Translation Issue of The White Review

Daniel Medin has once again edited a fantastic translation-themed issue of The White Review. You can find the full table of contents here. I’ve got a rundown of some of the highlights below, but before I get to that, thought I’d mention that Daniel and I are collaborating on a little something set to hit later this year. Details forthcoming.

Galina Rymbu: a remarkable young Russian poet (check Music & Literature for a feature on her own the line). “Sex Is a Desert” is an outstanding poem.

Liliana Colanzi: a Bolivian writer who is likely to attract some serious attention over the next couple years. Dalkey will be publishing a collection of her stories this year.

Li Er: Like Can Xue, this author takes Chinese fiction to new places.

Monika Rinck: Along with Uljana Wolf, a very interesting younger poet working in German.

Wioletta Greg: Part of a novella (the title is literally “Unripened Fruit”) that Portobello will be publishing down the line.

Esther Kinsky: She generated a reputation for stunning translations, and now she’s rising as a writer. Fitzcarraldo will publish her By the River in 2017.

Nir Baram: Reputedly “the Israeli Musil.”

Wolfgang Hildesheimer: a more or less forgotten genius, whose extraordinary biography of Mozart made waves when it was published. Hildesheimer knew everyone, read everything, translated Djuna Barnes’s Nightwood. 2016’s his centennial year.

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


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 . . .


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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