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8 Questions for Alex Zucker on Translation Pay, Diversity, Copyright, and More

Last year, the Authors Guild conducted a survey of literary translators in order to get a better sense of the realities of the profession with regard to questions like pay, copyright, demographics, and other questions. The findings, which you can read here, are fascinating and well worth your time. This was the first survey of its kind, and I hope that it becomes a regular thing so that we can get better and better information about how the profession of literary translation looks in America.

I recently interviewed Alex Zucker to find out more about what the survey discovered, as well as to get deeper information on what these findings mean and what they may tell us about the future of translation in the United States. We cover a number of important subjects, including pay rates, diversity in the field, and what “fair” treatment is when considering a variety of factors that go into each individual translation.

I hope that this survey and discussion of it spurs more and more involvement on the part of professionals in the field in these questions. Although literary translation is a great field to work in, there is lots of room for improvement, and the survey certainly shows us a lot of places where we need conversations and changes to be made.

Veronica Scott Esposito: Could you tell us a little about the survey of translators that you conducted and why you did it?

Alex Zucker: To start, I want to make sure that readers understand what this survey was about. In recent years, I’ve become increasingly aware of the lack of support for the profession of literary translation in the US. There’s far more attention paid to the art or craft, with little consideration given to how to earn a livelihood. The subject of pay is rarely discussed in concrete terms, and none of the existing organizations in this country that have the word translator or translation in their name protect the rights and advocate for the interests of professional literary translators the way the Translators Association within the Society of Authors does in the UK.

During my term as cochair of PEN America’s Translation Committee, I was privy to a lot of information about working conditions that wouldn’t have reached me otherwise. Among the literary translators I met, there was a general feeling that, in spite of the publishing buzz about translations and the seemingly higher profile of both translations and translators themselves among the public at large, professional literary translators—that is, those who depend on literary translation income for their livelihood—weren’t necessarily seeing any economic benefits from this heightened attention. But no one had data. All the information was purely anecdotal. How then to verify whether conditions for literary translators were getting worse or better?

In the US, the organization analogous to the UK’s Society of Authors is the Authors Guild. In 2014, I needed a contract reviewed for a volume I was editing (not a translation), and a friend who works in publishing suggested I join the Authors Guild, since they provide contract vetting to members free of charge. The advice I received from the Guild’s staff attorney was totally worth the cost of membership. One thing led to another and I began talking with AG staff about developing a model contract for literary translation, analogous to their model contract for authors, as well as about incorporating translators’ concerns into their long-existing advocacy on behalf of professional writers. The idea for the survey, then, was to establish a baseline of data on the issues that affect the ability of literary translators in the US to earn a living. These results could then be used as the starting point for the Guild’s advocacy.

Anyone interested in the survey’s methodology can read more about it on the AG website. Readers should know that the findings you and I discuss here come from the summary, and pertain only to translators of prose.

VSE: What poll results surprised you the most?

AZ: On the positive side, I didn’t expect to see such a high percentage of respondents (47 percent) say their contracts always or usually stipulate royalties—let alone 47 percent saying they had actually received royalty payments. (By the way, the fact that these percentages are the same is sheer coincidence.) This finding is very important, because it refutes the belief that a royalty clause is a purely symbolic gesture. It’s also worth noting that by far the main reason respondents gave for their contracts not providing royalties was that publishers refused.

On the negative side, 41 percent of respondents reported having signed contracts that made payment of their fee contingent on the publisher receiving a grant for the translation. I knew this was going on, but until we did the survey, there was no way to know how widespread the practice was. That’s a high percentage of translators committing to months of difficult work with no guarantee of being paid. I find it disturbing.

VSE: Two-thirds of the translators polled said they always or usually retained copyright to their work. Do you think there’s been a movement toward more translators retaining copyright? And how does this bode for literary translation as a practice?

 

AZ: Honestly, I don’t think we can talk about a movement, either toward or away, since we don’t have any data from the past to compare to today. This was the main reason I asked the Authors Guild if they would be willing to do a survey of working conditions for literary translators in the US—not just on copyright, but on all the issues that affect literary translation, not as a practice but as a profession. It’s interesting to see where things stand at the moment, but more important from an advocacy perspective is to know which conditions are getting better, which ones are getting worse, and which ones are more or less the same.

That said, even if we don’t have data, we do have some anecdotal evidence we can look to. In 1970, on the occasion of a conference in New York City titled The World of Translation, the Translation Committee of the P.E.N. American Center (now PEN America), under chair Robert Payne, published a Resolution along with a Manifesto on Translation, calling for translations to be copyrighted in the translator’s name. Together, these documents spelled out the tenets of what, in 1981, became the Translation Committee’s first model contract, which exists to this day (you can still find the first one online using the Wayback Machine). To me the fact that we’re still even talking about this issue—nearly 50 years after that conference—suggests that if there is a movement for translators to retain copyright, it’s progressing at a glacial pace.

There should be no question at this point: The copyright to a translation, by law, rests with the translator. Yet 17 percent of the respondents to the Authors Guild survey said they usually did not own the copyright to their work. One in five? That’s far too high. Among those translators who reported that they didn’t always retain copyright, nearly two-thirds (63 percent) said the reason was that the publisher had refused—in other words, not because the translator didn’t know any better or because they chose to give up copyright for something in return (such as a higher fee). So clearly this is an area where we still need advocacy.

VSE: 83 percent of the survey participants self-identified as “white.” While the survey population isn’t an exact cross-section of translation, this figure does accord with my own experiences of the field, which I see as having very low diversity. What do you think about diversity in the literary translation field? How can we encourage more diversity?

AZ: Pay more: Jobs requiring high education yet offering low pay are filled mainly by people who have enough wealth or other means of support that income is unimportant. In this country, that’s primarily white people. We see this in the US publishing industry as a whole (I recommend this discussion at PEN America, with a long list of suggested reading and organizations at the end, and Lee & Low’s excellent Diversity Baseline Survey). It’s a phenomenon that’s been documented across all the arts, in fact.

So I’d say pay is the main factor. But not the only one. If the goal is to have more people of color working as literary translators, there are two questions to look at: 1) How does someone decide to become a literary translator? and 2) What kind of support do they get once they’ve become one? (I also feel a need to say that whatever suggestions I make here are not intended to be authoritative or exhaustive. The question of how to challenge white supremacy in our society is one that everyone needs to answer for themselves, based on who they are and which institutions and communities they’re a part of.)

On 1), people involved in the education and/or training of literary translators need to understand how their personal practices, as well as the structures and policies of the institutions they’re part of, attract people who are white as opposed to people of color, and reproduce and reinforce norms and standards of whiteness. This includes looking at who’s hired and promoted; how much they’re paid; and who holds power and makes decisions.

One other factor in 1), which also leads into 2), is jobs: because role models (and mentors and contacts) matter. When it comes to making US publishing as a whole more inclusive, black writers and editors have made it clear that from their point of view the solution is straightforward: Presses need to hire more black editors and publish more books by black writers. It’s not as if the books don’t sell; the presses will make their money. Now extend this maxim to all people of color. And apply it to translators. In other words, it’s important for people of color who are considering going into literary translation to see editors who aren’t white, editing books written by authors who aren’t white, translated by translators who aren’t white. This not only reinforces the idea that literary translation isn’t just for white people, but it also means people of color who choose to take this path will have people who understand their experience to turn to for support along the way, just as people who are white already do. The Lee & Low Diversity Baseline Survey mentions all these things.

Which takes us to 2): Again, people involved in organizations whose mission includes supporting literary translators, and especially the people who lead or run them, need to be thinking about how what they and their organizations do reinforces whiteness and how they can change that. I would ask questions similar to the ones for people involved in teaching or training: Who leads? Who speaks? Who gets paid? Who makes the decisions? (Mentorships and fellowships for translators of color seem like a good way to start, and there are a few already.)

A final point that I’d really like to emphasize: This isn’t simply a matter of personal intentions, and it isn’t just about people who are white inviting people of color to join them. If my group or organization has no people of color in leadership positions and no people of color making decisions, then going out of my way to “invite” or “welcome” or “encourage” people of color to take part isn’t enough. To illustrate what’s wrong with this, some people use the phrase “Diversity is being invited to the party; inclusion is being asked to dance.” I would go a step further: People of color need to get to plan the party too. As a white person, I have to be willing to give up power. I can’t just say, “Let’s have a party together. We’ll have it at my house. I’ll do the decorations, choose the music, cook the food, and draw up the guest list. You just show up. You can bring any friends you want!” No. I need to be able to say, “What kind of party do you want to throw? How can I help make that happen?”

