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A tiny Indian publisher is translating hidden gems of world literature for global readers

(From Quartz India. Link to the complete article given below)

“It isn’t about size. Or the scale. It is about the choice. The instinct that allows you to take the risk to step outside the structures the world of corporate publishing has so magnificently set up. And publish books that in your opinion need to be read.”

The mission statement of Seagull Books says it all: This is not your usual Indian publisher.

Founded in 1982, the Kolkata-based company publishes everything from literary fiction and poetry to philosophy and even cultural anthropology. But these books aren’t what you’d find on the catalogues of publishing giants such as HarperCollins or Penguin Random House. At Seagull Books, the focus is on translated writing from around the world, much of which has never before appeared in English, in India or anywhere else.

“We publish anything and everything to do with what I like to call ‘the human condition,’” founder Naveen Kishore told Quartz. “It is in many ways a wish-list of books we want to publish. Not dictated by trends or the marketplace or target readers.”

And that’s a far cry from the norms in India’s publishing business, which is estimated to be worth $6.76 billion, according to Nielsen. Though the sector is poised to grow at a compounded annual rate of over 19% until 2020, far above the global rate, it is overwhelmingly dominated by educational books. As a result, the massive success of commercial fiction writers, such as Chetan Bhagat, has prompted most publishers to focus more on cookie-cutter stories that sell well. And in this quest for bestsellers, original and unconventional writing has been pushed to the sidelines.

Read more at the Quartz India link here

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The trouble with prizes and translation

(From Asymptote Journal. Link to the complete article given below)

If you love reading fiction by writers from around the globe, you are used to hearing about the big prizes that put international literature in the spotlight: the Nobel Prize for Literature, the Neustadt International Prize for Literature, the Man Booker International, the Caine Prize, the Prix Goncourt, the German Book Prize, the Cervantes Prize, the Tanazaki Prize, and many others.

In fact, you might even have trouble keeping up with the variety of United States–based awards just for literature in translation, from the Best Translated Book Award (now eleven years old) to the National Book Award’s new Translated Literature category. It’s getting to be like following the Olympics, without all the fuss over new stadium construction. For one thing, winning books, like medal-bedecked Olympians, don’t get to the podium all by themselves. Winners need a team (and a coach and money) behind them. For another, we know that lots of great contenders don’t make it to the final round.

So what should we know about book prizes as we are reading the shortlisted candidates or hoping for a win for one of our favorite writers?

First of all, many of the biggest prizes aren’t simply a competition among books. With the exception of those giving awards for lifetime achievement, prize committees aren’t out scouring the shelves for great literature, they’re reviewing submitted books. Publishers, usually from the country where the prize is awarded, submit those books. The publishers actually do the first round of selection simply by choosing the prizes they will submit for, and then selecting books they think have a chance of winning.

If that sounds easy, think of the small presses weighing the cost of their time for the submission process, maybe even paying a submission fee, and shipping off multiple free copies (often presses have to supply a bound copy for each member of the prize committee) year after year. They may even have to commit to attend the award ceremony at their own expense, just to watch another publisher’s submission win the prize. A look at the 2017 finalists for the National Book Award shows, for example, a book by the small independent Graywolf Press alongside those from much larger Scribner, an imprint of Simon & Schuster, Grand Central, a Hachette imprint, and Knopf Doubleday, itself a division of the international behemoth Penguin Random House. When you compare the financial and marketing resources these big publishers have behind them, it seems like a daunting David vs. Goliath competition for smaller presses to enter. Of course, it is worth all the trouble when you win.

Read more at this Asymptote Journal link


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The problem with literature in new Malaysia

(From ArtsEquator. Link to the complete article given below)

I have to be honest: we have a problem with our literature, and frankly, I do not have the solution. However, before we attempt to address the issue, it is essential that we openly acknowledge what the problem is. The hope is that, by being honest and self-reflective, we can, collectively, fix some of the problems afflicting our literary scene.

There are several issues, but I want to focus on two for the moment. I hope that soon, within the next five or ten years of the monumental change that the people of Malaysia made happen on 9 May 2018, we’ll overcome these problems. Otherwise, we may be forced to wait another 60 years to rectify the situation.

National Literature

The first problem? The dilemma presented by the notion of National Literature. Because Malay is the National Language, literature written in Malay occupies a special position as National Literature in Malaysia, in comparison to literature written in other languages. Yet, in our hearts, we know that good literature is good literature, regardless of the language it is written in. Why should there be a language criteria? Further, we repeatedly affirm that literary works are at their purest when expressed in the writer’s mother tongue.

And it is here that the friction arises, for our National Language is not the mother tongue for many of us. For those born and raised in ethnic Chinese or Indian families, it is possible that their language is Mandarin, or Cantonese, or Tamil, or Urdu; and that does not include our friends born and raised in Iban, Dayak, Melanau or Kadazan families. They each have their own mother tongues. We also have many writers who were born and raised writing in English, the one language that slips most comfortably off their tongues, that flows off their fingers. We should not condemn them.

