubt my love for literature grew from that. I even started writing at an early age, and had a book of poetry published when I was thirteen.
Did you want to work in the publishing industry from the start? Definitely in literature, in some form. I’ve always studied and worked with literature. I did an BA in Literature, followed by an MA in Translation and a PhD in Latin American Literature. I then lectured on literature, translated literature, examined literature papers and even wrote articles and books on one of Argentina’s most celebrated writers, Julio Cortázar.
Tell us a little bit about yourself. I grew up in Scotland but left age sixteen and never really made it back. I lived in Mexico City for about twelve years, and now live in Berlin. I’m a freelance translator from Spanish and French into English.
When you were growing up, what books had an impact on you? In my teens, Ursula K. Le Guin’s Earthsea Trilogy; the John Wyndham novels; most of Orwell; Marguerite Yourcenar’s Memoirs of Hadrian; Calvino’s Invisible Cities; Claudio Magris’ ADifferent Sea – this last one changed the bearing of my life.
Why do you translate? I believe translation underlies all communication, both within and between languages. Language is what makes us most distinctively human, and translation is a celebration of that, insofar as it makes all humans intelligible to each other, bringing different life-worlds into proximity. Translators are walkers-between-worlds.
“A new literary genre: paranoid fiction. Everyone is a suspect; everyone feels pursued,” Ricardo Piglia (published by Deep Vellum & Duke University Press).
Beef, gauchos and the tango. Eva Perón, military dictatorship and The Disappeared. Maradona, the 1986 World Cup and Thatcher’s last stand for Empire. Such are the answers of friends when asked what images Argentina conjures up in their mind’s eye. To which I would add, bookishly, Jorge Luis Borges, Julio Cortázar and Ernesto Sabato.
Crime novelist Claudia Piñeiro is a welcome discovery. All Yours, A Crack in the Wall, Thursday Night Widows published by Bitter Lemon Press, and now Betty Boo, give an alternative, very contemporary view of Argentina. The abuse of public power for private benefit is increasingly a global problem, manifested in myriad nuanced ways at a local level. Corruption is invariably intrinsic to the way power is exercised. Just recently, the name of Argentina’s new president, Mauricio Macri, appeared in the Panama Papers leaked files.Continue reading Review | Betty Boo, Claudia Piñeiro | Book of the Week