VSE: The two largest segments in the poll reported as being paid either $0.00–$0.07 per word or $0.14 or $0.15 per word. 7 cents per word would definitely quality as poor pay for literary translation; while 15 cents per word is much more in line with decent pay standards in the field, many would consider this low and not a living wage. For reference, Daniel Hahn, a very sought-after and well-regarded translator, disclosed on his website that he is paid roughly 19 cents per word on average. Is there a need for translators to know pay scales in the field and request higher rates?

AZ: Yes, absolutely. Again, the survey was conducted by the Authors Guild, a professional organization, so I approach this from a professional standpoint. When people are considering a profession, isn’t finding out what it pays one of the first things they do, normally? Every translator is responsible for educating themselves, on all the issues we’re talking about. Because unless you have an agent (and very few literary translators do), you’re negotiating your contracts yourself. At the same time, that’s why it’s important for translators to talk with one another about how much they earn.

Whether or not a given rate constitutes a living wage depends of course on what your living expenses are. The American Translators Association offers a handy tool called the Translator Earnings Calculator to help translators determine how much they should charge. It’s up to each person to decide for themselves. Where this can be a problem is when you have a professional translator (that is, someone who depends on translating for income) losing a job to a translator who is not (i.e., who doesn’t depend on translating for income), because the non-professional translator is willing to work for less. So, actually, by being familiar with going rates, you can help protect the livelihoods of professional translators even if you yourself are not a professional.

In my experience, it’s easier to ask for a higher rate if you consider yourself a professional. Hahn lives in the UK, where the professionalization of literary translation is more advanced than it is in the US. One reason for this is the longer history there of literary translators belonging to a professional organization (the Society of Authors) that protects their rights and advocates for their interests as professionals. The only organization in this country that offers equivalent services—in particular, contract vetting—is the Authors Guild. That’s why I urge every literary translator who considers themselves professional to join the Guild, which has long been open to translators, though for reasons that are unclear to me, relatively few have joined.

VSE: While we are discussing pay, we should also talk about royalties. I was pleasantly surprised to see that 1/3 of respondents reported receiving “more than $1,000” in royalties, although many translators still receive tiny royalties, if any. What do you think is a fair royalty rate that translators should aim for?

AZ: I would hope everyone reading this interview accepts the principle that translators have the right to share in a book’s profits. (For anyone who needs convincing, see this post from Lisa Carter’s excellent blog at Intralingo.) All the more so if they help to publicize the book, as so many translators do nowadays; but even if they don’t. Whether or not to exercise their right to royalties, and if so, what rate to ask for, are things every translator has to decide for themselves when negotiating their contract. Depending on the book, I may prefer to take a higher fee and a lower royalty rate, or the other way around. So, what’s fair? It depends.

Since I realize that’s not a satisfying answer, what I can add is that it’s common nowadays for translators to negotiate a royalty rate of 1 or 2% of retail price on printed books and 5% on e-books. We see this, at least for printed books, in the responses to the Authors Guild survey (the survey didn’t ask specifically about e-books; that question will have to be added next time). Note that that’s a basic rate. Some translators negotiate escalators in their royalty rate as sales of the book increase (for how that works, see this article on author royalties).

Another important detail to take into account is that it is standard for the translator’s royalty payments to begin only after the book has earned out its advance—in other words, once the publisher has earned back what they paid for the translation. This is why negotiating royalties in your contract doesn’t necessarily mean that you will receive royalty payments. (A few presses pay royalties from the first book sold, but the practice isn’t common.) The actual dollar amount will of course depend on the sales of the book.

One thing that can make it tricky for translators is that often the author signs their contract with the publisher before the translator does. A standard author royalty nowadays is 10%. So if the translator asks for 2% and the author has already signed a contract giving them 10%, the publisher may tell the translator that their royalty has to be subtracted from the author’s—i.e., 8% for the author, 2% for the translator. This may or may not be agreeable to the author and their agent, and therefore may require further negotiation. (Again, I strongly recommend this primer on royalties and literary translation by Lisa Carter at Intralingo.)

VSE: The report also noted that translators’ payments were often dependent on publishers receiving grants. Before we proceed, I should note a couple of things: obviously translators should always be paid for their work, although many of the presses doing the work here are very small publishers with barely enough resources to bring the book to market. Also, in very many cases translators receive more money than the author of the book, who generally receives a modest sum to license the work and some small royalties on sales. Considering all of these things, what’s fair when a press truly lacks the ability to pay a translator very much?

AZ: I appreciate what you’re saying. There are different niches within the publishing industry. I would be curious to see if there’s a sort of natural selection going on, with certain presses, because of their lack of money, working mainly with translators who aren’t professional—by which I don’t mean that the translators lack professional standards, but simply that they don’t depend on translating for their livelihood.

To me the principle is the important thing here: If a book is being sold for money, in the market economy, and everyone involved in its production is being paid except the translator, that isn’t fair. If the book is produced within a gift economy, and everyone involved in it is donating their labor, that’s a different story. The problem is when a press tells a translator, “I’m sorry we can’t pay you because we have to pay the printer”—the implication being that the printer’s labor has value but the translator’s does not.

There’s a difference between not paying much and not paying at all. There are small presses that are nonprofit and operate on a funding model that factors in fair fees for translators, so we know that it’s possible. Even a cash-strapped publisher can find creative ways to show goodwill.

I don’t think it’s correct to compare the fee an author is paid for the rights to publish their book in translation with the fee a translator is paid to translate the author’s book, for several reasons. First, the author presumably has already been paid for their work, when they published it in their native language. Second, the author has already expended the labor to produce the book, so they’re being paid to license the rights, whereas the translator is being paid for their labor. Third, in a typical contract, the author’s royalty, at 8%, is four times higher than the translator’s, at 2%, so the author’s earning potential from sales is higher than the translator’s. Fourth, an author can sell, and be paid for, translation rights more than once—for every language their book is translated into, the author receives a fee, whereas the translator is paid for their translation only once. Fifth, the author has potential for further income from the sale of subsidiary rights (such as film or stage adaptions), since even if an adaptation is based on the translation, the author has to be paid for the rights to the underlying work, whereas the translator, depending on their contract, may or may not receive any payment for the subsidiary rights; it isn’t a given.

This is not to say that the author will actually earn all that income, but these differences in potential earnings put them in a different position from the translator. This is the principle that underlies the author’s receiving a smaller payment for the rights to translate their work than the translator receives for translating it. Many translators and translator advocates uphold the literary translator’s art as on a par with the author’s in terms of creativity and skill. Rightfully so. Economically, however, our status is not the same.

VSE: What do you hope is the impact of this survey? Five years from now, what changes would you hope to see in the translation field?

AZ: The first thing I’d hope for is a higher level of awareness about the issues for professional literary translators in the United States. To some degree, we’ve already achieved that, just by conducting the survey and publicizing the results. I’d also like more literary translators to understand the issues, so they feel empowered to negotiate their contracts and ask questions of publishers, rather than feeling they have no choice except to sign or walk away.

I’ve mentioned already that the main reason for doing the survey was to establish benchmarks on the issues that are most critical to the viability of literary translation as a profession. We actually collected much more information than we’ve been able to analyze and publish so far: For instance, there are disaggregations I’d like to do that could reveal important differences in how translators are paid depending on what language they translate, or whether there are certain languages where it’s more likely that the translator’s payment is contingent on the publisher receiving a grant. We usually talk about fees as if there were only one translation market, but in reality, every language is a minimarket of its own. (I translate from Czech. If I turn down a book because the fee is too low, it’s not as if the publisher can offer it to somebody who translates from Korean.) In some languages, there are more translators, and the greater supply of translators may result in rates being driven down.

Also, though the information we got is revealing, it’s just a snapshot in time. The really interesting data will come five years from now, and five years after that, as we continue to run the survey and get some points of comparison.

So, what I’d like to see in five years? In general, a higher level of knowledge about contracts, among translators and publishers alike. Specifically, more translators signing contracts with royalties, fewer translators signing contracts with payment contingent on the publisher receiving a grant, and higher pay for translators. We didn’t include this in our initial findings from the survey, but when asked, “If you could at least match your present total income by translating literature full-time, would you drop your other paid work?” nearly two-thirds of respondents answered “Yes” or “Possibly.” If more of us can earn a living doing what we do best, I think it can only be to the benefit of our work.

Quarterly Conversation Issue 51

h3>Features


What Is a Translator?

What Is a Translator?

Are translators, to borrow a phrase from Paulo Rónai, “modest intermediaries in the relay of someone else’s messages,” or are they, as is increasingly averred, co-authors? Perhaps the encomium Paul Auster has bestowed on translators gets straight to the point: they are “shadow heroes,” a designation which assumes they are destined to see the fruits of their labor overlooked. Perhaps our confusion over what a translator is stems from our collective confusion about what it is a translator does.


