5/14: Two Voices Salon with Daniel Balderston on Silvina Ocampo [EVENT]

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On May 14, we are very proud to host (via Skype) translator Daniel Balderston to discuss his amazing work with one of Argentina’s most venerated authors, Silvina Ocampo.

Wife to Adolfo Bioy Casares, sister of Victoria Ocampo (publisher of the mega-influential journal Sur), and friend of the great Jorge Luis Borges, Silvina was a master of the poem and the short story. She received many of Argentina’s most prestigious awards, as well as the acclaim of Alejandra Pizarnik, Julio Cortázar, and Italo Calvino, who said no other writer “better captures the magic inside everyday rituals, the forbidden or hidden face that our mirrors don’t show us.”

A career-spanning collection of her prose, Thus Were Their Faces, was published earlier this year in Balderston’s translation, alongside a collection of her poetry (also from NYRB Classics).

Join us on Thursday, May 14, to discuss one of Argentina’s most visionary and enigmatic authors.

  • May 14, 2015
  • Doors 5:30 pm, event at 6:00 pm
  • Two Lines Press offices, 582 Market St, Suite 700 SF, CA 94104
  • Free alcoholic (& non-alcoholic) drinks and snacks
  • FREE

Silvina Ocampo (1903–1993) first studied painting with Giorgio de Chirico and Fernand Léger in Paris before returning to Buenos Aires to write. The first of Ocampo’s seven collections of stories, Viaje olvidado (Forgotten Journey), appeared in 1937; the first of her seven volumes of poems, Enumeración de la patria (Enumeration of My Country) in 1942. She was also a prolific translator—including of Dickinson, Poe, Melville, and Swedenborg—and wrote plays and tales for children.

Daniel Balderston is the Andrew W. Mellon Professor of Modern Languages at the University of Pittsburgh, where he chairs the Department of Hispanic Languages and Literatures and directs the Borges Center. He is currently completing his seventh book on Borges, titled How Borges Wrote. He has edited numerous books, including Voice-Overs: Translation and Latin American Literature, and has also translated books by José Bianco, Juan Carlos Onetti, Sylvia Molloy, and Ricardo Piglia.

5/11: The Dream of My Return: Horacio Castellanos Moya and Katherine Silver [EVENT]

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The Center for the Art of Translation welcomes Horacio Castellanos Moya and translator Katherine Silver to San Francisco to discuss Castellanos Moya’s work, including his latest book, The Dream of My Return.

Charles Finch of The New York Times called the book “easily his best to appear in English so far” and says, “it has the intense aliveness of great fiction, the kind that gives human particularity to circumstances for which our sympathy might otherwise remain mostly notional.” Silver translated The Dream of My Return and several other books by the author. The Center’s Executive Director Michael Holtmann will moderate the conversation.

  • Monday, May 11, 2015
  • 7:30 PM
  • The Make Out Room
  • 3225 22nd St. (at Mission), San Francisco
  • FREE

Horacio Castellanos Moya is a writer and a journalist from El Salvador. For two decades he worked as the editor of news agencies, magazines, and newspapers in Mexico, Guatemala, and his own country. He has published ten novels, five short story collections, and a book of essays. His novels have been translated into eleven languages; four of them (Senselessness, The She-Devil in the Mirror, Dance with Snakes, and Tyrant Memory) are available in English. He teaches creative writing and media in the Department of Spanish and Portuguese at the University of Iowa.

Katherine Silver is an award-winning translator and director of the Banff International Literary Translation Centre. Her translation of Martín Adán’s The Cardboard House was a runner-up for the PEN Translation Prize in 2013. She has brought into English some of the most important voices in contemporary Spanish-language literature, including the work of César Aira, Martin Adán, Marcos Giralt Torrente, and many others.

In 2008, Two Voices interviewed Silver about Horacio Castellanos Moya, the audio of which can be found here.

Baboon and Self-Portrait in Green Are PEN Translation Prize Finalists

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It seems like it was just, oh, 3 weeks ago that we were here celebrating how Baboon and Self-Portrait in Green were on the longlist for the 2014 PEN Translation Prize. !nd now here we are saying they’re finalists (they’re finalists!!) for the Prize! Huge, huge congrats to Naja Marie Aidt and Marie NDiaye, and their amazing, amazing translators, Denise Newman and Jordan Stump.

