“Some said it was karma, the industry had grown at an extraordinary upturn in the era of C.D.s – selling their clients their whole discography on a medium that cost half the price to make and was sold for twice the price in shops . . . with no real benefit to music fans, since no one had ever complained about vinyl records . . .” Age twenty, Vernon Subutex started work as an assistant at the record shop Revolver, and took over when the owner moved to Australia. File sharing on the internet thanks to the likes of Napster and Limewire heralded the beginning of the end of the party. In 2006 he shut up shop.
Live for today, who cares about tomorrow?
Easy-going Vernon had drifted through Parisian night life, lost in music and high on sex and drugs, oblivious to time passing and how people change. “He didn’t do monogamy . . . Vernon understands women, he has made an extensive study of them. The city is full of lost souls ready to do his cleaning and get down on all fours to lavish him with lingering blow jobs designed to cheer him up.” Continue reading Review | Virginie Despentes, Vernon Subutex 1 | Maclehose Press
Tell us a little bit about yourself.
I was born in Sligo, Ireland and while I was a good student, and a precociously gifted musician, I did very little to maximize my talents. I went to Trinity College Dublin to study English and Philosophy, but as a young gay man just coming out (in a conservative, deeply Catholic country), I feel in love, slipped off the radar and left university without finishing my degree. It was the end of my first real relationship that prompted me to move to Paris (to a country and a city I have never visited, with rudimentary secondary-school French that I had never been called on to speak aloud). From there, a series of curious but fortunate accidents led to me translating bandes dessinées, working as a publishers’ reader and finally, in 1998, embarking on my first literary translation. So, while I am passionate about languages, and cannot imagine anything more fulfilling than literary translation, I can hardly claim that I had a career path, or worked towards it. In fact, it never occurred to me that I would be “allowed” to translate novels, assuming vaguely that such herculean feats were reserved for some rarefied species.
When you were growing up, what books had an impact on you?
From a very early age, I was a voracious reader – not that our house was filled with books or my parents were particularly bookish, but I haunted the local library and read anything and everything I could lay hands on. My early reading tastes were probably no different to any boy of my generation: C.S. Lewis, Emil and the Detectives, Richmal Crompton and later Tolkien, Philip K. Dick, Robert Heinlein and A.E. Van Vogt. By my teens, I was reading Joyce and Woolf and Dostoevsky (I was idiotically precocious, and my reading of them was through a glass darkly) and marvelling at what words could do, how they could create worlds, affect moods, inspire thoughts, mould dreams. I was determined to be a writer. I wrote my first (truly awful) novel at about fourteen, my second (modernist, sub-Salinger) novel at about sixteen. Thankfully, neither has survived to embarrass me. Books, for me were both a world, and an escape from the world.
Continue reading Interview | Frank Wynne | Translator of the Week
“Translation does not simply jump from one language to another. It also ‘crosses’ languages in the sense of blending them, as you might cross a bulldog with a borzoi, or two varieties of rose . . . Translation can cross languages that have much in common – for example, English and French – and language that are very distant – like English and Malay; it can span languages that share the same script system (Japanese and Korean) and those that don’t (Japanese and Arabic or German); it can go between dialects (or between a dialect and a language) or between different words of the same language . . . Translation can be done by one person, or several, or hundreds – or by machine. It can be a matter of life or death, as in a war zone; or an ordinary part of everyday existence in a multilingual community.” Matthew Reynolds, Translation: A Very Short Introduction
In short, language-learning and translation skills are vital in our global era. Ever more so for Brexit Britain: as links are severed with Europe, forging new links with faraway foreign countries will become crucial. How ironic that the prevailing mood is so bulldog British, with foreign language learning on a downward slide, and languages no longer being part of the core curriculum for 14 to 16-year-olds. To expect everyone else to speak English, the lingua franca spoken across the world, and no longer be embarrassed by being monolingual, is a deeply arrogant and short-sighted attitude. Language is the means by which one accesses a culture, and is the expression of a culture.
There are oases of hope. Thank goodness for those universities which run language courses and postgraduate degrees in translation – Westminster, Roehampton, SOAS, UCL, UEA and Portsmouth among them.
Continue reading Spotlight | Oxford Translation Day at St Anne’s College
Britain is part of Europe – like it or not! Border controls do not function when it comes to words since ideas have no borders. Books in translation disseminating knowledge and cultural awareness matter more than ever as prejudice and discrimination make an unwelcome (re)appearance on the Western stage.
As part of the build up to France’s invitation of honour to the Frankfurt Book Fair in October 2017, a series of discussion panels – “triangular talks” – were held on Monday 13 March at the French Institute in London. Leading book editors from Germany, France and Britain met to discuss fiction, non fiction and what the future holds. Publishers, translators, agents and scouts packed out the library at the IFRU to hear them. Lucie Campos, Head of the French Book Office, chaired the discussions.
Continue reading Spotlight | Britain and Creative Europe: what do book editors want?
Jamie Bulloch is an historian, and has worked as a professional translator from German since 2001. His translations include books by Paulus Hochgatterer, Alissa Walser, Timur Vermes, Friedrich Christian Delius and Linda Stift. Jamie won the 2014 Schlegel-Tieck Prize for Best German Translation for Birgit Vanderbeke’s The Mussel Feast.
Tell us a little bit about yourself.
I’m forty-seven, married with three daughters and live in London, where I was born. Outside of books I love cooking, gardening and cricket.