A Translator’s Diary: A Year in the Life of Emma Ramadan

A Translator’s Diary: A Year in the Life of Emma Ramadan

I ring in the New Year with a rare feeling: relief. At the end of December I finally receive some long-awaited paychecks and finish off 2017 with money in the bank. I feel like I’m in a good place. I can pay my bills, I can buy a decent bottle of champagne for my friend’s New Year’s party, my fiancé, Tom, has a friend in town and we can go out to dinner with him without tearing our hair out. This lasts about two days.


Who is Junichiro Tanizaki?

Who is Junichiro Tanizaki?

Asking who Jun’ichirō Tanizaki is may seem a little bizarre, especially to those with any kind of interest in Japanese literature. Nominated several times for the Nobel Prize in Literature, and even shortlisted the year before his death, Tanizaki is one of the more prominent figures in modern Japanese literature, and he is also well-known for his other endeavors, such as his translation of The Tale of Genji from old Japanese into the modern language. But on a more personal level, the question is not quite as strange as it might initially appear. Readers often develop an image of a writer while working through their books, and many of the top Japanese authors seem easily classifiable, from the eccentric Kōbō Abe to the calm, traditionalist aesthete Yasunari Kawabata, the political protests of Kenzaburō Ōe, and, more vivid than most, Yukio Mishima’s unique blend of homoerotic and right-wing tendencies. But who exactly is Tanizaki?


Look East to Find the West

Look East to Find the West

We are lucky to have translations of the French novelist Mathias Énard, whose career suggests the exploratory, variegated template of Faulkner. A translator from Persian, Arabic, and Spanish, Énard has written nine novels in an assortment of styles and on an assortment of subjects. As Faulkner nearly always located his fiction in Mississippi, Énard has focused on the lands surrounding the Mediterranean, what he calls in his eponymous novel, the “Zone.” And as the themes of slavery, black-white relations, history, Reconstruction, and the South run through Faulkner’s novels, Énard has his touchstones of music, violence, East-West relations, and literature, all of which appear in his most recent book to be translated by Charlotte Mandell into English, the 2015 Prix Goncourt winner, Compass.


A Memoir By a Writer Who Doesn’t Want One

A Memoir By a Writer Who Doesn’t Want One

Richard Ford, as decorated an American writer as currently exists, has thus far avoided mining his own life for material. But now he has written a memoir. To be sure, it is strange, almost an anti-memoir. The book consists of two halves, a recently written remembrance of his father and a remembrance of his mother, written shortly after her death in the early 1980s. The conceit of the book is that his parents are essentially unknowable and that they had a rich and fulfilling life before he arrived on the scene—that he came “between them.” His view is of the only child who sees the margin where his life ends and theirs continues on without him. The result is a memoir that is empathetic to his parents’ sovereignty as adults.



Reviews

The Endless Summer by Madame Nielsen

The Endless Summer by Madame Nielsen


The Danish transgender performance artist, has, over the course of her career, presented, masqueraded, invented, and re-invented herself many times, even having her birth-identified self, Claus Beck-Nielsen, declared dead along the way. (He was ultimately revived when the lack of any identity altogether proved too difficult to sustain.) The multi-faceted Madame Nielsen is a novelist, poet, artist, performer, stage director, composer, and singer. With The Endless Summer, newly released from Open Letter Books in a translation by Gaye Kynoch, Nielsen weaves a tale that sidesteps the common expectations of narrative progress and character development. Rather, an odd cast of characters is choreographed through a shifting, dreamlike landscape openly reminiscent of David Lynch, complete with digressions into side stories, tales from the past, and glances into the future.


North Station by Bae Suah

North Station by Bae Suah


Bae Suah seems to know that writing is a kind of time travel, and in each of these stories, brought deftly into English by Deborah Smith, the caroming and hyperlinking movements that characterize this traveling raise such questions as: what does it demand of me when I reach out to you? Where does my memory of you end and your reality begin? Why do I remember only that which I remember? And, as I write all of this, do I move any closer toward the answers?


Fragile Travellers by Jovanka Živanović

Fragile Travellers by Jovanka Živanović


Jovanka Živanović’s Fragile Travellers reads primarily as a metaphysical straddling of the spiritual and corporeal worlds, yet also manages to address practical, everyday concerns. Ema is a high school art teacher. In her mid-thirties, she lives with her lover, Žarko, an intellectually stunted lawyer. The term “lover,” of course, being misleading. The two rarely engage in any love-related activities. Ema is a timid character, trying to get through life unnoticed by others. On the other hand, Petar is a handsome, respectable pillar of the community. He has been married to his wife, Anđelija, for many years. Although unattractive and overly practical, Anđelija provides a stable and comfortable marriage that Petar has never questioned.


I Made The New York Times!

I wanted to share the good news that I have a book review in today’s issue of The New York Times Book Review. It’s of The Endless Summer by the Danish trans author Madame Nielsen—so it’s a work in translation, by a queer, female-identifying author. I don’t think there will be too many more authors that fit that profile in the Times this year.

This is my first ever writing for the Times, and, well, it’s interesting how people look at you differently when you tell them you write for The New York Times. Even with all the changes in book reviewing and literary culture in the past decade or so, this venue is still a huge cultural signifier, and virtually the only place that could grant a writer that kind of universal acknowledgement.

Some other things to share: I’ve got some interviews in the works for Conversational Reading. One of them is with all-star translator Christina MacSweeney, where we’ll be talking her latest translation, Tomb Song by Mexican author Julian Herbert.

I also have an essay upcoming in the first issue of the new journal Egress, from Little Island Press. Little Island is a rather interesting new press, as it launched last year with a title from Gordon Lish, and it has a fascinating (and award-nominated) catalog. David Winters, who is a very smart critic and a long-time friend, is the editor of Egress, and I think it will be quite good.

I’ve already shared the first half of this essay with my Patrons, and I’ll be sharing the whole thing once the issue publishes. If you want to get the essay, you only need to donate $3 per month, and that entitles you to tons of other great downloads, including copies of The Missing Books and other ebooks of mine.

Further down the line: I’ll be embarking on a long-overdue redesign of The Quarterly Conversation this year. (More on that down the line.)

And lastly, I did my first event of 2018, up in Sausalito (that’s in Marin County, a little northwest of Oakland, CA; just across the Golden Gate Bridge from San Francisco). It was a reading of The Doubles with the literary reading series Why There Are Words. Here’s a pic of me at the reading with my partner.

Winter Fundraising!

It’s winter, which means it’s one of the two times of year I traditionally ask you to pony up a little cash to support my work. Below, you’ll find a few reasons why you might want to support me, but if you don’t need any persuading and just want to go for it, here are the easiest ways to help:

Subscribe to me at Patreon — you get cool early peeks and exclusives, plus free copies of my ebooks (and a even print title, if you wanna go there . . .)

Paypal me — this is basically a one-time donation, or you can make it recurring, if you want to go that way and don’t feel like using Patreon for recurring donations (although then you’d miss out on all the cool free stuff that you get for subscribing at Patreon).









Buy stuff through my Amazon links — I know, Amazon is pretty widely despised (and if you’re shopping for books, why not go to your local indie and have them special order it? they can usually get it in 1 or 2 working days), but if you’re going to shop there anyway, maybe do it through my links, so you can ruin Jeff Bezos’s profit margin and help me out a bit?

Other stuff — If you’re unable to make a money transaction, I’d still love to have you support things in other ways. I encourage you to try writing for The Quarterly Conversation (email me at editor AT quarterlyconversation DOT com), or to interact with my social media on Twitter, Facebook, or the Gram. Or find some other creative way to be a cool person.

So anyway, why do I feel entitled to a little bit of your money?

I’ve done nearly 20 translator interviews this year, which includes championing the work of a lot of female international authors, not to mention making translators more visible and giving them a chance to shine.

I’ve edited another four issues of The Quarterly Conversation, which covers a ton of great literature that’s ignored elsewhere and that lets me mentor and help build up emerging critics.

I’ve done some cool lists, like this small/indie press gift guide, or this one of 28 female authors to read for Women in Translation Month (or the other 12 months).

Yet another year of my “interesting new books” list, championing (say it with me), lots of small press, marginal, etc, writers that tend to get ignored elsewhere.

And last of all, all year long I’ve been writing a column at Lit Hub—I’m up to #20, which represents nearly a book’s worth of writing. Over there I’ve championed a ton of small press and otherwise not-terribly-capitalist-economy-friendly authors. And maybe I’ve even personally inspired you, like with this piece on Clarice Lispector, this one on Bolaño, this one on my gender identity, or this one on indie bookstores.

Thank you to everyone who chooses to donate or who has already done so this year. It really does mean a lot, and in a practical sense it makes it much, much easier to make the things happen that you want to see me do.

