Interviews

From the Orbital Library: Isle-to-Isle

Interviewing project collaborators Berny Tan and Sher Chew on the intersections of design, literature, and data visualization

Isle-to-Isle is a collaborative data visualization project by Sher Chew and Berny Tan. Each week, the two read 10 pages from Jules Verne’s classic “scientific romance,” The Mysterious Island, and seperately make a graph representing the book’s content. Their work is published on the project’s website, alongside the corresponding passage by Verne.

In the novel, a group of Americans, led by the railroad engineer Cyrus Harding, hijack a balloon to escape imprisonment by the South during the American Civil War. The balloon drifts to an uncharted island in the South Pacific, where the men create their own microcosm of 19th century civilization. A century and a half after its publication, The Mysterious Island continues to influence literature and popular culture, with numerous adaptations and spin-offs in print, movies, and television, including the computer game Myst.

Isle-to-Isle evolved out of a shared interest in design and a desire to explore different ways reading and interpreting text. In that sense, the project’s inception resembled Verne’s fictive voyage into unknown territory. Neither Sher Chew nor Berny Tan had read the book before. The novel was chosen at random, based on its length and conventional narrative structure. Other parallels emerged. The two designers moved from Singapore to that other insular powerhouse of commerce, Manhattan. Isles to isles—the homophonic word pair also reflected the search for suitable material. The Mysterious Island was discovered, so to speak, by browsing New York’s famous Strand bookstore, the name itself being another name for level, sandy shore.

As of this writing, Isle-to-Isle is halfway finished. I corresponded with Sher Chew and Berny Tan to find out more about the project and get their take on recent developments in the technology of reading, writing, and designing. 

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Who Is Long Muzzle? Interviewing Guest Artist Monika Grubizna

Asymptote guest artist Monika Grubizna on Naive art, the legacy of Polish poster design, and the importance of humor in her work.

Asymptote’s guest artist for the current fall issue is Monika Grubizna (a.k.a. Long Muzzle). An independent graphic artist and illustrator, Monika created a striking cover image, as well as thirteen brand new illustrations for our Fiction, Nonfiction, and Drama sections. I interviewed her about this experience, her influences, and her practice.

Berny Tan: First question: Why “Long Muzzle”?

Monika Grubizna: I’ve always been obsessed with animals. Ever since I can remember, the main motifs of my drawings have been dogs. I enjoyed drawing bad wolves with open muzzles showing big, sharp teeth. And then I got a dog. The moniker “Long Muzzle” came to be because of my dog, whose snout is really, really long. Plus it sounds funny—at least in Polish.

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Interviewing Juliet Winters Carpenter

Asymptote blog’s spotlight on Japanese translation continues with this conversation with acclaimed translator Juliet Winters Carpenter!

Juliet Winters Carpenter is an award-winning translator of Japanese poetry and prose noted for promoting contemporary Japanese authors (including Minae Mizumura, Noboru Tsujihara, and Ryōtarō Shiba) to English readers by rendering their distinctive prose into precise yet colloquial English. Pushkin Press reissued her translation of Machi Tawara’s Salad Anniversary in a beautiful edition last month. Carpenter describes the wry self-awareness that comes across in Tawara’s poetry with a sense of kinship, suggesting that a degree of self-cognizance, in addition to close reading and writing skills, is required from a translator.

Elisa Taber: Kenneth Rexroth famously commented on Japanese poetry and translation, “It is (…) more essentially poetic. Many, especially Japanese, editors and translators have been embarrassed by this intensity and concentration and have labored to explain each poem until it has been explained away.” You seem to encapsulate, rather than expound, the meaning of each verse, by translating the tanka form in three lines rather than the customary five. Were you wary of over-explaining Tawara’s work?

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Publisher Profile: Berlinica

On the trail of a one-woman publishing house

Berlin native Eva Schweitzer learned a lot about the publishing industry from her years of work as a writer and New York correspondent for German newspapers. In 2011, she decided to open her own publishing house, focusing on books related to the city of Berlin. Eva runs Berlinica between New York City and Berlin. I spoke to her via Skype after one of her frequent trans-Atlantic flights.