And so, compelled by an upwelling of translation effervescence, we are compelled to offer you the same glorious deal we did last time we shared this wonderful news:

From now, until the end of April, experience these books, plus 2 more items from Two Lines Press, plus our darling, darling hand-made, letterpressed erasure, for just $30!!

For those who say, “tell me no more, I am ready to get in on this amazing deal” just click here (and you people living outside of the U.S., click —> here).

For those who want a little more detail before their fork over their hard-earned $30, read on:

A 2014 subscription costs just $30, which is only slightly more than you would pay to purchase these books in a bookstore. On top of that, we will throw in a free copy of our beautiful, letterpressed broadside, created by Jan Steyn, which we were previously only giving out to 2015 subscribers. And, of course, in addition to all that you get Running Through Beijing by Xu Zechen (beautifully translated by Eric Abrahamsen) and Issue 21 of Two Lines, packed with amazing things like Johannes Göransson’s essay “A Wash of Mimicry,” Natasha Wimmer’s translation of Marcos Giralt Torrente, and Martha Cooley and Antonio Romani’s translation of Antonio Tabucchi.

We are offering this bonus through the end of the month. So if you are interested in reading our two PEN Translation Prize finalists, and getting the broadside, please waste no time in ordering your subscription.

Yuri Herrera and Daniel Alarcón in Conversation [EVENT]

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Join us on April 13 as the Two Voices event series presents Mexican writer Yuri Herrera in conversation with Daniel Alarcón at Green Apple Books on the Park. This is your chance to see the author Francisco Goldman calls “Mexico’s greatest novelist.”

Herrera and Alarcón will discuss Herrera’s momentous debut in English, the novel Signs Preceding the End of the World. Translated by Lisa Dillman and published by And Other Stories, Signs Preceding the End of the World is Herrera’s exploration of the complicated crossings people make as they move from one country to another, especially when there’s no going back.

This is personal for us, as Issue 22 of Two Lines contains an excerpt of Signs. Daniel Alarcón is also a name familiar to us, not only as the author of At Night We Walk in Circles and Lost City Radio but also as a previous event collaborator (not to mention raving our Santiago Roncagliolo title).

About Yuri, Daniel has said, “Signs Preceding the End of the World is a masterpiece, a haunting and moving allegory about violence and the culture built to support and celebrate that violence. Of the writers of my generation, the one I most admire is Yuri Herrera.”

Here are all the details:

  • Monday, April 13, 2015
  • 7:30 PM
  • Green Apple Books on the Park
  • 1231 9th Ave, San Francisco, CA 94122
  • FREE!

Here are bios for the guests:

Born in Actopan, Mexico, in 1970, Yuri Herrera received an MFA from the University of Texas at El Paso and a PhD from UC Berkeley. Signs Preceding the End of the World (Señales que precederán al fin del mundo) was shortlisted for the Rómulo Gallegos Prize and is being published in several languages. In 2013 he published La transmigración de los cuerpos, which will be published in English in 2016. He is currently teaching at the University of Tulane, in New Orleans.

Daniel Alarcón’s books include War by Candlelight, a finalist for the 2005 PEN-Hemingway Award, and Lost City Radio, named a Best Novel of the Year by the San Francisco Chronicle and the Washington Post. He is executive producer of Radio Ambulante, a Spanish language narrative journalism podcast. In 2010 The New Yorker named him one of the best 20 Writers Under 40, and his most recent novel, At Night We Walk in Circles, was a finalist for the 2014 PEN/Faulkner Award.

AUDIO: Two Voices Salon with Michael Reynolds and Ann Goldstein on Elena Ferrante

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On Thursday, March 19, Elena Ferrante’s translator Ann Goldstein and her editor Michael Reynolds of Europa Editions graced Two Lines Offices with their presence and conversation. Ann is currently in the midst of translating the fourth and last volume of Ferrante’s acclaimed Neapolitan Novels, and she is also almost done editing (and partially translating) the complete works of Primo Levi. She is an editor at The New Yorker and a recipient of the PEN Renato Poggioli Translation Award. Author and editor Michael Reynolds has himself translated Carlo Lucarelli’s De Luca series, children’s fiction by Wolf Erlbruch and Altan, and Daniele Mastrogiacomo’s Days of Fear.

