Over at Words Without Borders, Marguerite Feitlowitz writes on teaching the art of literary translation. As she puts it, “Bringing texts from one place to another, from one tongue, context, history, and human body to another, is itself a political act. We can tell the history of the world through the history of when major texts have been translated—and where, why, and by whom.” Pair with this Millions piece on literary translators at work.
“…a range of products appeared on the market carrying Pushkin’s image to the masses – cigarettes, matches, candy, pens, stationery, inkstands, liqueur, knives, watches, vases, cups, shoes, dresses, lamps, fans and perfumes. There was even a board game called ‘Pushkin’s Duel.'” The omnipresent cultural status of Pushkin in Russia.
Elmore Leonard was a very cinematic writer, yet why are most adaptations of his work so bad? Christopher Orr explores what he calls the “Elmore Leonard paradox” in The Atlantic. “Most of the early adaptations of Leonard’s crime work missed his light authorial touch, opting instead for somber noir.” Pair with: Our own Bill Morris’s essay on why Leonard was such a good writer.
Anne Fernald’s two posts about her grandmother’s editions of Virginia Woolf are a treat.Gwenda Bond of Shaken and Stirred landed on NPR over the weekend to talk about the 100th anniversary of Anne of Green Gables, in honor of which the Modern Library has put out a new edition.The Oxford Project: “In 1984, photographer Peter Feldstein set out to photograph every single resident of his town, Oxford, Iowa.” It’s a neat sounding photo book, reminiscent of La Porte, Indiana.Under 30? Really good at writing book reviews? You should enter VQR’s Young Reviewers Contest.It’s an alarm clock that wakes you up with the voice of Stephen Fry in the character of Jeeves. You can listen to all the recordings at the site. An example: “Let us seize the day and take it roughly from behind… as the Colonel used to say in his unfortunate way.”