Frances Riddle: How was Berlinica born?

Eva Schweitzer: I’m an author and nowadays it’s becoming easier to break into the market, even if you’re small. You don’t need so much overhead anymore. You can do print-on-demand and e-books, you can distribute them internationally with Amazon; and I thought why not try and publish books myself? I know how to write a book. How hard can it be to publish a book?

FR: So was it as easy as you thought it would be to open your own publishing house?

ES: No, it turns out it’s a great deal more time-consuming and complicated than you can imagine. READ MORE…

In Conversation with Jay Rubin

“Over the years, the most consistent note in the feedback I’ve gotten from readers has been exactly that: he is writing for me.”

Jay Rubin’s translations include Haruki Murakami’s novels Norwegian Woods translations include Haruki Murakami’s novels Norwegian Wood, The Wind-Up Bird Chronicle, After Dark, 1Q84 (with Philip Gabriel), and a number of short story collections. Haruki Murakami and the Music of Words, Rubin’s part-biography, part-analysis of Murakami’s work, was published in 2002 and updated in 2012. Rubin is also a translator of Ryūnosuke Akutagawa (Rashomon and Seventeen Other Stories) and Natsume Sōseki (The Miner; Sanshiro). He holds a Ph.D. in Japanese literature from the University of Chicago. While teaching at Harvard in 2005, he helped bring Haruki Murakami to the university as an artist-in-residence.

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Ryan Mihaly: I want to start by considering the role of the translator in today’s global society. 

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Interviewing Naja Marie Aidt

Eric M. B. Becker in conversation with the author of Baboon, a short story collection published by Two Lines Press

The first full-length work by Danish writer Naja Marie Aidt—born in 1963 in Greenland, raised in Copenhagen, and currently living in New York City—is now available in English with the translation of her short story collection Baboon, which earned her the biggest literary prize in Scandinavia, the 2008 Nordic Council Literature Prize, and is being published this month by Two Lines Press in a sharp translation from Denise Newman.

Aidt’s writing includes nine books of poetry, short stories, radio plays, plays, films scripts, and children’s books, and her work has been translated into Italian, German, French, Swedish, Norwegian, Latvian, Icelandic, and Czech. Her literary career began in 1991 with the poetry collection længe jeg er ung (“As Long As I Am Young”), part one of a trilogy she completed in 1994 and which, like Baboon, plumbs the depths of relationships with family and friends. Baboon is her third short story collection.

Although her subject matter with these new stories is quotidian, Aidt’s characters and their fates are anything but: After their son is tossed from a bike and injured, a husband decides there is no better time to reveal to his wife details of his affair with her sister; a well-meaning couple, forgetting to place a bag of candy in their supermarket basket, find themselves charged with theft above their assiduous protests.

In our conversation via email, shortly after the author’s return to New York from a reading tour in Denmark, we discussed the importance of place in Aidt’s fiction and her ability to recast the familiar as strange, as she puts it, to turn “frustration and sadness into a new possibility, a new freedom,” creating the impression that one is seeing with new eyes. READ MORE…

Publisher Profile: Ox and Pigeon

"I can’t imagine [digital publishing] is going to be anything but good for translated literature."

Ox and Pigeon Electronic Books embraces the digital age with a dynamic publishing model that enables them to deliver the literature they love to readers anywhere in the world. Since 2012, they have specialized in translations through their literary journal, The Portable Museum. Earlier this year, Ox and Pigeon began releasing their first novels in English translation. I spoke with co-founder Lucas Lyndes from his home in Lima, Peru, via Skype.

Frances Riddle: How was Ox and Pigeon born?

