{"id":305186,"date":"2017-01-03T21:25:42","date_gmt":"2017-01-03T21:25:42","guid":{"rendered":"http:\/\/www.wdev.rochester.edu\/College\/translation\/threepercent-dev\/2017\/01\/03\/open-letter-in-2016\/"},"modified":"2018-04-16T14:57:21","modified_gmt":"2018-04-16T14:57:21","slug":"open-letter-in-2016","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/2017\/01\/03\/open-letter-in-2016\/","title":{"rendered":"Open Letter in 2016"},"content":{"rendered":"

Sure, the start of a new year is a good time to look to the future, make resolutions you’ll definitely break,<\/a> and all of that, but it’s also a nice moment to reflect on the past twelve months. Rather than include all the things that happened with Open Letter last year—from the success of our 2nd Annual Celebration to our $40,000 NEA<\/span> grant to the ninth Best Translated Book Awards to the continued growth of the Translation Database—I’m just going to recap our 2016 publications, in no particular order. <\/p>\n

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One of Us Is Sleeping<\/em> by Josefine Klougart,<\/a> translated from the Danish by Martin Aitken<\/b><\/p>\n

Klougart’s novel was the first to be included in Writers & Books’ “Read Local” program, featuring great books from local (re: Rochester, NY) publishing houses. She was able to come here as part of a tour that included stops in Chicago, NY, Dallas, Houston, Portland, and San Francisco. <\/p>\n

Here’s what Jeremy Garber from Powells had to say about her book:<\/p>\n

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The uncertainty, instability, doubt, regret, and longing that so often follow a failed relationship are richly and realistically conveyed. Klougart\u2019s narrator\u2019s emotional turmoil (punctuated, staccato) are quite nearly palpable and viscerally received. One of Us Is Sleeping, as much a series of thematically linked poetic offerings as a novel proper, is graceful and unforgettable. As Klougart\u2019s narrator strives for clarity, understanding, and consolation, she\u2019s left, as the rest of us undoubtedly are, to make sense of her own perceptions and boldly reassemble for herself the pieces of her shattered, shattering heart.<\/p>\n<\/blockquote>\n

Josefine has another work in translation coming out later this year, and just released this amazing object in her home country of Denmark:<\/p>\n

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Justine<\/em> by Iben Mondrup,<\/a> translated from the Danish by Kerri Pierce<\/b><\/p>\n

Sticking to Denmark, the recently release Justine<\/em> is the third book in our Danish Women Writers Series. It’s been getting a lot of good attention, and was even selected by The Rumpus for their Book Club.<\/a> As part of that, they ran an interview with Iben Mondrup and Kerri Pierce:<\/a><\/p>\n

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Brian Spears: Iben, I\u2019ve never read de Sade\u2019s Justine<\/em>, but am I correct in thinking there are some parallels between that and your novel? Or is that coincidence?<\/p>\n<\/blockquote>\n

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Iben Mondrup: If there\u2019s any comparison, it\u2019s all about opposites, the polar opposites of De Sade\u2019s Justine and mine. My Justine is sexual subject, she\u2019s the one who desires, whereas De Sade\u2019s Justine is an object of desire. She (my Justine), is aggressive, she\u2019s going for what she wants as opposed to De Sade\u2019s Justine, who is the target\u2014and eventually the victim\u2014of the desires of the world. She possesses no will.<\/p>\n<\/blockquote>\n

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Kerri Pierce: There\u2019s a funny story, actually, about the graphic on the cover. One of my favorite parts of the book, and one of the editor, Kaija\u2019s, favorite parts as well\u2014which I also think speaks to Justine\u2019s character\u2014is when a one-night stand asks Justine if she\u2019s a lesbian (and his tone is rather dismissive\/incredulous) and she responds: \u201cWolf.\u201d<\/p>\n<\/blockquote>\n

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Brian S: Kerri\u2014I loved that moment in the book. That was brilliant.<\/p>\n<\/blockquote>\n

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Iben Mondrup: Exactly, she sees herself as a predator. A wolf, a lone she-wolf.<\/p>\n<\/blockquote>\n

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Chronicle of the Murdered House<\/em> by L\u00facio Cardoso,<\/a> translated from the Portuguese by Margaret Jull Costa and Robin Patterson<\/b><\/p>\n

Chronologically, the second “modern classic” that we brought out this year, this is the one that’s getting the most buzz right now. An epic novel detailing the downfall of a Brazilian family through a series of confessions, letters, diary entries, and the like. Recently, The Onion<\/em>’s A.V. Club reviewed it, stating:<\/p>\n