The conversation between Michael, Ann, moderator Scott Esposito and Salon attendees includes first experiences of Ferrante’s work, translator invisibility, and a discussion on dialectics and the translation process. Tune in to hear personal insights about Neapolitan culture, history, and Ann and Michael’s experiences with working on the famed series.


CONTENTS

00:00 Introductions & opening discussion question—what have you all been reading in translation?

05:15 Ann Goldstein’s Primo Levi translation and editing project

07:28 The role of the the Neapolitan dialect in Ferrante’s work, and translation questions

14:38 Ferrante as an “Italian author”

18:55 Ferrante’s style, dialect, and questions of accessibility

21:33 Michael’s and Ann’s first experiences with Ferrante’s work

26:35 How was the four-book series format conceived? Was it a whole novel to begin with or did Ferrante present it as four novels?

28:28 There’s a cliffhanger aspect to the end of each volume. Is that something Ferrante worked on with her Italian publisher?

29:53 The role of Naples as a place in Ferrante’s writing

33:04 Ann’s choice to leave the Italian word stradone in the original

37:15 Discussing the ideas of Naples as a metropolis that anticipates decline, and the feeling of being trapped in a place

41:10 Do you think Ferrante’s a writer of place? Are her other books big on place and the role that plays in the evolution of an individual?

43:31 The translator’s invisibility/visibility, with regards to Ferrante’s wish to be invisible herself

48:12 How the author is often not the best person to ask about their work

53:33 Ann’s approach to translating

56:02 With a writer like Ferrante, whom you’ve [Ann] translated a lot, do you feel like you’ve developed a certain relationship to the style?

56:39 Michael’s role in the process of translation

59:30 Differences between the feel of Ferrante in Italian and in English, and risks Ann has taken as a translator of these books

1:06:50 The role of the Aeneid in the Neapolitan Novels and Ferrante’s engagement with the classics

1:11:00 What do you think of the rumors about her books being written by men?

1:15:15 Have you two interacted with Ferrante?

1:15:30 How have the books been received in Naples and in Italy?

1:19:50 What’s the impact of the book on people in Naples?

1:20:20 Is Ferrante working on anything new?

1:21:01 Could you talk about some of your favorite moments from the books?

1:26:18 Can I get an idea of the kind of research and consultants that you might call upon for some local details about Naples?

1:28:16 What Europa looks for in books, and how Ferrante fits into this

2 Two Lines Press Titles Make PEN Translation Longlist (And An Offer for You!)

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We are very proud to say that two titles from our 2014 catalog have made the 10-title longlist for the PEN Translation Awards. These two titles are Baboon by Naja Marie Aidt, translated by Denise Newman, and Self-Portrait in Green by Marie NDiaye, translated by Jordan Stump.

We are amazed and humbled for so many reasons—first of all, this means that fully 2/3 of the titles we published in 2014 have been longlisted. In addition, we are in the company of the amazing Farrar, Straus and Giroux and NYRB Classics as the only publishers on the list to have 2 titles each! And this is to say nothing of the brilliant writers and translators whose ranks we join on the longlist.

Unlike the Best Translated Book Award, PEN considers everything that is published in a given year for its Translation Award (the BTBAs only do books that have never been translated before). This means that their shortlist was taken from out of well over 500 titles, and included some heavy hitters like Anna Karenina (translated by the formidable Marian Schwartz).

In addition, PEN also released its longlist for its Poetry in Translation Prize, which includes some dazzling talent: Marilyn Hacker for Venus Khoury-Ghata, Pierre Joris for Paul Celan, Yvette Siegert for Alejandra Pizarnik, and Edith Grossman for Sor Juana Inés de la Cruz, among the others.

We’re very thrilled to share this news, and we would like to offer you a little incentive to pick these titles up.

A 2014 subscription costs just $30, which is only slightly more than you would pay to purchase these books in a bookstore. On top of that, we will throw in a free copy of our beautiful, letterpressed broadside, created by Jan Steyn, which we were previously only giving out to 2015 subscribers. And, of course, in addition to all that you get Running Through Beijing by Xu Zechen (beautifully translated by Eric Abrahamsen) and Issue 21 of Two Lines, packed with amazing things like Johannes Göransson’s essay “A Wash of Mimicry,” Natasha Wimmer’s translation of Marcos Giralt Torrente, and Martha Cooley and Antonio Romani’s translation of Antonio Tabucchi.