Lucas Lyndes: I moved to Peru in 2005 to learn Spanish with the idea of becoming a translator. I got married here in 2010 and my friends from Boston, Jason Curran and Katie Sedat, came down for the wedding. We got to talking about books because we’re all big readers. I was dabbling in translation and I was surprised at what was being translated; there were a lot of writers who weren’t getting any attention. So we decided to try and do something about it. The idea was born in 2010 and the first issue of The Portable Museum came out in 2012.  READ MORE…

On Violette Leduc: Interviewing Sophie Lewis

"Leduc's story as a writer is one of suppression and blocking at many points."

Sophie Lewis is a London-born writer, editor, and translator from French and Portuguese. Her recent translations include Thérèse and Isabelle by Violette Leduc (Salammbô), The Man Who Walked Through Walls by Marcel Aymé (Pushkin), and The Earth Turned Upside Down by Jules Verne (Hesperus). She is editor-at-large at And Other Stories press, and she has lived in Rio de Janeiro since 2011. An excerpt from her translation of Thérèse and Isabelle appeared in the July 2014 issue of Asymptote. 

When did you first encounter Violette Leduc’s work? 

I was lucky to be let loose on Dalkey Archive Press’s backlist in 2007, when I started working for them as manager of their London office. They had published Leduc’s La Bâtarde with an afterword by Deborah Levy. As we were promoting Levy’s work in the UK just then, I started to read everything by her, including that piece—and then I was launched on Leduc.

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Who’s Who in La Zona? (Part II)

In conversation with translator Steve Dolph on Juan José Saer

Catch up on Part I of this fascinating interview here.

Steve Dolph is the translator of three books by the late Argentine novelist Juan José Saer, who died in Paris in 2005. All three were published by Open Letter Books, the most recent (June ’14) being Saer’s final, unfinished novel, La Grande. Mr. Dolph is currently a Ph.D. candidate in Hispanic Studies at the University of Pennsylvania, where his research treats Renaissance ecopoetics and the pastoral tradition. His most recent translation, of Sergio Chejfec’s “El testigo” / “The Witness,” is available in the July 2014 issue of Asymptote.

Jeremy Davies: I seem to recall reading, third hand, of Saer demolishing, in Le Monde, an apologist article by Vargas Llosa, likewise in Le Monde, in which the latter more or less put forward the notion that everyone should just “forgive and forget” regarding the “disappearances”… Are you familiar with that altercation?

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Publisher Profile: New Vessel Press

"It’s scary, but if you want to expand the range of what you can do, you have to take these risks."

Founded in New York City in 2012, New Vessel Press is dedicated to publishing books “that offer erudition and pleasure, provoke and scintillate, transform and transport.” They specialize in translation of foreign literature in paperback and e-book format. Graphic designer Liana Finck’s beautiful cover art makes the New Vessel Press website a feast for the eyes. I spoke with New Vessel Press co-founders Michael Wise and Ross Ufberg via Skype.

Frances Riddle: How was New Vessel Press born?

Michael Wise: Ross and I met at a spelling bee. My son was in the Manhattan Spelling Bee and Ross was the announcer. He was introduced as a literary translator from Polish and Russian to English and I thought that was pretty fascinating. We met and it turned out we lived close by and we became friends and talked a lot about literature. The press was born out of that love for books.

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Who’s Who in La Zona?

A conversation with translator Steve Dolph on Juan José Saer

Steve Dolph is the translator of three books by the late Argentine novelist Juan José Saer, who died in Paris in 2005. All three were published by Open Letter Books, the most recent (June ’14) being Saer’s final, unfinished novel, La Grande. Mr. Dolph is currently a Ph.D. candidate in Hispanic Studies at the University of Pennsylvania, where his research treats Renaissance ecopoetics and the pastoral tradition. His most recent translation, of Sergio Chejfec’s “El entenado” / “The Witness,” is available in the July 2014 issue of Asymptote.

This interview was conducted via e-mail over the early summer months, rambling like “a long afternoon’s conversation,” as Dolph commented, which is perhaps the most apposite way to approach an author so devoted to the vagaries of unfocused thought, and the ways its wandering through time and space makes itself manifest in language.