Quarterly Conversation Issue 50

Features


Bakkhai by Euripides and Anne Carson

Bakkhai by Euripides and Anne Carson

The Bakkhai continues to be one of Euripides’s (c. 484-406 b.c.e.) most popular plays to stage, translate, and interpret, even though it was never performed in its author’s lifetime. The ancient Greek playwright and Athenian wrote The Bakkhai in the last few years of his life in Macedonia, where he had fled after becoming disillusioned with his native city-state. The play was found among his papers after his death and produced posthumously by either his nephew or his son at the Dionysia, the festival held annually for the eponymous god in Athens. The drama presents the god Dionysos arriving in Thebes disguised as a mortal to establish his cult in that city and exact a brutal punishment on his cousin, King Pentheus, who denies the existence of the god. Anne Carson’s unconventional new translation of The Bakkhai is a fitting interpretation of what is arguably Euripides’s most enigmatic tragedy.


The Novels of Jenny Erpenbeck

The Novels of Jenny Erpenbeck

Jenny Erpenbeck’s three recent novels are about displaced people, their lives swept here and there by mandates of poverty, anti-Semitism, war, and political crusade. Visitation and The End of Days trace the same swath of German history, stretching in both cases from about 1910 to 2000. Erpenbeck’s latest novel, Go, Went, Gone, is also about the precarious lives of outcasts in Germany. They are refugees from Africa, forced out of Libya in 2011 and grouped in a shelter in Berlin three years later. Their lives are as thin and as ruled by seemingly senseless laws as that of the Jews who fled and hid in her earlier novels. The huge difference between this new book and the novels that came before is that the luminous passing of lifetimes has been condensed to a few months in the present day. The fairy flickering that moved her characters through decades has settled down into a gray, newspapery light. Go, Went, Gone is less a transformation of material than a shaping of it, and its luster is low. It pushes us to think about the uses of art, and what kinds of projects the politically committed can pull off in this current moment of explicit racism and unchecked power.


From Johannesburg 2004 to New York 2017: The Exploded View by Ivan Vladislavić

From Johannesburg 2004 to New York 2017: The Exploded View by Ivan Vladislavić

Whether The Exploded View is a novel in four parts or a collection of four longish stories is a question akin to whether South Africa is a nation of peoples or a collection of nations. The four parts of The Exploded View are indeed linked, through setting and theme, but it doesn’t have the marked through-line of the short story cycles that so often come out of MFA programs here in the U.S. For one thing, the links between stories are underplayed, their fragmentation being essential to the structure as well as the governing visual and epistemological theme. Vladislavić’s reluctance to give a whole and holistic image of post-apartheid South African society has earned him some critics. As the idiom has it, “when Johannesburg catches a cold, South Africa sneezes.” So a representation of the fractured, divided city, with little cause for optimism about those divisions being overcome, has been sometimes read as a sign of Afro-pessimism and willful naysaying of the entire national project. Now, in 2017, not only do these critiques seem quaint and outdated, stemming as they do from a moment of unfounded optimism when the “Rainbow Nation” and the “African Renaissance” seemed plausible projects, but The Exploded View also seems more globally relevant than ever. The world is sneezing, and while Johannesburg’s cold is not the cause, it is certainly one of the clearest presentations of the symptoms.


The Iliac Crest and Its Female Imposters

The Iliac Crest and Its Female Imposters

Cristina Rivera Garza’s The Iliac Crest is a novel riddled with holes, disappearances that have the effect of warping and obscuring the world its reader inhabits. If this book were to have a single guiding principle, it might be these words: “Disappearance is contagious. Everyone knows this.” The narrator’s confidence in this fact is a bit alarming, and may come as news to the reader. Is disappearance a physical illness and this book some kind of existential science fiction treatise? Well, yes and no. It’s hard to assert definitively just what this book is, although what is clear is that, in Rivera Garza’s world, disappearances are not unconnected—they propagate through a chain reaction, through physical contact, as the narrator goes on to explain almost scientifically, as if we were dealing with an outbreak of the flu.


Thoreau’s Questions

Thoreau’s Questions

Henry David Thoreau didn’t like questions, or so he sometimes said.“ The wise answer no questions,—nor do they ask them,” he wrote in his Journal in 1841. In 1850 he wrote, “I do not love to entertain doubts and questions.” Yet questions were at the heart of Thoreau’s lifelong journey of self-exploration. His Journal itself, the mine from which nearly all his literary work was quarried, began with a question, thought to be posed to the freshly minted Harvard graduate by his Concord neighbor Ralph Waldo Emerson. “’What do you do now?’ he asked. ‘Do you keep a journal?’ So I make my first entry today.”


The French Invasion

The French Invasion

The conference has been called “epochal,” “a watershed,” “a major reorientation in literary studies,” “the French invasion of America,” the “96-gun French dispute,” the equivalent of the Big Bang in American thought. To hear the superlatives, one would have thought that “The Languages of Criticism and the Sciences of Man” symposium held at Johns Hopkins for a few frantic days from 18 to 21 October 1966 was the first gathering of its kind ever held. It wasn’t, but it did accomplish a feat that changed the intellectual landscape of the nation: it brought avant-garde French theory to America. In the years that followed, René Girard would champion a system of thought that was both a child of this new era and an orphan within it. He was at once proud of his role in launching the symposium, and troubled by some of its consequences. Let us consider what happened during this watershed autumn.



Interviews

“The Book Upside Down”: A Conversation on Ricardo Piglia

“The Book Upside Down”: A Conversation on Ricardo Piglia


Piglia used to say that everything he wrote—his novels, his short stories, his essays—were a mere excuse in order to one day publish his diaries. So, by the time he finally sat down to transcribe them, they had become mythical. The impressive thing is that they didn’t disappoint at all. On the contrary, they remain perhaps the clearest expression of his conceptual poetic. A shinning exploration of what it could mean both to devote a life to literature, as well as read a life as literature. They provide a wonderful final touch to his life’s work and, despite their absolute singularity, I think they should be read in tradition of the best diary writers, authors that Piglia admired, like Pavese, Kafka, and Gombrowicz.


The Cristina Rivera Garza Interview

The Cristina Rivera Garza Interview


I am prone to write in between genres (remember that, in Spanish, género translates as both gender and genre). I am always interested in what happens there, in that middle ground or limbo. My suspicion is that relevant, interesting operations are met, and at times resolved, in those spaces. It’s a lucha libre of sorts, where the tools usually associated with one genre (verse to poetry, for example, of paragraph to prose) are subverted and diverted. Most contemporary works I read tread on those turbulent waters called cross-genre. The adjective I have used to describe these works is colindante, a term that describes what is both contiguous and colliding.


The Anne Carson Interview

The Anne Carson Interview


As I was interviewing the classicist, poet, and author Anne Carson in June, 2017 via e-mail about her new translation of The Bakkhai, the question-and-answer process felt like a consultation with the ancient Pythia. Much like an ancient Greek attempting to get an answer from the priestess of Apollo, I had to go through a few layers—book publicist and agent—and the answers I received back can best be described as intriguing and esoteric; they varied in length from a few words to a paragraph to no response at all. Every reply was also written in all lower case, including the first-person singular “i,” an idiosyncrasy that seemed almost playful, and is something I usually see in the prose or text messages of a student or a younger person. Like a Greek hearing those ambiguous missives given by the Pythia, I was repeatedly surprised by the puzzling, thought-provoking answers I received.



Reviews

Third Millennium Heart by Ursula Andkjær Olsen

Third Millennium Heart by Ursula Andkjær Olsen

Award-winning poet Ursula Andkjær Olsen’s Third Millennium Heart, translated into English by Katrine Øgaard Jensen, is narrated from the point of view of a monstrous, cyborg organ, a heart which is a sprawling, rumbling mega-structure; a cornubation made up of anti-heroic, Archigram-like constructions—fantastical towers and castles. From the heart’s radical connectivity emerges a puissant female voice, who unleashes a torrent of invectives, affirmations and auguries against capitalist market forces, patriarchy, toxic manhood, rape trauma, and the perversion of Western culture. A kind of germinal energy emanates from the fractal asymmetry of the 200-odd poems in this collection, like the vitality of patterns in river systems, tree branches and lightening bolts. In a state of interminable flux, the poems push back against facile interpretation even as they pull the reader closer towards self-knowledge.


