{"id":634222,"date":"2024-12-21T15:46:12","date_gmt":"2024-12-21T20:46:12","guid":{"rendered":"https:\/\/www.rochester.edu\/newscenter\/?p=634222"},"modified":"2024-12-22T08:09:48","modified_gmt":"2024-12-22T13:09:48","slug":"open-letter-2024-barrios-prize-national-book-critics-circle-634222","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/newscenter\/open-letter-2024-barrios-prize-national-book-critics-circle-634222\/","title":{"rendered":"Two Open Letter books nominated by National Book Critics Circle"},"content":{"rendered":"

Rochester\u2019s literary translation press edited and published two of the longlisted books for the organization<\/strong>\u2019<\/strong>s 2024 Barrios Book in Translation Prize.<\/strong><\/h2>\n
\"Black
Chad Post, publisher at Open Letter, the University\u2019s nonprofit, literary translation press. (Photo provided)<\/figcaption><\/figure>\n

Keep your fingers crossed: Two books, edited and published by Open Letter<\/strong><\/a>, the nonprofit, literary translation press at the\u00a0Ä¢¹½´«Ã½<\/strong><\/a>, have made it onto the longlist for the 2024 Barrios Book in Translation Prize<\/a>. The honor is awarded annually by the National Book Critics Circle<\/a>.<\/p>\n

Melvill<\/em><\/a>\u00a0(Open Letter, October 2024) by Rodrigo Fres\u00e1n<\/a>, a work of fiction translated from Spanish by Will Vanderhyden \u201913 (MA), and the nonfiction book Muzzle for Witches<\/em><\/a>\u00a0<\/em>(Open Letter, September 2024) by the late Dubravka Ugresic<\/a>, translated from Croatian by Ellen Elias-Bursa\u0107, both made in onto the so-called longlist, which comprises a select group of only 12 books. The winner will be announced around March 21 of next year.<\/p>\n

Chad Post<\/a>, who heads up\u00a0Open Letter, is pleased about snagging two nominations this year\u2014understandably so: The University\u2019s translation press, while small, boasts a surprisingly large number of winning books and authors, among them Nobel Prize winner Jon Fosse<\/a> (2023) and National Book Award\u2013winning translator Elisa Shua Dusapin<\/a>\u00a0(2021).<\/p>\n

A Rochester home for (most of) Ugresic\u2019s translated oeuvre <\/strong><\/h3>\n
\"Dubravka
Dubravka Ugresic at the 2011 National Book Critics Circle award ceremony. (Wikimedia Commons<\/a>)<\/figcaption><\/figure>\n

\u201cI published Dubravka first in 2003 with Thank You for Not Reading<\/em><\/a> at Dalkey,\u201d says Post, who also manages the editorial activities at\u00a0Dalkey Archive Press<\/strong><\/a>. Over the course of the next twenty years, the two\u2014author and publisher\u2014became good friends. Incidentally, her book Nobody\u2019s Home<\/em><\/a> was the first book<\/a>\u00a0Open Letter ever published.<\/p>\n

Subsequently, Open Letter became the home for all of Ugresic\u2019s works<\/a>\u2014past and future, except for three that are still under copyright with other presses. All told, Ugresic has penned more than a dozen books, including Karaoke Culture<\/em><\/a> (Open Letter, 2011), which was a finalist for the 2011 National Book Critics Circle Award for criticism<\/a>.<\/p>\n

Politics, of course, has a way of seeping into the lives of authors and their literature. In 1991, when war broke out in the former Yugoslavia, Ugresic took a firm anti-nationalistic stand for which she was vilified in the Croation press, proclaimed a \u201ctraitor,\u201d a \u201cpublic enemy,\u201d and a \u201cwitch.\u201d<\/a> As a result, she left Croatia in 1993 for the Netherlands, where she died in 2023, but not without using the experience for her latest book, published in translation posthumously.<\/p>\n

The careful reader may have noticed that the National Book Critics Circle\u2019s nomination announcement had two accents on Ugresic\u2019s name, spelling it Ugre\u0161i\u0107. Yet all her Open Letter covers<\/a> omit the accents.<\/p>\n

\u201cAs Dubravka said many times, \u2018I don\u2019t care how my name is pronounced and I don\u2019t want all those little guys scaring off readers,\u2019\u201d Post recalls the author\u2019s relaxed attitude vis-\u00e0-vis her name.<\/p>\n