—Jeremy M. Davies

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Publisher Profile: Tulika Books

An inside look at translating and publishing children's literature… in nine languages!

Interview with Radhika Menon, founder & managing editor of Tulika Books, India.

Sohini Basak: How did Tulika start out?

Radhika Menon: When we set up Tulika Publishers in 1996, we wanted to create Indian books that were as good as the best books anywhere. No, not “just as good as.” We want to give the children supremely good books and we wanted these books to be right in the Indian context. Our own generation had been fed books from the West, and had been taught to keep away from the more didactic, mass-produced Indian books. Good books, we assumed, came from elsewhere, usually from England!

We needed to reflect a contemporary Indian sensibility. But the contemporary Indian reality was vast, varied, and multilingual. It was clear to us that we would have to publish in as many of the Indian languages as possible.

Today we publish picture books in nine languages simultaneously—English, Hindi, Tamil, Malayalam, Kannada, Telugu, Marathi, Gujarati and Bengali. We also do bilingual books—English paired with each of the other eight languages. Some of the books for older children are in English alone and they too reflect a contemporary “Indianness” in their perspective, and in their very feel and look. READ MORE…

In Jazz-like Dialogue: Interviewing Guest Artist Robert Zhao

In conversation with Robert Zhao, Asymptote's featured guest artist for the summer issue

As the guest artist for Asymptote’s summer issue, Singaporean visual artist Robert Zhao Renhui contributed our cover image and illustrated 15 texts in the Fiction, Nonfiction, Drama, and Latin American Fiction Feature sections. I interview him about this experience, as well as the relationship between image and text in his art practice.

I’ve been following your trajectory for quite a few years, but it’s safe to say that the Asymptote summer issue is presenting your work to an audience that is largely unfamiliar with your practice. How would you explain your art, and the Institute of Critical Zoologists, to our readers?

I am interested in both photography and nature, so in my work, I use photography to investigate our dialogue with nature. The Institute of Critical Zoologists (ICZ) is an umbrella concept under which I create and present my work. The meaning of the ICZ takes shape with each of my projects and exhibitions, which create different realities and fictions.

05_Lisa_and_the_Heavenly_Body

Could you describe the process of creating/selecting images for this issue?

There was a tension between choosing images that were too literal a representation of the text, and pictures that encapsulated a very personal connection to the text that regular readers may not get. My guiding principle was that my images should be in a jazz-like dialogue with the text, and occasionally surprise the viewer. I submitted a few pictures for each essay, leaving it up to the journal to do the final selection. In some cases, I didn’t know what was chosen until the issue was published. READ MORE…

On the Dearth of South Asian Translations in the U.S. (Part II)

How some South Asian translations are making it—or trying to, at least—in the brutal U.S. publishing market

Read all posts in Mahmud Rahman’s investigation here.

Daisy Rockwell is a painter, writer, and translator. From 1992-2006, she made a detour into academia, from which she emerged with a Ph.D. in South Asian literature and a book on the Hindi author Upendranath Ashk. She had become interested in his writing as a grad student.

In an interview with CNN last year, she said: “Ashk asked me to undertake a short story collection shortly before his death, which I did somewhat reluctantly as I was more interested in translating his long novel, Falling Walls (something I’m finally working on now). It ended up being his dying wish to me, however, so I saw the project through. I finished most of the work around 2000, but had a very hard time finding a publisher, even in India.”

Her translation of Ashk’s Hats & Doctors came out from Penguin India in 2013. About her approach to U.S. publishers, she wrote: “I have tried and so far failed to get my translation published in the U.S., on numerous occasions. I have another work forthcoming and I will try with that too. We’ll see what happens. I haven’t had any explanations. So far I’ve approached them myself. Next up, my agent. Mostly I’ve tried academic presses and small presses. I haven’t tried that many, but since no one maintains a South Asia list, really, the entire thing feels kind of scatter shot and I’ve gotten discouraged easily.” READ MORE…