The Tongue of Adam by Abdelfattah Kilito

The Tongue of Adam by Abdelfattah Kilito


No longer than the lead piece in the latest literary quarterly, yet unearthing a teleology for some of humanity’s oldest stories, The Tongue of Adam sets a reader thinking of noble forebears. W.G. Sebald comes to mind, though there’s no meandering involved, and Anne Carson, though there’s no anachronism or toying with form. Jorge Luis Borges, especially, casts his shadow, given the erudite cool with which this text handles Adam and Eve, Eden and Babel, effortlessly switching between Quranic (as spelled by Kilito) sources and Judeo-Christian. Similar material, in the hands of the great Argentine, resulted in amazing aesthetic objects, and to say the latest from Abdelfattah Kilito doesn’t shrivel in comparison—well, that’s high praise. Even more noteworthy, however, may be what the book accomplishes, at this hour of the world, for Arab civilization in general.


The Sacred Era by Yoshio Aramaki

The Sacred Era by Yoshio Aramaki


Born April 12, 1933, Yoshio Aramaki’s writing comes to us from a different time. His novel The Sacred Era, originally published in Japanese in 1978, has more in common with classic American sci-fi short story writers like Philip K. Dick, Isaac Asimov, Ray Bradbury—sharing their preoccupation with wonky metaphysics, biblical allegories, and performative misogyny—than with speculative fiction writers working in the present day. He leads readers down the same well-trodden genre path where impoverished young men discover they are, despite an often remarkable lack of initiative, destined for great things. But Aramaki’s brilliant leaps of imagination and use of experimental, non-linear plot structures are too ambitious for the resulting work to be dismissed as outdated or derivative.


March 1917: The Red Wheel: Node III: Book 1 by Aleksandr Solzhenitsyn

March 1917: The Red Wheel: Node III: Book 1 by Aleksandr Solzhenitsyn


In 1972 an English version of Aleksandr Solzhenitsyn’s August 1914 appeared. It is the first node (then called a “knot”) of a sequential novel with the overall title The Red Wheel. In 1989 an expanded and freshly translated edition came out in English, but it took until 1999 for the second volume, November 1916, to be published. Since then other books by Solzhenitsyn have reached English readers, most recently Apricot Jam: And Other Stories (2011), but we have had to wait until now to start reading the first book of four comprising March 1917, which will be followed by the two books that make up April 1917, thus bringing this mega-novel to a close. The books share common approaches—fictional characters mingling with historical figures, the use of actual telegrams, transcripts of State Duma debates, and newspaper accounts (when applicable, as newspapers weren’t always published), and an impressionistic screenplay treatment of mob movements—and the attempt to recapture for a wide audience (but foremost, one suspects, for Solzhenitsyn’s countrymen) the multitudinous events that culminated in the Revolution. Yet there is never one definitive story, one perspective, or one inevitable outcome.


A Long Curving Scar Where the Heart Should Be by Quintan Ana Wikswo

A Long Curving Scar Where the Heart Should Be by Quintan Ana Wikswo


Quintan Ana Wikswo’s A Long Curving Scar Where the Heart Should Be demands to be read and lived with for a few days or weeks—as long as you like, it’s got enough spirit and thought and music and visual interest to hold you. A considerable and openhearted novel, it is at once wild and sophisticated, poetic and prosaic. Although it is Wikswo’s first novel, it shows her to be intrepid storyteller, as she confronts issues of race, sex, gender, religion, and desire with an appreciation toward their complexity and oft-chaotic natures.


My Small/Indie Press Holiday Gift Guide

Each year I tend to do one of those “best reads of the year” lists, but this year I’ve decided to do things a little differently. Those lists tend to feature a lot of the same titles, and if you follow my Internet presence you’ve probably already got a pretty good idea of what books I’ve been really enjoying in 2017.

So instead what I’m going to do this year is do something along the lines of a gift guide to small and indie presses you may want to buy from this holiday season. I think probably everyone knows what the holiday season means to businesses and retailers, and presses are no different—this is make or break time for a lot of the publishers you love, so if you go and buy a few books from them for yourself and others, it’ll make a difference.

So here I’m going to recommend a book from each press that I think you should make an effort to check out this year. Look at them as entry points to presses I hope you get to know and buy a lot of books form in December. These books aren’t limited to things I read in 2017—they’re just great books that I think embody something important about each press. And I’m also going to try hard to get as many female, queer, & writers of color as possible in here.

And lastly, if you want to support this website during the holidays, you can shop through the Amazon links below, or if you detest Amazon then consider subscribing to me at Patreon, where you get a lot of digital downloads for your small monthly donation.

Sorrowtoothpaste Mirrorcream by Kim Hyesoon (tr. Don Mee Choi) — Action Books

Kim Hyesoon is a very in-your-face kind of poet, a loud poet, a poet with a kind of postmodern plasticity to her work. She talks about crazy pop cultural events like pig massacres, her aesthetics are weird, not-for-everyone, and very transgressive in the culture from which she comes. She’s also a writer who must have been a big challenge to translate, albeit a lot of fun and also one who opened up a lot of space for Don Mee Choi to re-envision this work in English. These are all things that to me make her a consummate Action Books author, as I have come to expect all of these things from this press.

Don’t Let Me Be Lonely by Claudia RankineGraywolf Press

I’m old enough to remember a time when Graywolf wasn’t a massively successful press notching winners and finalists of major prizes and being a fixture of the nation’s major reviews of books. I’m choosing Claudia Rankine’s first book with Graywolf for a couple reasons. First of all, this book emblematizes to me a lot of what has made Graywolf success a vital press in the last 10 years—its embrace of a lot of the lyric/personal/fragmentary essay aesthetics and and identity concerns that are present in this book and a number of its breakout titles of the decade or so since this one was released. of course, Citizen is the big book for Rankine, but I’m also recommending this one because a lot of people think Don’t Let me Be Lonely is the better book (myself included), but it hasn’t sold in nearly the same numbers. So check it out.

Madness, Rack, and Honey by Mary Ruefle — Wave Books

This is such a great essay collection, I’m not even going to try to sum up everything wonderful in here. Basically, this book will make you think about art and life in new ways—if that’s something you want, read it. And Wave Books is a really great press who can make a writer like Mary Ruefle a house author, along with a slew of other really remarkable books, mostly of great avant-garde poetry, but also a good deal of prose.

The Art of Flight by Sergio Pitol (tr. George Henson)Deep Vellum Publishing

Sergio Pitol is exactly the kind of author to put the translation scene in perspective—this guy is so good, and so legendary in the Spanish-language world, that anyone in their right mind would think that he’d be published by Random House, or FSG, or some other major prestige brand. But no, instead he was one of the first authors of this upstart translated literature press that just kind of came out of nowhere and started bringing him to the English-language world. That, to me, is a lot of the energy that Deep Vellum brings to the publishing community, and Sergio Pitol is exactly the kind of discovery that they would make for us to enjoy.

The Iliac Crest by Cristina Rivera Garza (tr. Sarah Booker)Feminist Press

I could say a lot of the same things for Feminist Press, except in this case Feminist Press has been around for decades—but still, they keep their ears close to the ground and keep finding edgy things that you would expect to come from a press that had only been around for a short time and still had a lot of that naive enthusiasm. The Iliac Crest is, again, exactly the kind of book that in any just world would be a bestseller. Even though it was written 15 years ago, it’s a book that captures a lot of what feminism currently is and where it’s headed, which is exactly what I feel about Feminist Press at any given moment.

My Katherine Mansfield Project by Kirsty GunnNotting Hill Editions

If you like book-length essays, this is your publisher, as this is pretty much all Notting Hill Editions does. It’s full of quirky, remarkable projects that probably would not have found a home anywhere else.

The Museum of Eterna’s Novel (The First Good Novel) by Macedonio Fernandez (tr. Margaret Schwartz)Open Letter Books

This was one of the first titles Open Letter ever did, and it was actually the way I first met Open Letter publisher Chad Post in person, and it was a book that for various reasons I was really, really excited to read, so for me personally it sums up a lot about Open Letter. This is a completely insane title that largely consists of dozens of prologues to a novel, penned by the man esteemed in his native Argentina as “Borges’s mentor,” a general weird genius uncle of Argentine literature, even though he’s basically completely unknown and unappreciated in the English-language world. And that, to me, is a lot of Open Letter—the weirdest most out there, next-level kinds of things that will blow your mind, if only you knew they existed.

Secondhand Time by Svetlana Alexievich (tr. Bela Shayevich)Fitzcarraldo Editions

This book perfectly sums up what Fitzcarraldo is to me: who on earth was ever going to publish this book if Fitzcarraldo didn’t step up to do it? This was the very definition of a passion project, an immense and costly labor that would have done modest business and, if very fortunate, have broken even 5 years down the line. Then Alexievich won the Nobel and suddenly Fitzcarraldo owned a hot commodity. God bless. Go see what else they’re doing with that windfall, like, for instance, publishing Olga Tokarczuk.

