Bucknell University Press

Edimus quod nobis libet.

October 16, 2020 by Madison Weaver

ALTA43 Virtual Exhibit

In celebration of ALTA43, Bucknell University Press has assembled a list of books that may be of interest to attendees. Bucknell is a leading publisher in the humanities with a focus on literary studies, and maintains a broad interest in translation and translated works—particularly in Spanish and francophone studies. Over the years, we have published new translations of canonical texts, first translations of groundbreaking works, and important books about the practice of translation itself. During this time of physical separation and virtual togetherness, publishing work that transcends the boundaries of language and nation is more important than ever: we’re therefore excited to share the following books with you.

If you would like to discuss whether your work-in-progress might be right for Bucknell University Press, contact seg016@bucknell.edu or see our submission guidelines for more information.

Don’t Whisper Too Much and Portrait of a Young Artiste from Bona Mbella

by Frieda Ekotto
Introduction by Lindsey Green-Simms
Translated by Corine Tachtiris

Don’t Whisper Too Much was the first work of fiction by an African writer to present love stories between African women in a positive light. Bona Mbella is the second. In presenting the emotional and romantic lives of gay, African women, Ekotto comments upon larger issues that affect these women, including Africa as a post-colonial space, the circulation of knowledge, and the question of who writes history. In recounting the beauty and complexity of relationships between women who love women, Ekotto inscribes these stories within African history, both past and present. 

Avenues of Translation: The City in Iberian and Latin American Writing

Edited by Regina Galasso and Evelyn Scaramella

Winner of the 2020 SAMLA Studies Book Award — Edited Collection

Cities both near and far communicate in a variety of ways. Travel between, through, and among urban centers initiates contact, and cities themselves are sites of ever-changing cultural and historical encounters. Predictable and surprising challenges and opportunities arise when city borders are crossed, voices meet, and artistic traditions find their counterparts. Using the Latin word for “translation,” translatio, or “to carry across,” as a point of departure, Avenues of Translation explores how translation perpetuates, diversifies, deepens, and expands the literary production of cities in their greater cultural context, and how translation shapes an understanding of and access to a city’s past and present literary and cultural practices. Thinking about translation and the city is a way to tell the backstories of the cities, texts, and authors that are united by acts of translation.

Faust: A Tragedy, Part I

by Johann Wolfgang von Goethe
Edited and Translated by Eugene Stelzig

Goethe is the most famous German author, and the poetic drama Faust, Part I (1808) is his best-known work, one that stands in the company of other leading canonical works of European literature such as Dante’s Inferno and Shakespeare’s Hamlet. This is the first new translation into English since David Constantine’s 2005 version. Why another translation when there are several currently in print? Eugene Stelzig’s new translation renders the text of the play in clear and crisp English for a contemporary undergraduate audience while at the same time maintaining its leading poetic features, including the use of rhyme.

Mormons in Paris: Polygamy on the French Stage, 1874-1892

Edited and Translated by Corry Cropper and Christopher M. Flood

This new critical edition presents translations of four musical comedies staged or published in France in the late 1800s: Mormons in Paris (1874), Berthelier Meets the Mormons (1875), Japheth’s Twelve Wives (1890), and Stephana’s Jewel (1892). Each is accompanied by a short contextualizing introduction with details about the music, playwrights, and staging. Humorous and largely unknown, these plays use Mormonism to explore and mock changing French mentalities during the Third Republic, lampooning shifting attitudes and evolving laws about marriage, divorce, and gender roles.

Transpoetic Exchange: Haroldo de Campos, Octavio Paz, and Other Multiversal Dialogues

Edited by Marília Librandi, Jamille Pinheiro Dias, Tom Winterbottom

Transpoetic Exchange  illuminates the poetic interactions between Octavio Paz (1914-1998) and Haroldo de Campos (1929-2003) from three perspectives–comparative, theoretical, and performative. The poem Blanco by Octavio Paz, written when he was ambassador to India in 1966, and Haroldo de Campos’ translation (or what he calls a “transcreation”) of that poem, published as Transblanco in 1986, as well as Campos’ Galáxias, written from 1963 to 1976, are the main axes around which the book is organized. The collection holds great value for those interested in all aspects of literary translation and it enriches the ongoing debates on language, modernity, translation and the nature of the poetic object.

