Tag: literary translation

Review | Sarajevo Firewood, Saïd Khatibi (trs. Paul Starkey) | Banipal Books

Saïd Khatibi’s polyphonic novel, Sarajevo Firewood, pays homage to the victims of civil war in Algeria and Bosnia in the 1990s, and gives the survivors a voice. Scarred by erratic memories and traumatic recall – indicative of the psychological wounds of war – writing is a way to come to terms with what happened.

“We might find a mass grave with a café or restaurant in front of it, which changed at night into a dance floor, on which the living took turns to move their bodies while the dead opposite them looked on silently.” Continue reading Review | Sarajevo Firewood, Saïd Khatibi (trs. Paul Starkey) | Banipal Books

Review | The Intimate Resistance, Josep Maria Esquirol (trs. Douglas Suttle) | Fum d’Estampa Press

A profound reflection on the human condition, Intimate Resistance is a welcome alternative to those glib bestselling books by counsellors and guides who synthesize complicated intellectual, scientific and spiritual ideas for instant, easy consumption. Living in the present moment is, perhaps, one of the most overused concepts expounded by the advocates of Mindfulness with the likes of Deepak Chopra (a student of the Maharishi Mahesh Yogi, the founder of Transcendental Meditation), Eckhart Tolle and the followers of Bhagwan Shree Rajneesh a.k.a. Osho, leading the way.

“Society has found itself distanced from Sartrean interpretation and so plays with the idea of finding one’s own personal path to happiness – often only understood as achievement: in other words, success.” (page 13)

Josep Maria Esquirol’s study of the fundamental nature of knowledge, reality and existence, is underpinned by sound academic argument entwined with the concepts of many the world’s most important and influential philosophers and thinkers – including Arendt, Patočka, Melville, Bachelard, Sartre, Husserl, Heidegger, Levinas, Pascal, Voltaire, Camus, Deleuze, Shakespeare, Nietzsche, Freud and others – as he develops his own theories, all the while wearing his learning lightly. Intimate Resistance is a lyrical, lucid, poetic read of imaginative explorations and etymological musings conjuring visual vistas. Continue reading Review | The Intimate Resistance, Josep Maria Esquirol (trs. Douglas Suttle) | Fum d’Estampa Press

Interview | Aneesa Abbas Higgins | Translator of the Week

Tell us a little bit about yourself.
I grew up here in London – my father is Indian and my mother English, and at the time we were a fairly unusual family to say the least. I was always a great reader – and music has always played a big part in my life too. I’ve lived in America and in France – and I’ve travelled quite a bit, but now I spend most of my time either here in London, or in a small village in France. I sing in a choir, and spend most of my time when I’m not working either reading or coaxing my garden to grow. My family is very important to me.

Did you grow up learning and speaking different languages? What fiction in translation did you read, or rather, was available?
My father’s language is Urdu – but I grew up speaking English. I heard Urdu spoken around me, but not enough to learn to speak it myself, although I have made repeated efforts and I have made some progress. But I fell in love with French as soon as I started it at school. After that, I added German and Russian, but French was the language I absorbed the most thoroughly. As for fiction in translation, I’ve always been a voracious reader. As a child I read everything I could lay my hands on and never thought about whether or not it was translated. I remember my father reading me stories by Prem Chand when I had one of the childhood diseases we all used to succumb to, and I started reading the Russian classics as a very young teenager. Dostoyevsky’s The Idiot made a huge impression on me. And I read Anna Karenina for the first time around then too.
 Continue reading Interview | Aneesa Abbas Higgins | Translator of the Week

Interview | Sophie Lewis | Translator of the Week

Sophie Lewis is a London-born writer, editor and translator from French (since 2005) and Portuguese (since 2012). She has translated works by Stendhal, Verne, Marcel Aymé, Violette Leduc, Emmanuelle Pagano, Noémi Lefebvre, João Gilberto Noll and Sheyla Smanioto, among others. She was Senior Editor at indie trade publisher And Other Stories from 2010 to 2016. In 2016 she co-founded Shadow Heroes, a workshop series introducing aspects of translation to GCSE-level students. She is now Managing Editor at the Folio Society. This Tilting World by Colette Fellous, published by Les Fugitives on 16 September, is her latest translation.

Where did you grow up? Have you always lived in London?
I grew up in Islington in North London. I’m happy to call myself a born and bred Londoner, though my parents were not from here, nor were their parents from where they grew up.
I spent my childhood and adolescence in London, and was back and forth between Oxford, Paris and London as a student. My big, very sensible adventure was a move to Rio de Janeiro at the beginning of 2011. My husband got a teaching job there and we took a weekend to decide this was a great plan, despite never having set foot on the continent before. It was a great plan. We stayed for four and a half years. Now we’re back in London we can’t help speculating about making another similar move, though to somewhere as different again. Languages play their part, of course. Continue reading Interview | Sophie Lewis | Translator of the Week

Spotlight | The seemingly unstoppable boom in indie publishing & The Republic of Consciousness Prize

[sg_popup id=”4″ event=”onload”][/sg_popup]Indie Publishing vs. Self Publishing vs. Traditional Publishing

With commissioning editors at mainstream publishers increasingly under the corporate cosh, any literary submissions calculated to sell less than 5000 copies are turned down regardless, which leaves the field open for independent publishers to come in and have a go at the roulette table imagining winners that might come their way.

An experienced commissioning editor may be able to spot high-quality writing and know their target readership, but s/he is no less a gambler than anyone else playing the publishing game. Their gut instinct counts for little in the corporate boardroom nowadays, even though the way in which advances are calculated is an inexact science, and tales of legendary rejections make for juicy water-cooler chat. Harry Potter and the Philosopher’s Stone was rejected 12 times before being picked up; Gone with the Wind got the thumbs down 32 times; Under the Frog 22 times; Dune 20 times; and The Tale of Peter Rabbit was rejected so many times it was self-published.

Smaller publishers generally avoid formulaic writing for the genre market, provide greater personalised support, and – as opposed to a vanity press – do not ask the author for money. Added to which crowdfunding has become a more than viable option, not only to raise funds, but to develop a community of readers ahead of publication (Peirene Now! No. 3, Shatila Stories was recently successfully funded with 327 backers pledging £13,350 via Kickstarter). Best not confuse authors self-publishing their own books only – generally via a digital platform such as Amazon or Kobo – with indie publishers; the term indie authors would be more accurate.

According to a recent report in The Guardian, “Independent publishers have unleashed a boom in sales,” and “turnover across the Arts Council England-funded portfolio surged above its budget by almost £100,000 this year, reaching £277,930.”

Continue reading Spotlight | The seemingly unstoppable boom in indie publishing & The Republic of Consciousness Prize

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