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The social commentary might have been lost on audiences when it debuted, but not his genre bending. Cardoso\u2019s approach is as expansive as the lands on which his charmless bourgeoisie have lived for generations; he was a voracious reader with a preference for Gothic fiction and Russian lit, and those influences are on full display in Chronicle\u2019s framework and themes. From its mysterious opening\u2014which is actually the end of one character\u2019s story\u2014to the exploration of morality, the novel is a near-total manifestation of his talents.<\/p>\n<\/blockquote>\n

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Abahn Sabana David<\/em> by Marguerite Duras,<\/a> translated from the French by Kazim Ali<\/b><\/p>\n

The other “modern classic” I was alluding to, Abahn Sabana David<\/em> was one of the few Open Letter titles to make it into the New York Times<\/em> this year:<\/p>\n

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In this slim, raw political novel, Abahn the Jew and his double (also Abahn) spend a long night with Sabana and David, who have been sent to guard them by the Communist party boss Gringo. Fragmentary dialogue occurs about gas chambers, \u201cJew-dogs\u201d and the fact that Gringo is coming by to kill Abahn(s) as a traitor. Gunshots and howling hounds are heard. By the last page, Sabana and David have allied themselves with their captive(s) and claimed the identities of Jews, the \u201claughter of joy .\u2008.\u2008. covering their faces.\u201d<\/p>\n<\/blockquote>\n

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How to understand this text, available for the first time in English, in Kazim Ali\u2019s translation?<\/p>\n<\/blockquote>\n

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A Greater Music<\/em> by Bae Suah,<\/a> translated from the Korean by Deborah Smith<\/b><\/p>\n

At the start of 2016, I predicted this would be our huge breakout hit of the year. I was obviously wrong about that—at least according to sales, sheer number of reviews, random mentions on Internet lists—but I still stand by this novel as one of the best we’ve published. And after her next two translations come out—including The Owls’ Absence<\/em>, which we’re doing next fall—I think readers will start to cotton on. <\/p>\n

Of the reviews this did receive (so far), there are a number of really thoughtful, intelligent piece, such as this one from Tony’s Reading List:<\/a><\/p>\n

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With Bae Suah living in Germany, it\u2019s tempting to see parallels with her own life here, but A Greater Music is much more than a simple confessional piece. The shorter pieces that have appeared in English have been marked by beautiful writing, punctuated by spiky, aggressive outbursts against the strictures of modern society. Here, these themes and styles are extended over a much larger canvas; it\u2019s a fairly slow tale, at least initially, and the story is given space to breathe before coming to life in the second half.<\/p>\n<\/blockquote>\n

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Gesell Dome<\/em> by Guillermo Saccomanno,<\/a> translated from the Spanish by Andrea Labinger<\/b><\/p>\n

The first novel to be translated into English from the two-time winner of the Dashiell Hammett Prize, it just got a glowing review in the San Francisco Chronicle<\/em>:<\/a><\/p>\n

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Gesell Dome<\/em> is a bizarro Robert Altman film in book form: hundreds of characters and storylines that paint a portrait of a community, but with events far stranger than anything Altman created.
\nIf the novel has a central character, it\u2019s the Villa, which, like other cities in Argentina, accepted Nazi war criminals as residents after World War II. Now it is home to more than 50,000 people, many of whom drive around in 4×4s and harbor prejudices against \u201chalf-breeds\u201d and other foreigners.<\/p>\n<\/blockquote>\n

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These residents give Dante [local journalist] many stories to cover, including the scandal that opens the novel: Eleven kindergartners referred to as los abusaditos<\/em> are abused at Nuestra Se\u00f1oradel Mar, a religious school \u201cwhere the snobs send their progeny.\u201d Parents are rightfully horrified, but other residents don\u2019t want the media to cover the story for fear of the effect the news will have on tourism. <\/p>\n<\/blockquote>\n

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Party Headquarters<\/em> by Georgi Tenev,<\/a> translated from the Bulgarian by Angela Rodel<\/b><\/p>\n

Party Headquarters<\/em> is the sixth book we’ve published from Bulgaria. To put this in context, all other publishers did a combined total of seven over the past nine years. Here’s what “The Literary Review<\/em>”: had to say about it:<\/p>\n

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Clocking in at only 121 pages, Georgi Tenev\u2019s taut novel Party Headquarters<\/em> is at once a tragedy, a comedy, a love story and thriller, with echoes of A Clockwork Orange<\/em> and Apocalypse Now.<\/em> Translated from the Bulgarian by Angela Rodel, it tells the story of a man tasked with visiting his father-in-law, a former Communist party boss. The father-in-law then sends him on a mission to bring back a suitcase containing a million Euros suspected to be pilfered from the coffers of the Bulgarian Communist Party. The whole story is set against the backdrop of the meltdown of Chernobyl, and if the basic plot seems like the kind of high-octane premise that Hollywood would deliver, that makes sense: Tenev also writes for film and TV.<\/p>\n<\/blockquote>\n