Venus of Khala-Kanti

by Angèle Kingué, translated by Christine Schwartz Hartley

Venus of Khala-Kanti is a tale of life-altering loss and mystical recovery. Set in an imaginary West African village that becomes a charming cul-de-sac, the unintended consequence of a national roadwork project gone awry, the story follows characters drawn with humor, irony, and empathy. The heart of the story beats with the laughter and tears of three women. Having faced incredible hardship, they come together to build their lives anew, armed with the age-old spirit of human resilience, understanding, and tenderness. Tapping into the very soil of Khala-Kanti, Bella, Assumta, and Clarisse construct spaces, both internal and external, where they and others can rejuvenate their bodies, minds, and spirits. They build the Good Hope Center, which embraces both the physical and the mystical landscape of the story. The Center fuels the restoration and growth of the village’s inhabitants, and offers sanctuary for those who visit and those who stay. 

Lady Anne: A Chronicle in Verse

by Antjie Krog

Lady Anne: A Chronicle in Verse by Antjie Krog is the first English translation of an award winning book published in Afrikaans in 1989. It engages critically and creatively with a key moment of colonial history—the time Lady Anne Barnard spent at the Cape of Good Hope, from 1797 to 1802. Usually mentioned merely as a witty hostess of fabulous parties, Anne Lindsay Barnard, the daughter of a Scottish Earl and the wife of a colonial administrator, was an independent thinker and a painter and writer of genius. She left diaries, correspondence and watercolors documenting her experiences in this exotic land, the contact zone of colonizers and indigenous peoples. Antjie Krog acts as bard and chronicles an epic about this remarkable heroine’s life in South Africa, and intertwines it with life two hundred years later in the same country but now in the throes of anti-apartheid anger and vicious states of emergency.

Beginning and End of Snow

By Yves Bonnefoy, translated by Emily Grosholz

Yves Bonnefoy’s book of poems, Beginning and End of the Snow followed by Where the Arrow Falls, combines two meditations in which the poet’s thoughts and a landscape reflect each other. In the first, the wintry New England landscape he encountered while teaching at Williams College evokes the dance of atoms in the philosophical poem of Lucretius as well as the Christian doctrine of death and resurrection. In the second, Bonnefoy uses the luminous woods of Haute Provence as the setting for a parable of losing one’s way.

Forth and Back: Translation, Dirty Realism, and the Spanish Novel (1975-1995)

By Cintia Santana

Forth and Back broadens the scope of Hispanic trans-Atlantic studies by shifting its focus to Spain’s trans-literary exchange with the United States at the end of the twentieth century. Santana analyzes the translation “boom” of U.S. literature that marked literary production in Spain after Franco’s death, and the central position that U.S. writing came to occupy within the Spanish literary system. Santana examines the economic and literary motives that underlay the phenomenon, as well as the particular socio-cultural appeal that U.S. “dirty realist” writers—which in Spain included authors as diverse as Charles Bukowski, Raymond Carver, and Bret Easton Ellis—held for Spaniards in the 1980s. Santana also studies the subsequent appropriation of this writing by a polemic group of young Spanish writers in the 1990s whoself-consciously and insistently associated themselves with the U.S..

Shakespeare and the Spanish Comedia

Translation, Interpretation, Performance: Essays in Honor of Susan L. Fischer

Edited by Bárbara Mujica

Shakespeare and the Spanish Comedia is a nearly unique transnational study of the theater / performance traditions of early modern Spain and England. Divided into three parts, the book focuses first on translating for the stage, examining diverse approaches to the topic. It asks, for example, whether plays should be translated to sound as if they were originally written in the target language or if their “foreignness” should be maintained and even highlighted. Written by a highly respected group of British and American scholars and theater practitioners, this book challenges the traditional divide between the academy and stage practitioners and between one theatrical culture and another.