When you were growing up, what books had an impact on you?
Like many children, I adored Roald Dahl’s work, and then came my first taste of translated fiction when I devoured the Asterix series. I read them over and over again. Later, when I went on a school exchange, I got the chance to read them in the original French. In my teens I was a big Stephen King fan.
Continue reading Interview | Jamie Bulloch | Translator of the Week
As subdivisions or departments of bigger publishers, imprints break up monolithic companies, give space to individual editors to stamp their list with a defining character and originality, and reassure authors that they are not disappearing into the corporate ether. The MacLehose Press is an independently-minded imprint of Quercus Books, founded by Christopher MacLehose and publishing the very best, often prize-winning, literature from around the world; mainly in translation but with a few outstanding exceptions as English language originals.
“La vie est belle, le destin s’en écarte
Personne ne joue avec les mêmes cartes
Le berceau lève le voile, multiples sont les routes qu’il dévoile
Tant pis, on n’est pas nés sous la même étoile.”
IAM – Nés sous la même étoile [Born Under the Same Star]
Although a thriller, Arab Jazz is really about muddled identities, lives destroyed by religious extremism, and dysfunctional families coexisting in fragile racial harmony in impoverished neighbourhoods. The narrative travels between the ungentrified 19ième arrondissement of north-east Paris, home of the Charlie Hebdo and kosher supermarket killers, and Brooklyn, with its Sephardic and Hasidic synagogues and kosher diners. Karim Miské’s debut novel excellently translated by Sam Gordon is a good, very ‘real’ read.
Continue reading Review | Arab Jazz, Karim Miské | MacLehose Press
Tell us a little bit about yourself
It is hard to decide which little bit is worth telling! For the purposes of this questionnaire: I am a mother, a daughter, a sister, a wife, an American, a Democrat, a long term ex-pat living in Italy and London, and a former television drama producer turned author, editor and screenwriter.
When you were a child, what did you want to be when you grew up?
It changed throughout childhood: I am sure I wanted by turns to be an astronaut (which gives away my era), a ballet dancer (sadly without any talent for it) and an actress (ditto!) – but as time went on I decided the best job would be a librarian – imagine that, I told my mother, your whole day would just be books, books, books . . . what could be better? On my father’s recent death I found tucked away in his study a picture book I made for him as a child of eight or so, which ends with an author’s profile on the inside back cover, including a drawing of myself (big eyes, dark rimmed glasses, crazy hair) and the legend: “Eileen will be a famous writer when she grows up.” I guess I’m still coming of age. Continue reading Interview | Eileen Horne, author
It is rare for a single book let alone a translation to generate widespread excitement across the publishing industry. Joel Dicker’s thriller, The Truth About the Harry Quebert Affair, published in 2012 by 87-year-old veteran, Bernard de Fallois, became the most talked-about French novel of the decade. Christopher MacLehose, the publisher behind Stieg Larsson, made an offer a few weeks before the Frankfurt book fair − pre-empting a stampede of publishers bidding for the rights to translate the novel into 35 other languages. Novels by Norwegian author Karl Ove Knausgaard and Turkish Wunderkind, Orhan Pamuk − agented by Andrew ‘the Jackal’ Wylie − are likely to be hot properties at this year’s Frankfurt book fair. And Scandi-Crime continues to be hugely popular.
Translators and their publishers are a bridge between worlds . . . between writers abroad and readers at home. Judging by the throng of professionals attending International Translation Day 2015 held at the British Library − the waiting list to get in was long and many were turned away – translation continues to be The Next Big Thing & Getting Bigger, as it rises in popularity and visibility. The insularity of certain mainstream sectors of the book trade come across as increasingly old-skool elitist like politicians quaffing Dom Perignon in the Westminster bar.
Continue reading Spotlight | International Translation Day 2015, British Library
“Writing is a strange and solitary activity. There are dispiriting times when you start working on the first few pages of a novel. Every day, you have the feeling you are on the wrong track. This creates a strong urge to go back and follow a different path. It is important not to give in to this urge, but to keep going. It is a little like driving a car at night, in winter, on ice, with zero visibility. You have no choice, you cannot go into reverse, you must keep going forward while telling yourself that all will be well when the road becomes more stable and the fog lifts.” So spoke Patrick Modiano − for whom the fog has most certainly lifted − at the Swedish Academy, Stockholm, on 7 December 2014. He is the eleventh French writer to win the Nobel Prize for literature.
A refreshing antithesis to the self-promoting writer blasting forth at every opportunity, Modiano is a private man and remains aloof from the Parisian literati. There is a big difference between writing − intensely personal − and doing a turn in front of a live audience. Writers who feel that the words on the page are the point and everything else − including the web − is a distraction, could well be heartened by Modiano’s words, “A writer – well, a novelist at least – often has an uneasy relationship with speech. Calling to mind the way school lessons distinguish between the written and the oral, a novelist has more talent for written than oral assignments. He is accustomed to keeping quiet, and if he wants to imbibe an atmosphere, he must blend in with the crowd. He listens to conversations without appearing to, and if he steps in it is always in order to ask some discreet questions so as to improve his understanding of the women and men around him. His speech is hesitant because he is used to crossing out his words. It is true that after several redrafts, his style may be crystal clear. But when he takes the floor, he no longer has any means at his disposal to correct his stumbling speech.”
Continue reading Spotlight | Patrick Modiano: public novelist, private man