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The Brother<\/em> by Rein Raud,<\/a> translated from the Estonian by Adam Cullen<\/b><\/p>\n

Sticking with our shorter books from 2016, I’ll turn to Estonia and Rein Raud, whose Brother<\/em> got an “A-” from Michael Orthofer:<\/a><\/p>\n

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The Brother doesn’t exactly ride into town on a white horse, and he isn’t simply all swagger, but the resemblance to the Sergio Leone-spaghetti Westerns (especially the ones with Clint Eastwood) that author Raud admits inspired him is striking. The story is almost all atmosphere and style (showing also Raud’s other big inspiration, the writing of Mr. Gwyn<\/em> (etc.)-author Alessandro Baricco), and one can almost hear the (Western movie score) background music. <\/p>\n<\/blockquote>\n

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The relatively short chapters — each at most a few pages — are rich but stark, the essentials — of mood and incident — sketched but not belabored. Much is masterfully understated, but the full ramifications easily expand off the page for the reader. The book is short, and quite event-filled, but there’s an agreeable languor to it all too; nothing is rushed. <\/p>\n<\/blockquote>\n

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Bardo or Not Bardo<\/em> by Antoine Volodine,<\/a> translated from the French by J. T. Mahany<\/b><\/p>\n

Volodine has been gaining steam over the past few months, and the combination of this piece from The Nation<\/em><\/a> with the forthcoming release of Radiant Terminus<\/em> may finally push him over the edge. (I just received a wonderful email from Unabridged Books in Chicago about Volodine that really cheered my bitter soul.) As evident his New Inquiry<\/em> piece (currently unavailable?), Volodine’s world is complex and greatly rewarding. It can also be a bit daunting to enter, but of the three titles Open Letter has done\/will do, I think Bardo<\/em> is the best place to start. From Ben Ehrenreich:<\/p>\n

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This year, Open Letter published Bardo or Not Bardo (2004) in a translation by J.T. Mahany, who also translated Post-Exoticism in 10 Lessons, Lesson 11. It goes without saying that it is a very odd book. [. . .] But Bardo or Not Bardo has its rewards. For all its darkness, it is extremely and blessedly silly. [. . .] Yes, it\u2019s all very strange, but in Volodine\u2019s world, that hardly counts as a complaint.<\/p>\n<\/blockquote>\n

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The Clouds<\/em> by Juan Jos\u00e9 Saer,<\/a> translated from the Spanish by Hilary Vaughn Dobel<\/b><\/p>\n

This is our fifth Saer book—with more in the works—and was included on NPR<\/span>’s list of Five of the Year’s Best Books in Translation:<\/a><\/p>\n

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This imaginative novel traces the journey of Dr. Real and his mentor as they work treating patients at an insane asylum in Argentina. Saer’s prose, while often likened to Proust, carries a beautiful quality that is also uniquely his. Page after page, The Clouds<\/em> is a poem to be savored.
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Overall, that’s a solid list. I hope you found a few books from us that you read and enjoyed last year. And stay tuned—2017 includes some insanely good titles, starting with books from Antoine Volodine, Can Xue, Rodrigo Fresan, Iceland’s James Joyce, and more . . . <\/p>\n","protected":false},"excerpt":{"rendered":"

Sure, the start of a new year is a good time to look to the future, make resolutions you’ll definitely break, and all of that, but it’s also a nice moment to reflect on the past twelve months. Rather than include all the things that happened with Open Letter last year—from the success of our […]<\/p>\n","protected":false},"author":292,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[67486],"tags":[49366,61666,14216,62866,55666,62556,13476,64826,2126,28166,64746,1646],"class_list":["post-305186","post","type-post","status-publish","format-standard","hentry","category-articles","tag-antoine-volodine","tag-bae-suah","tag-georgi-tenev","tag-guillermo-saccomanno","tag-iben-mondrup","tag-josefine-klougart","tag-juan-jose-saer","tag-lucio-cardoso","tag-marguerite-duras","tag-open-letter-books","tag-rein-raud","tag-review"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/305186","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/users\/292"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/comments?post=305186"}],"version-history":[{"count":1,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/305186\/revisions"}],"predecessor-version":[{"id":315706,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/305186\/revisions\/315706"}],"wp:attachment":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/media?parent=305186"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/categories?post=305186"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/tags?post=305186"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}