Filed Under: Uncategorized Tagged With: ALTA, translation, translation studies, Virtual Exhibit

September 27, 2012 by Pamelia Dailey

Author profile: Emily Grosholz on translation

Emily Grosholz discusses the craft of translation and her most recent collaboration with French poet Yves Bonnefoy: Début et fin de la neige / Beginning and End of the Snow. The book, published by Bucknell University Press in 2012, includes Bonnefoy’s original poems in French opposite Grosholz’s English translations as well as artwork by Farhad Ostovani.

 

What first attracted you to Yves Bonnefoy’s poems?

When I was in graduate school, studying philosophy at Yale University in the 1970s, I was introduced to the poetry of Yves Bonnefoy by a fellow student who lent me a copy of Du mouvement et de l’immobilité de Douve. I thought it was wonderful—haunting— and translated some of the poems in it, just for myself. Returning from a year in Germany in September 1977, I learned that Bonnefoy was teaching at Yale that semester, and so attended his lectures on Baudelaire and Hugo, those two great and utterly disparate poets, both of whom I’d tried my hand at translating earlier, in high school and college. At the end of the semester, I gave Bonnefoy some of my translations of his work, and some of my own poems, in particular an elegy for my mother that I wrote in Germany, “Letter from Germany,” the first of my poems to be published in the Hudson Review. He was very appreciative, we struck up a correspondence, and I got to know him and Lucie Vines Bonnefoy a bit when I spent half a year in Paris in 1981. I have been translating his poetry ever since, somewhat haphazardly, choosing poems that I especially liked. Because his sensibility seemed close to my own while his poetic habits were very different, it was a challenging combination.

How do you approach the task of translating another writer’s work?

At first, I dealt with the affinity-and-distance by writing ‘versions,’ like Robert Lowell, allowing myself a great deal of freedom in departing from the original text. I like some of my translations from this earlier stage, especially “To the Voice of Kathleen Ferrier,” which is included in the forthcoming collection Poets Translate Poets: A Hudson Review Anthology, edited by Paula Deitz. But after collaborating with Larissa Volokhonsky on translations of poems by the Russian poet Olga Sedakova, I was persuaded that I should try harder to remain true to the original, its vocabulary and prosody. Thus I went about translating Début et fin de la neige in a different way, after Yves Bonnefoy asked me to translate this ‘American’ book of poetry, inspired in part by the time he spent teaching at Williams College. I consulted with the poet (and his American wife Lucie Bonnefoy) more often, going over every line, and listened more attentively to their advice.

What is the connection between the artwork and the poems in Beginning and End of the Snow, and why did you and Yves Bonnefoy choose to include Farhad Ostovani’s watercolors in the book?

Yves Bonnefoy is widely considered the greatest post-war French poet, and has worked with many important artists, including Giacometti, Tàpies, Cartier-Bresson, Ubac and Miró, as well as more recently Alechinsky, Palézieux and Ostovani. I think the explanation why he and Ostovani have collaborated on almost two dozen books and catalogues in the recent past is the excellence of the artist’s work and Bonnefoy’s accurate estimation of it. Farhad Ostovani was born in northern Iran and lives and works in Paris; his work has been exhibited at the Jenisch Museum (Switzerland), the Museum at the Rembrandt House (Netherlands), the Morat Institute for Art and Art Research (Germany) and the Chateau de Tours (France). Thus it was natural to ask if we could use some of his work for this book too.

Are you working on any other projects in conjunction with Bonnefoy or Ostovani?

Five years ago, I collaborated on a book with Farhad Ostovani, Feuilles / Leaves, with translations of my poems into French by Alain Madeleine-Perdrillat; it was published by William Blake & Co. in Bordeaux. I wrote an ‘ekphrastic’ poem about one of his works, which was published in American Arts Quarterly last year; and I recently published a review of one of his exhibitions as well as a poem dedicated to him (and Orhan Pamuk) in the Hudson Review. I plan to go on translating the poems of Yves Bonnefoy in my accustomed, haphazard, admiring way now that the book is finished.

Filed Under: Uncategorized Tagged With: poetry, translation

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