Yes, Malay is a National Language, we read it in school and use it in our daily lives. However, literature is the sense of touch, thought, knowledge and culture. And if all of that stems from the non-Malay languages, then are the works written in these languages non-national?

Read more at this ArtsEquator link


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Authors from the Arab world: Translator recommendations

(From Publishing Perspectives. Link to the complete article given below)

At a recent seminar in New York City on Arabic literature in translation, several literary translators recommended Arabic authors they’d like to see published in English.

t last week’s Seminar on Arabic Literature in Translation, questions from the audience and discussions during the reception afterward revealed enthusiasm among the US publishers, agents, scouts, and others about getting to know Arabic authors and the literary scene in the Arab world.

The seminar was co-organized by the Frankfurt Book Fair New York, Publishing Perspectives, and the Sheikh Zayed Book Award.

“A lot of books that I’ve come to publish, I’ve heard about in a forum like this,” said John Siciliano, executive editor of Penguin Books and Penguin Classics, who was a speaker on the seminar’s panel discussion.

One audience member asked the panel to recommend Arabic authors to the publishers in the room, authors they felt should to be translated and published in English. Among the recommendations were several books that the translators have decided to start working on–even without an English-language publisher lined up yet.

To that end, we’ve put together a list of the books that were recommended by the panelists as well as some insights about publishing Arabic literature in translation.

Alex Elinson: Moroccan Authors

“I’m working on a book that I feel very strongly about,” said Alex Elinson, translator and associate professor Arabic at Hunter College. Elinson is in the process of translating Hot Maroc by Yassin Adnan into English.

The book was longlisted for the 2017 International Prize for Arabic Fiction (IPAF). It’s Adnan’s first novel, published by Dar al-Ain in Cairo.Adnan’s first novel, published by Dar al-Ain in Cairo.

Read more at this Publishing Perspectives link


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Abu Dhabi International Book Fair features 25 translations from French, English, and German

Running from April 25 through May 1, the 28th edition of the Abu Dhabi International Book Fair will host 1,350 exhibitors from 63 countries in 35,000 square meters of space at the emirate’s National Exhibition Center.

Held under the patronage of the United Arab Emirates’ Sheikh Mohamed bin Zayed Al Nayan, the fair this year is expected to showcase more than half a million titles in some 35 languages and more than 830 seminars, workshops and other events, some of them as part of a professional program for international industry players.

The Kalima Project for Translation, which is handled by the Abu Dhabi Tourism & Culture Authority, will present 25 new translations into Arabic from French, English, and German, while Poland will be featured as Country of Honor.

And at a news conference held this week at the Manarat Al Saadiyat, it was announced that visitors to the fair for the first time will be offered an electronic card they can use to charge purchases of books without needing to bring cash with them to the book fair.

And among those who were featured at the news conference, there were several in the leadership who spoke to the occasion.

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Selling rights into China: Interview with literary agent Jackie Huang

Established in 2002, Andrew Nurnberg Associates China is a go-to agency for a many looking to sell rights into the Chinese market. And on February 5 and 6, when Frankfurter Buchmesse stages its two-day Frankfurt Publishers Training Program at the Taipei International Book Exhibition, literary agent Jackie Huang will be a key speaker.

Focused on the rising rate of rights sales to Chinese publishing houses in the past few years, Huang’s talk is one of the most anticipated of the event, which is being led by Frankfurt international business development director Katharina Ewald.

In advance of her address, “Ways Into the Chinese Market,” Publishing Perspectives has had a chance to explore several issues and trends with Huang, who directs Andrew Nurnberg’s Beijing office. We open our exchange by asking about the scale of rights activity the agency is seeing now in its Chinese operations. And we have a chance to show you here some of the key titles the agency has sold recently.

Publishing Perspectives: Can you give us an idea of the pace of rights activity you’re seeing in the Beijing office today?

Jackie Huang: We mainly represent clients from Europe and North America, selling translation rights to Chinese publishers covering adult fiction, nonfiction, and children’s books.

On average, we’re selling rights to more than 1,000 titles per year.

Chinese editors generally have preferred buying rights in nonfiction, especially in history, psychology, popular culture and popular science, parenting, and self-help. But since last year, translated fiction has been having more and more rights attention from Chinese editors, especially for science fiction novels and inspiring coming-of-age stories.

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100 Great Indian Poems — Editor’s Note and 8 poems

EDITOR’S NOTE

–Abhay K

100 Great Indian Poems

On 10 December 1950, William Faulkner began his Nobel Prize acceptance speech with these words, “I feel that this award was not made to me as a man, but to my work – a life’s work in the agony and sweat of the human spirit, not for glory and least of all for profit…” As art transcends the artist, poetry transcends the poet. Faulkner further elaborated upon the importance of artwork over the artist in an interview with The Paris Review in 1956. Referring to the futility of conflict over the authorship of Shakespeare’s works, he contends, “…what is important is Hamlet and A Midsummer Night’s Dream, not who wrote them, but that somebody did. The artist is of no importance. Only what he creates is important.”