We are offering this bonus through the end of the month. So if you are interested in reading our two PEN Translation Prize finalists, and getting the broadside, please waste no time in ordering your subscription.

Two Lines Release Party — Photos / Erasures

We all had a fantastic time at Viracocha last week, featuring readings by local translators/authors Daniel Levin Becker, Yael Segalovitz, and Andrea Lingenfelter, plus our own Jessica Sevey.

In addition, Viracocha liked our books so much, that they decided to sell them in the store—so if you’re in the Mission, drop by and get yourself some Two Lines Press product.

In keeping with the beautiful beautiful erasure that Jan Steyn has created for 2015 subscribers, we invited attendees to create their own erasures out of select pages from Issue 22 of Two Lines (in stores now!!). Below you’ll find some of our favorites of the evening, plus some candid photos.

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Erasure created by Anonymous

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Erasure created by Emily Shapiro

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Erasure created by Betsy

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Erasure created by Andrea Lingenfelter

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Erasure created by Baraka

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Erasure created by Daniel Levin Becker

 

 

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Two Lines Press’s Marthine Satris talking to reader Yael Segalovitz

 

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An erasure in the midst of creation

 

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Checking out Issue 22

 

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Center for the Art of Translation Executive Director Michael Holtmann MCing the evening

 

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Translator and author Daniel Levin Becker reading from his translation in Issue 22

 

Many thanks to the Center’s Sarah Coolidge for taking photos of the event.

Presenting: The 2015 Erasure

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Friends and colleagues of Two Lines Press!

Back in fall of last year, we were thinking of ways to let our subscribers know that they had chosen to support a press that champions really exceptional, forward-looking, just plain incredible translations. We wanted to make a beautiful, fascinating gift to give to each of you.

At right about the same time, we were in the middle of planning this Edouard Levé event with translators Lorin Stein and Jan Stein.

At some point it hit us: Levé was exactly the kind of author to get this point across. The answer was simple: let’s do something with Levé, involving the man who recommended that he be translated, and who, in fact, has translated the most of him into English: Jan Steyn.

Unfortunately, things turned out to not be so simple. Because of copyright difficulties, working with Levé’s texts was out. But we still had Jan.

And the fact is, that Jan also perfectly embodied our hopes for this project. He is a fierce champion of innovative writing, he knows a hell of a lot about world literature, and he’s a beautifully talented translator and prose stylist.

So—the answer was simple: give Jan free reign to manipulate a (public domain) text as he saw fit. The only requirement was that translate be involved.

What he came up with is an following erasure that we are in the penultimate stages of unveiling to you all (see image above).

When we are finished printing it in its 3 colors it will be called “Saint-Beuve Over a Crackling Phone Line” and it will be an erasure/translation from French, into Afrikaans, into English.

We’ll be showing them at our launch on March 11, and one can be yours if you subscribe to our 2015 list.

AUDIO: Two Voices Salon with Karen Emmerich on The Scapegoat by Sophia Nikolaidou

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At our most recent Salon, Two Voices invited translator Karen Emmerich to discuss The Scapegoat by Sophia Nikolaidou, her latest translation with Melville House, and the current political and economic atmosphere in Greece. Karen teaches at the University of Oregon and recently won the 2014 PEN Poetry in Translation Award for Diaries of Exile by Yannis Ritsos (translated with Edmund Keeley).

The conversation took place at the Two Lines Offices and touched upon previous works Karen has translated, the comparison of Greek and American publishing traditions, historical and political points in The Scapegoat, and added insights from present translators. Listen in to learn more about current Greek literature and the surprising consequences of a downturned economy.


00:00 Introductions

1:35 Translators sharing projects they’re working on & exciting books they’ve read

10:45 How Karen began translating works

15:05 How people reacted to her first translation

16:13 Karen discussing her latest translation with Melville House, The Scapegoat

17:30 The personal, political and historical aspects of the novel

21:39 Explaining the title, The Scapegoat

24:00 Historical aspects and demands of the novel

26:23 Traditions of Greek publishing and translation editorial work – added perspectives from present translators

39:00 Arguments of the novel: The book’s reprisal of power relations such as the U.S. and the EU playing similar roles in Greece

40:55 Audience Question: I was wondering how you deal with mannerisms that are taken for granted in Greek culture? – Added perspectives from present translators

54:03 What Greek books have you taught in your lit courses?