Bookshops: A Reader’s History by Jorge Carrión (tr. Peter Bush) — Biblioasis

This is such a lovely bookworms’ kind of book, basically a love letter to independent bookstores that is also erudite, entertaining, anecdotal, globe-spanning, passionate, meaningful, ironic . . . It’s a great read that makes you remember why you love the literary world and why it’s your place. And that’s a lot of Biblioasis to me, the passion project of a man who truly loves literature and who somehow turned that love into a rather sizable press that does truly great stuff that will be appreciated by the kind of person who feels completely at home in a great small bookstore.

Every Day Is for the Thief by Teju ColeCassava Republic

This one requires a little explanation. Teju Cole’s Every Day Is for the Thief is now published by Random House, but it was originally discovered in 2007 by this weird, funky Nigerian press called Cassava Republic, who were the ones the bring Cole to prominence. And since 2007 they have continued to discover equally as good (or better) Nigerian work, to the point that now they are no longer just a press distributed to Nigeria but one whose books now have great distribution to the U.S. and UK. This is a recent development, so to many readers Cassava Republic will be a “new” press, even though they’re quite older than a number of presses on this list, but they are absolutely one you should check out.

Iraq + 100: Stories from Another IraqComma Press

This book is totally, gloriously insane: it’s an anthology of speculative fiction that asked a bunch of Iraqi authors to imagine what their country would look like in 100 years. Like a lot of Comma Press books, it has a definitely political angle, and it mixes up a bunch of genres that you would at first glance think might not go together, but it’s also just completely refreshing, novel fiction that I can’t imagine any other press would have come up with. That to me is Comma Press, a press that consummately does its own thing and somehow ends up finding amazing literature in there.

Not Blessed by Harold Abramowitz — Les Figues Press

This is such a weird, uncategorizable little fiction, maybe what you’d call a “poet’s novel.” It’s the kind of beautiful little, entirely unforeseeable book that I’ve come to expect from Les Figues, whose catalog I always expect to provide me with the unexpected. There’s not a whole lot I can say to try and summarize this publisher other than “dive in and take a look!”

Hacker, Hoaxer, Whistleblower, Spy: The Many Faces of Anonymous by Gabriella ColemanVerso Books

I guess now that we’ve had the whole 2016 election and Wikileaks has become something along the lines of a lesser Breitbart, the whole idea of Anonymous somehow seems much more quaint than it did 12 months ago. But still I think this book has aged pretty well and tells you a lot about the world in which we live. And it’s also an extraordinarily fun read—what can I say, I really loved this book, and I learned a lot from it. A lot of Verso’s list can be heavy on the theory and fairly tough going for the non-theory-inclined, but also a lot of the list is pretty general-reader-friendly and pretty up-to-the-minute, this book included. Oh, and I’ve got to give a shot to my friend Juliet Jacques’ excellent transition memoir (and so much more) Trans.

Letters to Memory by Karen Tei YamashitaCoffee House Press

This is one of those books that’s so damn good, and also incredibly essential right now, but a book that I fear is getting lost in the fall publishing cycle, which is always severely impacted and incredibly full of “must-read” titles. Anyway, definitely check it out, and also check out Coffee House, which for over 30 years now has been finding and cultivating necessary talent like Yamashita and bringing it to the book-loving world. Somewhat like Graywolf, they seem to have hit a particular stride of late with authors like Valeria Luiselli who have gotten a major amount of attention. This is of course a wonderful thing, but the top-level successes should not keep you from digging in to the deeper recesses of their catalog, which is great all the way through and is full of a lot of things you really should read.

Dreams and Stones by Magdalena Tulli (tr. Bill Johnston) — Archipelago Books

Archipelago Books has of course attained notoriety for bringing the English-speaking world Karl Ove Knausgaard, which is a major achievement that everyone should recognize, but I like to them of them as the home of authors like Magdalena Tulli, writers who are doing truly out-there, crazy stuff but who are almost mathematically proven to never get the attention they deserve. Tulli is sometimes compared to Calvino, and if that comparison (whatever its actual merits) does anything at all to get you piqued, do check her out, and see what else Archipelago has to offer—they’ve done an amazing diversity of things in their 15+ years.

Torpor by Chris Kraus — Semiotext(e)

This is kind of an “obvious” one, now that Chris Kraus has gotten to the point of having tons of media attention and an Amazon series made out of her book I Love Dick, but all that success should obscure the fact that for a long, long time she was laboring as a largely unknown, underappreciated author—as well as an unknown, underappreciated publisher, as part of the team at Semiotext(e). if you’re someone who digs French theory, or feminist authors like Chris Kraus, you owe a big debt to the press, possibly without realizing it. They are the leading edge of a lot of this kind of writing in America, and even though much of their aesthetics have now become mainstream, they’re still doing leading-edge work that you should check out. And let me also toss in a recommendation for my first-ever Semiotext(e) title, bound direct from the Small Press Distribution warehouse many years ago, The Ecstasy of Communication by Jean Baudrillard.

Trace by Laurent SavoyCounterpoint Press

Counterpoint Press does things like The Guy Davenport Reader—books that are of immense value to the culture but that are just never going to be sexy in that Buzzfeed listicle kind of way. On the Buzzfeed listicle scale of sexiness, Trace probably ranks higher than The Guy Davenport Reader, but not nearly as high as it should. If an author like Rebecca Solnit is your dream-read, then please do yourself a favor and check out this book now.

Little Island Press

Little Island Press is new, so new that I can’t really pick a single book to recommend to you. But I trust that they’re doing good things and will continue to do great things, and I think they’re worthy of your support.

Civil Coping Mechanisms

This is one of my publishers, and I’m friends with a number of their authors, so I’m a little hesitant to go too hard for them lest it look like a conflict of interest, but they are really good books (in my obviously biased opinion) and you should give them a look. If you need a point of entry, try my friend Janice Lee’s The Sky Isn’t Blue.

NYRB Classics and New Directions Publishing

I can’t believe that anyone who regularly visits this site doesn’t know and love these presses. These catalogs are just so deep, and so ever-growing with incredible stuff, that it’s really hard to recommend just one thing. So I dunno, go read Bakkhai by Anne Carson, or Marina Tsvetaeva’s diaries (seriously? who even comes up with these things?), or Inger Christensen, or Silvina Ocampo.

AnimalInside by László Krasznahorkaithe Cahiers Series

The Cahiers is a series of little chapbook-like pamphlets from many of the best writers on Earth. i seriously mean that—the likes of László Krasznahorkai, Javier Marías, Lydia Davis, and Anne Carson have authored Cahiers, not to mention so many others. They tend to have a distinct translation and art angle to them, and each one is beautifully produced—an incredible item to have an hold. I’m choosing Krasznahorkai’s AnimalInside because it was my first, and because its combination of an extraordinary text and absolutely beautiful art, working in sync, is what the Cahiers are all about. And also because this little item did so much for Krasznahorkai’s reputation in the English-speaking world, showing just what kind of an effect the right work can have.

The Diaries of Emilio Renzi by Ricardo Piglia — Restless Books

This is an incredibly major book (the first of a trilogy covering Piglia’s whole life) by one of the great Latin American talents of the 20th century. A testament to publisher Ilan Stavans and the rest of the Restless team for making it happen. And they have so many other great books in translation.

Other presses to check out: This list is getting rather lengthy, but there’s still so much more to say. So in lieu of listing any more books and descriptions, I’m just going to point you toward these places, many of which you can find more information about elsewhere on this website. Give them all a try: Tilted Axis Press, And Other Stories Publishing, Transit Books, Dalkey Archive Press, Timeless, Infinite Light, Other Press, Melville House Books, Seagull Books, Tin House Books

Good Things Upcoming

It’s been a rather busy couple of months, hence the relative lack of new material on this website. But that will soon change! I’m working on a couple of translator interviews, plus a few other odds and ends, all of which will be appearing here shortly.

In the meantime, you may enjoy my latest at Literary Hub, where I wrote on the stunning new translation of Virgil’s Aeneid by poet David Ferry—a book that is an absolute must at least once in your lifetime (and hopefully more than once).

I’ve also put together a profile at Patreon, if you’d like to support this site with a small monthly donation. There are ebooks and other pieces of upcoming writing to be had at the $3/month level.

15 Movies I Wish I Could Have Included in The Doubles

As I’ve been doing events and interviews for The Doubles, and just having conversations about it, one question that seems to keep coming up is “what films didn’t make it into The Doubles?” So I thought I’d do a quick list of a bunch of really major films for me that I wish had been in the book but just didn’t make it for one reason or another.

Many of these 15 movies were at one point under consideration for The Doubles, and some of them are just things I love that were never going to work for the project.

These are all films that I absolutely recommend and that you should go out and see immediately.