This is what I had in mind when I started editing 100 Great Indian Poems and its companion volume 100 More Great Indian Poems. The poetry anthologies I have come across have a clear emphasis on ‘the poets,’ illustrated in the titles such as Ten Twentieth Century Indian Poets, Twelve Modern Indian Poets, Nine Indian Women Poets or 60 Indian Poets. These My Words, edited by Eunice de Souza and Melanie Silgardo, which could be otherwise daunting and inaccessible to common people, may be an exception. These lines from De Souza’s poem ‘Meeting Poets’ are telling –

I am disconcerted sometimes
by the colour of their socks
the suspicion of a wig
the wasp in the voice
and an air, sometimes, of dankness.
Best to meet in poems:
cool speckled shells
in which one hears
a sad but distant sea

A general reader does not need to know which prizes a poet has won, how many books has s/he published or which festivals has s/he attended; the charm and force of an individual poem is sufficient to move the reader. Poetry survives the poets because of its timeless and intrinsic value. Therefore, I don’t understand the obsession of the 20th century anthologists of Indian poetry with the poets.

I was fascinated with Rashmirathi by Ramdhari Singh Dinkar while growing up as a child in Bihar. I chanced upon my father’s worn-out copy of this book at home when I was in class four. The magic that I had felt in the sound and energy of words in Rashmirathi stays with me till date. This Hindi epic tells the story of Karna, Krishna, Pandavas and Kauravas. It was my first lesson in literature as well as in politics and diplomacy. I memorised the third canto by heart as I often read it. I still do. I have unsuccessfully tried to translate this work into English. The magic of native words is lost in translation; and therefore, verses from Rashmirathi do not find a place in the anthology of great Indian poems. For the similar reason of untranslatability, several other great poems could not fit into this anthology.

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The political power of translation

Chenxin Jiang, in lithub, on bringing the stories of the Syrian refugees into English

When Angela Merkel opened Germany’s borders to refugees in August 2015, I happened to be spending the summer in Berlin. For days, I did little but watch the news and read about Syrian families and other refugees streaming into German train stations. A year later, I moved to Berlin, keen to do whatever I could in the volunteer effort to welcome refugees. I signed up for a knitting club for Germans and refugees—but as a novice, I was more trouble than help for the organizers. I made a desultory effort to learn Arabic from a Living Language book. Before long, I grew busier with archival work and books to translate, and my store of enthusiasm dwindled. There were tens of thousands of refugees in Berlin alone, so what could any one person do? It never occurred to me that my work as a literary translator—from Italian, among other languages, into English—might have anything to do with the political causes about which I cared so deeply.

Then I received an email from an editor: would I like to translate a book written by an Italian doctor running a clinic on the island of Lampedusa, on the frontline of the humanitarian effort to rescue refugees on the dangerous sea route to Europe? Before I’d even had time to read the whole book, I said yes. And when I did read Tears of Salt, I was even more excited by the prospect of translating it. Together with co-author Lidia Tilotta, the Lampedusan doctor Pietro Bartolo recounts the stories of the refugees he’s rescued: families separated and reunited, women pregnant from rape, tragic accidents at sea.

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When literature travels from one language to another

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Left to right: Rakhshanda Jalil (writer – Invisible City: The hidden Monuments of India), Urmila Pawar (Marathi writer), Radha Chakravarty (writer & translator), Nirupama Dutt (Journalist, writer & translator), Rashmi Menon (commissioning editor at Amaryllis Books)

By Aminah Sheikh

Translated literature is like perfume in a bottle. One often expects the perfume to retain its fragrance when poured into another bottle, but that isn’t possible given the nuances of the source literature – culture, period, emotions. Some essence is lost, while a new aroma is added.

“The word ‘translation’ comes, etymologically, from the Latin for ‘bearing across’. Having been borne across the world, we are translated men. It is normally supposed that something always gets lost in translation; I cling, obstinately to the notion that something can also be gained,” renowned writer Salman Rushdie describes in his work ‘Imaginary homelands: Essays and Criticism 1981-1991’.

This emotion echoed during a panel discussion ‘The Glory of Translation’ at the Kumaon Literary Festival. The session was moderated by Rashmi Menon, commissioning editor at Amaryllis Books.

The genre of translated books has been under experiments in the last two decades. “However, it is only in recent times that translators have new found confidence as publishers and source (literature) authors are growing to accept translated work that isn’t literal,” said literary historian & writer Rakhshanda Jalil, of Invisible City: The hidden Monuments of India fame.

Increasingly, writers are Indianising their translations which helps retain a certain flavor from the original literature. Radha Chakravarty, writer & translator (of Tagore’s prominent work) is of the view that, translations are where cultures meet, people from different orientations and backgrounds come to understand each other in harmony.

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Translations of regional Indian literature

Not written with an eye on the market or with the zeal to make money, regional literature brings forth a form of writing that is perhaps the most authentic form, says translator Arunava Sinha.

“They (regional writers) don’t care for technique, they haven’t got Master of Fine Art degrees, they don’t care for impressing anyone and they don’t write for a western market. It is perhaps full of flaws, angularity and full of strange construction,” says Sinha who translates Bengali work from and into English.

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