In general, we think of translators as people whose job, briefly summarized, is to create elegant texts out of works in foreign languages. But J.R.R. Tolkien, in his translation of Beowulf, set out to do something different. The Lord of the Rings author published a translation that he kept intentionally clunky. Why? In his telling, he did it to better imitate Old English.
in the film version of Fahrenheit 451. In the New York Times this week the director Ramin Bahrani talks about his love of books, how he decided which books to turn in the film and why he wanted to bring this novel to the small screen in the first place. It will air on HBO next Saturday (May 19th).
“You can’t be worrying how you sound. You can’t wonder whether you or your characters are likable or smart or interesting. You have to be inside the scene—the tactile world of tables and chairs and sunlight—attending to your characters, people who exist for you in nonvirtual reality.” Paris Review editor Lorin Stein writes for The New York Times about solitude in the age of the Internet and the future of the book.
Ladbrokes, the popular bookmaker, has correctly predicted the winner of the Nobel Prize in Literature with “a 50 percent accuracy rate” over the past eight years. This remarkable record is noteworthy because the oddsmakers do not actually read any of the books, and they do not go about “forming an opinion about the relative merits of each author.” Instead, the folks responsible for each year’s odds “appl[y] a numerical value to things like industry chatter, an author’s nationality, historical precedent.” So, that in mind, how confident do you feel about Haruki Murakami’s chances?
At The Rumpus, Catherine Brady interviews Daniel Alarcón, who recently came out with a new novel. Alarcón talks about his love of Roberto Bolaño and the paradox of writing about prison, among other things. (You could also read Jeff Peer’s review of the author’s new book.)