Close-Up by Abbas Kiarostami. If you’ve read my essay “The Last Redoubt,” you know exactly how much this film has meant to me—just about as much as any film can. And, in fact, “The Last Redoubt” was originally going to be an essay for The Doubles. In my interview at Vol. 1 Brooklyn, I explained about how it ended up in The Surrender:

Well for one thing, it’s insightful that you mention The Surrender, because the middle essay in that triptych—which revolves around Abbas Kiarostami’s Close-Up—was originally to be a part of The Doubles. It was only subsequently that I realized that The Surrender would be written and that this essay would be a part of that book. So these The Doubles and The Surrender are very connected, even though there are big differences in the subject matter of each.

Ultimately, I liked the way that these two books ended up being connected and the theme of cinema that runs through each.

Le plaisir by Max Ophüls. Le plaisir is one of the best movies I’ve ever seen on the nature of love and all its attendant emotions (romance, heartbreak, longing, nostalgia, etc). It’s visually stunning, and just perfect. On top of all that, I also have a really strong story to go along with my screening of this movie. It ranks up alongside Close-Up in terms of being “the right movie at the right time” for me. But it just didn’t happen, in part because I’m not sure I’m ready to tell that particular story yet. But it is great, as is much of Ophüls. Go see it!

Certified Copy by Abbas Kiarostami. It’s really hard to pick whether I prefer Close-Up or Certified Copy—both are extraordinary films, and they each excel in their own way. Certified Copy is very much about language and translations—core themes to my work—and the movie feels incredibly close to the novels of Manuel Puig, a major influence on my writing (particularly The Doubles.) So to not have it in the book was not an easy choice, but it was one I ended up having to make. Possibly Kiarostami is the biggest omission in there.

At Berkeley by Frederick Wiseman. I can more or less tell you exactly why this film isn’t in The Doubles: 4 hours. It’s 4 hours long. It’s one of the most compelling long movies I’ve ever seen—this is definitely the best Wiseman I’ve ever seen, and likely one of his top films overall. But it would have killed me to re-tell this movie—not only for the length of it, but to figure out how to reproduce its rhythms and the depth of its conversations in the format of my book.

Vagabond by Agnes Varda. Varda is another huge omission. This is the first of her films I saw, and I still may like it the best. The mood of this film is incredible, and the storytelling is so taut.

F Is for Fake by Orson Welles. I’ll again quote from my Vol. 1 Brooklyn interview:

Earlier this year I watched for the very first time Orson Welles’s last film, the rather extraordinary F Is for Fake. This movie is generally categorized as a documentary, although such a term is hardly suitable for a movie that has such a tortured and halls-of-mirrors-like relationship with anything in the vicinity of the “truth.” It begins with a magic trick, and the rest of the film is constant cinematic sleight of hand, Welles screaming “look over there!” then manipulating something just out of your field of view, thrusting you from one situation to another, telling you to pay attention to this detail, only to then give the impression it is a red herring, or an outright lie, and then, 15 minutes later, telling you it is God’s own truth. I think I would need to watch it a dozen times just to sort it all out, and even then one could never really be sure. The film would be a distinct challenge to re-tell, and it offers so many points of entry for thinking about the nature of truth, as well as the original versus the fake, for a world in which our relationship with reality and truth is growing stranger by the day.

Summer by Éric Rohmer. Sometimes also known as The Green Ray, this is possibly my favorite Rohmer film of all. It is an extraordinary character portrait of a normal middle-class Frenchwoman on her summer vacation; her depths are beyond 99% of film. And it’s just a very strikingly shot, beautiful, romantic movie.

The Sunset Trilogy by Richard Linklater. I saw these too late for them to get into The Doubles (and Linklater is already represented by Boyhood), but they really are exquisite. the third in the trilogy feels almost like Linklater trying on the style of Kiarostami (and finding it a rather good fit), and the first two capture that feeling of young love while also managing to fit in so much else of the world. These movies will just make you feel good.

Woman in the Dunes by Hideo Teshigahara and Kobo Abe. This was such a powerful film when I first saw it; it’s filmmaking that makes you re-evaluate everything and think hard about who you are and what the hell you’re doing. Fortunately though I didn’t get to include this in The Doubles, I did get to write about the collaborations between Teshigahara and Abe for the next issue of The Scofield.

Thirty Two Short Films About Glenn Gould by François Girard. I saw this so long ago (I think it was around 2002), back then the Fine Arts Cinema still existed in Berkeley and when I knew so much less about everything. It would have been a remarkable film to revisit.

Kingdom by Lars von Trier. Not so much a movie as a miniseries, this would have been ludicrous to attempt with the method I employ in The Doubles, and anyway von Trier is already represented by The Five Obstructions. But I am convinced this is the greatest thing von Trier has ever done. If you think Twin Peaks is the best TV can be, watch this.

The Clock by Christian Marclay. This had to be disqualified because it’s currently only viewable in museum settings, and because I’ve only seen about 3 hours of it, but those three hours were unlike any other cinematic experience I’ve ever had. This “movie” is 24 hours long, and it changes virtually ever minute, so it would have been insane to retell, but it also would have been something wonderful to attempt. I do hope I get to one day watch this in full, preferably in a 24-hour viewing session.

The Long Goodbye by Robert Altman. I just can’t get enough of Elliott Gould mumbling his way through this movie as a down-on-his-luck Sam Spade. As far as I’m concerned, this is the definitive Los Angeles movie, and it’s also an incredibly enjoyable deconstruction/endpoint of the noir genre.

Last Year at Marienbad by Alain Resnais and Alain Robbe-Grillet. This is what it’s like to be inside of memory—it’s a movie from the perspective of being within memory. In addition to this just being a great film, I also happened to see it at a very important juncture in my life. I had just been living in Argentina, where I had discovered Adolfo Bioy Casares (whose novel the Invention of Morel was the inspiration for this film), and now I was back home in the U.S. beginning to make my way back into the cultural scene of the Bay Area.

The Exterminating Angel by Luis Buñel. I’m sorry I wasn’t able to include any Buñel, particularly something as bizarre and open to interpretation as this absurdist, farcical film.

Listen to The Doubles Launch Events

Apologies for the relative lack of updates on the blog front throughout September. I’ve been traveling for The Doubles and work has been piling up. But I do have some audio from the launch events at Skylights Books in Los Angeles and City Lights in San Francisco for you to enjoy, if you so wish. My deep thanks to both bookstores for putting together really beautiful events and to my collaborators, Penny-Ante publisher Rebekah Weikel and novelist Micheline Marcom, who interviewed me in LA and SF, respectively.

Here’s the audio from Skylight:

And here’s the audio from City Lights:

Unfortunately, no audio was recorded from the New York City launch at Community Bookstore, where I was graciously interviewed by novelist Álvaro Enrigue, author of Sudden Death.

Quarterly Conversation Issue 49

We’ve just published Issue 49 of The Quarterly Conversation. Here are the contents:

Features


Louche Life: The Literary Crimes of Gary Indiana

Louche Life: The Literary Crimes of Gary Indiana

As the 24-hour news cycle exceeded Hollywood in narrative originality, the Menendez brothers became TV stars, O.J. got away with it, and California elected Arnold Schwarzenegger as its 38th governor (a friend who attended San Diego State University told me he voted Republican only so that his diploma would come adorned with the Terminator’s autograph). This Southern California—of Nathanael West’s The Day of the Locust, Irwin Shaw’s “The City Was in Total Darkness,” Kenneth Anger, Charles Bukowski, early Tom Waits, Bret Easton Ellis, David Lynch, Quentin Tarantino, and Kathy Acker’s death, of breast cancer, in a Tijuana clinic—is Gary Indiana’s Southern California, an oasis of junkies, con artists, prostitutes, and thieves sipping afternoon cocktails in hotel bars. As Jean Baudrillard wrote about one of its many symbols in 1981, “Disneyland is presented as imaginary in order to make us believe that the rest is real, whereas all of Los Angeles and the America that surrounds it are no longer real, but belong to the hyperreal order and to the order of simulation.” For every Marilyn Monroe, there are more than a few Norma Jeanes who never made it onto the lot, while others imitate the real thing in Las Vegas and West Hollywood––and then, Indiana reminds us, there’s Marilyn herself. Los Angeles is the city of Skid Row, but it’s also Kim Kardashian’s hometown.


Three by Krasznahorkai

Three by Krasznahorkai

In the nearly twenty years since László Krasznahorkai’s The Melancholy of Resistance first appeared in translation, his reputation in English has grown at the same gradual, inexorable pace that his books favor. Nearly all his novels of lonely visionaries and glimpsed apocalypses have made it by now into English, and later this year New Directions will substantially fill out the short fiction with a large collection titled The World Goes On. In the meantime, we have last year’s smaller volume; Herman/The Last Wolf picks out three pieces from Krasznahorkai’s short work, two early and one late, and joins them up in an inverted tête-bêche binding. Additionally, The Manhattan Project is a broad, slim volume co-credited to Krasznahorkai and the photographer Ornan Rotem and constructed as “a literary diary presented as twelve chance encounters or coincidences.”


