“One is less likely to overlook or be unfairly harsh to a translator if one has been a translator, and one is less likely to fault an original writer for weaknesses in translated prose or poetry if one has a sense of the pitfalls into which a translator can stumble—a sense I am still developing after years of translating poetry and prose.” Over at Asymptote Journal, Sue Burke and Maia Evrona look at reviews of books in translation.
"If only the interest he provokes were limited to his immediate surroundings, but, alas, it is not!... Still farther away, great mountains of data mining sum up, in zeroes and ones, the ultimate truth of his being." KA Semënova updates Nabokov's short story "Signs and Sumbols" (and works by other famous Russian authors) for McSweeney's, "teh internets" and the digital world.
A lot is written about artists just starting their careers, and about those artists with a lifetime of work to look back over, but in a piece for The Enemy Barry Schwabasky considers the difficulty of being somewhere in the middle of an artistic career. After all, "most artists do, for better or worse, live through what’s come to be known as their midcareer. It’s just that they don’t often do so with ease. ... The middle of the journey sometimes seems to be all about losing the way."
"Why write in an unlovable genre with an inevitably hectoring tone? Dystopia, situated in a dangerous no-man’s-land between the pulpit of the preacher and the safe sniper post of the satirist." Future futurists, take note: the New York Review of Books reviews Chang-Rae Lee's addition to your dystopic shelf, On Such a Full Sea, and ponders the virtues of the dystopic endeavor itself. (Bonus: Lee writes about his own 2013 Year in Reading here at The Millions.)