-Follow-up Audience Question: From the time you had the idea for the book to the time it was printed –how long did it take?

57:38 Discussing the economics of translation

1:03:04 Discussing a future novel’s publication process

1:07:04 Audience Question: The average Greek reader – how would they experience the Pontian Greek in the novel. Is that something you know or had to research?

1:11:27 Audience Question: I’m curious about your focus on current Greek writing and the depth of the Greek crisis – do you feel like it’s starting a new literary movement in Greece?

1:14:30 Audience Question: I have the feeling that more readings and more of a community through poetry is present in Greece –is that what you feel, too?

1:16:30 Discussing very recent changes in the Greek political climate

AUDIO: Peter Bush in Conversation with Katherine Silver on Josep Pla’s Grey Notebook


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On January 27th, Two Voices celebrated the release of Josep Pla’s The Grey Notebook (NYRB) in English by inviting the translator, Peter Bush, and renowned Bay Area translator Katherine Silver to discuss the non-fiction work. Bush received the Ramon Llull Award for his translation of Pla and has translated dozens of books from Catalan, Spanish, and Portuguese, including works by Juan Carlos Onetti and Quim Monzó. Katherine Silver is an award-winning translator and the director of the Banff International Literary Translation Centre. The conversation took place at San Francisco’s B44 Bistro and was set amid tapas and drinks. The two translators examined Pla’s life and work, provided historical context, and engaged with the audience to further the discussion about Catalan literature.

00:00 Introductions

05:30 Katherine Silver shares what will be discussed: a look at Catalan Literature, Josep Pla’s role in that, Peter’s translation of the non-fiction work, The Grey Notebook, and audience questions

06:10 Peter Bush provides historical background on Catalonia

08:46 Recuperation of Catalan as a literary language (1830-1860)

10:07 Peter begins discussing Josep Pla’s life

12:03 How Josep begins writing

14:42 Katherine asks Peter about the narrative voice in The Grey Notebook

16:10 Peter on Pla’s thinking as a writer: “I want to write something that reflects the movement of life”

19:20 Peter discusses how Catalonians benefitted during World War I and how Pla places those experiences in his work

22:46 Peter reads and discusses several entries in The Grey Notebook about translation, language and life in Catalonia

26:30 Catalan as a minority language and discovering Catalonian writers that are the literary equivalent of Dali, Picasso, Miró

29:00 How Peter ended up translating Pla

30:25 Critical mass of Catalonian literature

31:17 Peter reads a food related passage from The Grey Notebook

34:00 Katherine discusses the craft of Peter’s translation

34:52 Audience Questions

34:54: Q/A I was wondering if he [Pla] knew George Orwell?

*Follow-up: Katherine –I wonder if he knew Joseph Roth?

38:55 Q/A To what extent can you consider Catalan Literature, as a whole, part of the Spanish Literary canon, especially the 20th century when Pla wrote?

41:16 Q/A I was wondering if you knew anything about the tax situation in Andorra?

41:13 Q/A Pla seems to have said that the Catalan language was a tragedy, could you explain that further?

46:05 Q/A How often is Catalan translated into other languages, for instance, Spanish?

48:25 Q/A Is there a similar resurgence with French Catalan writers?

50:05 Q/A Considering how there isn’t much of a tradition of passing on literary traditions in Catalan, how often do you think (directly or indirectly) you see some of the brazenness in Josep Pla’s writing influencing other writers? Do you think that part of the reason Catalan works aren’t translated as often is because Catalonians’ take pride in their language and think it might get muddled through translation?

58:08 Q/A I’m curious, you mentioned the political position that Pla had and this position on the Catalan language, both of which could cause some discomfort for Catalan readers. You refer to it [The Grey Notebook] as a classic, but how do people over there actually feel about it and is there discomfort about him as a figure generally or is that water under the bridge because he wrote in Catalan?

1:03:32 Q/A Did Josep Pla have a different point of view on his work when he was older? Since he wrote The Grey Notebook when he was young and then didn’t edit it until he was older and had more life experience.