Following The Peregrine

Following The Peregrine

Baker dedicates to this land an imagination that is foil and febrile kin to Wordsworth’s genius. His prose has a sheer disorienting power: the words of a place raised out of time yet shaped through historical time. The uncertainty of wildness is at its center, bound to a persistent human namelessness that hangs on the fringes: “As so often on spring evenings, no birds sing near me, while all the distant trees and bushes ring with song. Like all human beings, I seem to walk within a hoop of red-hot iron, a hundred yards across, that sears away all life. When I stand still, it cools, and slowly disappears.” Such prose slips the read


Herrera’s Trilogy-of-Sorts

Herrera’s Trilogy-of-Sorts

In the often-staid world of literary translation, it is rare to come across the true shock of something new—sentences like “a few houses had already been sent packing to the underworld, along with a soccer pitch and half an empty school” or “Three Times Blonde’s pants rode her all over.” Sentences that let their readers into a strange new view of the world. But this is what Yuri Herrera has taught us to expect in his books, and with the publication of Kingdom Cons, his trilogy-of-sorts is brought to a close at the very moment that it brings language itself into question.


“How It Came to Me to Say” Gordon Lish

“How It Came to Me to Say” Gordon Lish

If, as Jonathan Sturgeon has suggested, we have entered an era dominated by “autofiction,” in which “the life of the author is now the novel’s organizing principle” (“2014: The Death of the Postmodern Novel and the Rise of Autofiction”), then in the search for progenitors of this literary phenomenon we might consider the fiction of Gordon Lish. Indeed, a common reaction to Lish’s books, at least since Peru (which may be his last work of fiction to predominantly feature a main character who can, to some degree at least, be separated from “Gordon Lish”) is to question whether Lish is writing fiction at all rather than some sort of free-form (some would say self-indulgent) autobiography. However, the wary reader would be just as mistaken to trust Lish’s writing to provide reliable accounts of the author’s actual experiences as to expect his “stories” to bear much resemblance to the traditional well-made short story.



Interview

The Rodrigo Hasbún Interview

The Rodrigo Hasbún Interview


Kafka definitely is the best example of the writer as the permanent apprentice, to the degree that he often gives the impression of being unable to finish the texts he begins. His diary is a laboratory where we can see evidence of investigations that, after twenty years of writing, shouldn’t still be going but that he, miraculously, pursues until the very end. His is an almost childish approach to writing, and this I like, because maybe it’s in the beginning of a writer’s life where writing feels most necessary and truthful. With Bolaño I have a similar sense. I see a continual brilliance to his writing: for him literature is also like a fascinating game. This game doesn’t fail to amaze Kafka, but it preoccupies and torments him to not understand how it works. By contrast, it only brings Bolaño happiness. Reading him, one sees how much he enjoyed writing. It’s even possible to hear him dying of laughter between certain lines.



In Translation

From The Diaries of Emilio Renzi by Ricardo Piglia

From The Diaries of Emilio Renzi by Ricardo Piglia

The government’s intelligence services monitored him for months, censored his correspondence, controlled his visitors, and once in a while a nocturnal voice would threaten him over the phone. He would not treat it as a threat; in fact, he kept up a philosophical and theoretical conversation on the meaning of civil duty and moral responsibility with those deceitful voices. Those men were the new intellectuals, the thinkers of the future; any Argentine knows that a mark will be placed on his life if he dissents, which may be invoked at some future moment to track down and incarcerate him. The services had turned into the political version of the Oracle of Delphi; they decided in secret the fate of entire populations. Now they are the witches from Macbeth who control the power! They suppress everything that can threaten mediocre and average life; they attack diversity in all of its aspects, control it and surveil it, write our biographies. Conformism is the new religion, and they are its priests. He had reached a point at which he argued directly with the state, with the spokesmen for the state’s intelligence. Smash and grab exchanges in the depths of night; the voices came and went, through wireless circuits. They hounded him, cornered him, wanted to turn him into an intellectual outlaw. They know that I know; they want to destroy my thought.



Reviews

The Invented Part by Rodrigo Fresán

The Invented Part by Rodrigo Fresán


Having read The Invented Part, it is not surprising that Fresán is often mentioned in the same breath as Bolaño and Cortázar; Bolaño because he is widely considered to be the Chilean’s heir, a folly that I will not elaborate on here, and because Fresán was also a close friend of his; and Cortázar because, as I stated above, The Invented Part is, rightly or wrongly, compared frequently to Cortázar’s magnum opus, Hopscotch; but more importantly because, like Bolaño’s and Cortázar’s translated works, The Invented Part is a welcome addition to the canon of translated Latin American literature.


Belladonna by Daša Drndić

Belladonna by Daša Drndić


For a reader not versed in the politics and history of Croatia, Yugoslavia, and, more generally, Europe, Belladonna can be a challenging novel. It is also enlightening and beautiful, sophisticated and tragic, haunting and stirring, not to mention a seamless blend of fact and fiction. It’s an angry book, at rage with nationalism and blind fanaticism, as well as the stifling mediocrity that can be academia. And it’s a heartbreaking meditation on aging and its many ills. Lest I forget to also mention, it is one of the most rewarding books I’ve read in years. The work that Daša Drndić asks of her readers does not come from the prose, which is razor-sharp, biting, and often hysterical in its outrage. The challenge lies in the constant shifts of time, which can often displace the reader. But I implore you to hold fast, because Belladonna is worth it.


Down Below by Leonora Carrington

Down Below by Leonora Carrington


Before Leonora Carrington became a famed surrealist artist and writer, she went mad. In the late 1930s, the English debutante was living with her lover Max Ernst (more than 20 years her senior) in a farmhouse in Provence, when Ernst was imprisoned on a visit to Paris and sent to a concentration camp. As the German army advanced, Carrington fled across the Pyrenees into Spain, where, after exhibiting increasingly deranged behavior, she was interned in an insane asylum in Santander. Down Below is Carrington’s brief yet harrowing account of her journey to the other side of consciousness.


Let Us Watch Richard Wilbur: A Biographical Study by Robert Bagg and Mary Bagg

Let Us Watch Richard Wilbur: A Biographical Study by Robert Bagg and Mary Bagg


In 1947, Louise Bogan reviewed for The New Yorker a first collection of poems by a 26-year-old who less than two years earlier had been discharged from the U.S. Army after seeing combat in Italy, France, and Germany. Bogan praises his wit and technical facility, and says he surpasses his contemporaries in “range of imagination and depth of feeling.” He possesses the gift, Bogan says, of “fitting the poetic pattern to the material.” She concludes her review with a forward-looking endorsement, almost a prophecy: “Let us watch Richard Wilbur. He is composed of valid ingredients.” Robert and Mary Bagg have written the first biography of our greatest living poet, now age ninety-six, borrowing their title from Bogan’s prescient review of The Beautiful Changes, published seventy years ago.


Old Rendering Plant by Wolfgang Hilbig

Old Rendering Plant by Wolfgang Hilbig


Long after he escaped East Germany to settle in the West, where he continued to reside until his death in 2007, Wolfgang Hilbig remained bound to the darkened landscapes of the GDR. He was not one to downplay the bleak and oppressive qualities of life amid the abandoned mines and crumbling factories of his hometown, Meuselwitz, and his dense, swirling prose evokes a world of strange, suffocating beauty. But his emotional attachment to his birthplace and his complicated misgivings about the benefits of reunification, left him forever torn between East and West—a conflict captured clearly in the stories that comprise the second part of the collection The Sleep of the Righteous. By contrast, Old Rendering Plant, the latest Hilbig offering to be released in English, presents a narrative firmly planted in the GDR that does not travel far beyond the immediate environs of the narrator’s home; yet this tightly defined arena affords the perfect space for a multi-layered exploration of one man’s struggle to define himself against the restrictions and expectations imposed by family, class, history, and circumstance.


THE SURRENDER

The Surrender is Veronica Scott Esposito’s “collection of facts” concerning how she embraced her true gender.


LADY CHATTERLEY'S BROTHER

Two long essays of 10,000 words each on sex in—and out of—literature . . .

The first essay dives in to Nicholson Baker’s “sex trilogy,” explaining just what Baker is up to here and why these books ultimately fail to be as sexy as Baker might wish.

From there the book moves on to the second essay, which explains just why Spaniard Javier Marías does right what Baker does wrong . . .


THE LATIN AMERICAN MIXTAPE

5 essays. 2 interviews.

All in all, over 25,000 words of Latin American literary goodness.

3 never-before-published essays, including “The Digression”—a 4,000-word piece on the most important digression in César Aira’s career.

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