Rochester-trained alumnus nabs translation nomination<\/strong><\/h3>\n
\"Close-up
Author Rodrigo Fres\u00e1n, whose translated works have all been published by Open Letter. (Wikimedia Commons<\/a>)<\/figcaption><\/figure>\n

The second nominated work, Melvill<\/em><\/a>, has not one but two<\/em> Rochester connections: Open Letter is its publisher and Vanderhyden, the translator, is an alumnus of the University\u2019s master of arts in literary translation program<\/a>.<\/p>\n

It\u2019s precisely the work of literary translators that render international literature accessible to a wider audience. When selecting a foreign author to be published in translation, several factors come into play, according to Post. Just as important as the literary quality of the work itself is the translator attached to a particular book or author.<\/p>\n

Post\u2019s work almost always has a personal dimension. He taught (budding translator) Vanderhyden in two of his classes at Rochester\u2014Introduction to Literary Publishing<\/a> and Translation and World Literature<\/a>. And while Post had met\u00a0Fres\u00e1n years ago, it was only when Vanderhyden promoted the author in one of his classes that Post started paying closer attention.<\/p>\n

Vanderhyde\u2019s interest in Fres\u00e1n\u00a0was serendipitous at first. Back in 2010, his brother had given him a copy of Kensington Gardens<\/em><\/a>, <\/em>Fres\u00e1n\u2019s only novel in English up\u00a0until that point. Vanderhyden loved the book and felt a strong\u00a0affinity for its\u00a0references and style\u2014a kind of synthesis of his own reading interests. The timing proved fortuitous, coinciding with his growing interest in translation.<\/p>\n

\"Will
Will Venderhyden \u201913 (MA), translator of Fres\u00e1n\u2019s works into English. \u201cI would never ask anyone else to translate Fres\u00e1n, and Rodrigo wouldn\u2019t have it any other way,\u201d says Post. (Photo provided)<\/figcaption><\/figure>\n

\u201cWhen I learned that none of his other books had been translated into English, I decided to take a stab at translating him myself,\u201d says Vanderhyden. A couple of years later, after earning his master\u2019s in literary translation studies at Rochester, he pitched his translation of The Bottom of the Sky<\/em><\/a> to Post, which would become the 100th title translated by Open Letter.<\/p>\n

Today the three of them are friends and Open Letter publishes now all of Fres\u00e1n\u2019s translated works<\/a>\u2014six to date.<\/p>\n

In fact, Vanderhyden and Fres\u00e1n have worked together on every one of his translated books. \u201cWe\u2019re all a team,\u201d says Post emphatically. \u201cI would never ask anyone else to translate Fres\u00e1n, and Rodrigo wouldn\u2019t have it any other way.\u201d<\/p>\n

In Melvill <\/em>(the author added the \u201ce\u201d later), Fres\u00e1n writes about American novelist Herman Melville (1819\u20131891), best known for his 1851 epic novel Moby-Dick<\/em><\/a>. Fres\u00e1n\u2019s approach is a work of fiction\u2014an invented biography, a gothic novel of sorts, populated by ghosts. Open Letter bills it as\u00a0\u201can evocation of a filial love,\u201d containing \u201call the talent, humor, and immense culture found in the other great works from one of Spanish literature\u2019s most ambitious writers.\u201d<\/p>\n

Open Letter\u2019s podcast Two Month Review<\/em> featured Vanderhyden chatting<\/a> about translating Fres\u00e1n\u2019s style. More episodes about the book can be found online at Three Percent<\/a>, a resource for international literature at the URochester.<\/p>\n

\u201cSussing out and recreating the underlying patterns\u201d that make a writer\u2019s style come alive in English are probably the biggest general challenges for a translator, according to Vanderhyden.<\/p>\n

When it comes to Fres\u00e1n, Vanderhyden is \u201cpretty familiar with his style\u201d and has a level of comfort and confidence with translating it. \u201cBut tracking down his incessant literary and pop culture references and recreating his ludic sensibility\u2014his sense of humor, his tireless wordplay\u2014in English are and will always be particularly challenging aspects of translating his work,\u201d Vanderhyden says.<\/p>\n

A challenge Venderhyden readily accepts\u2014and that the National Book Critics Circle clearly noticed. We\u2019ll know more come March. Until then, fingers crossed, tightly please.<\/p>\n","protected":false},"excerpt":{"rendered":"

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