Source, the Newsletter of the ATA’s Literary Division, will take the form of an online newsletter and has issued a call for submissions for its August 2008 issue.

The newsletter provides “a forum for activities, issues, and humor pertaining to the tricky craft of literary translation.” It seeks contributions of general interest to literary translators: reviews, news, articles of general interest, interviews, photos, cartoons, fora, and conundra.

If you would like to host a regular column or wish to contribute to the August issue—deadline for submissions is June 15—contact Editor Michele Aynesworth.

AATIA will observe World in Translation Month at the member meeting on Saturday, May 10, 1:00 p.m., at the Austin History Center, 9th & Guadalupe, according to Maurine McLean, Director of Professional Development.

Tony Beckwith will share insights on translating tangos, with musical examples. Marian Schwartz will point out some key Internet sites for literary translators.

In addition, Frank Dietz will demonstrate how to use RSS feeds from the new AATIA blog, walking us through the process of connecting to this valuable resource.

Refreshments and networking round out the meeting. Language-loving guests are welcome.

Ingrid Lansford has been busy, and here’s what she’s been up to, in her own words:

Three of my short story translations just came out, all in the spring 2008 issue of the journal Metamorphoses. This is almost weird, but for two years the editor ran special issues, so my contributions stacked up:

• “Down to the Lake with Flemming and his Pump Gun” from Jeg er stadig bange for Caspar Michael Petersen by Jan Sonnergaard (Gyldendal 2003)
• “Sidi el Barduk and Zuleima” from Kærlighedshistorier Fra Mange Lande (1867) by Meir Aron Goldschmidt
• “Pulling up Fishtraps” from Das Los unserer Stadt (Olten,1959) by Wolfdietrich Schnurre

In January I received a grant of $824 from the Danish government agency Kunststyrelsen for translating five short stories into English.

In other literary translation news, Michele McKay Aynesworth has edited the latest edition of Beacons, a publication of the Literary Division of the American Translators Association. Liliana Valenzuela and Tony Beckwith were also involved in this production: they collaborated on the translation into Spanish of some short fiction from the book Unlucky Lucky Days by Daniel Grandbois.

At the meeting on Saturday (Jan 5), during the announcements, I announced the passing of our colleague and friend, Leslie Willson. I quoted from Mike Conner’s earlier posting and to some extent from the obituary in the paper, which gave a few insights into Leslie’s life.

His story reminds us of the myriad ways in which translators find their languages and their destiny: World War II interrupted Leslie’s plans for a writing career and he left the University of Texas to join the army, where he discovered he had a gift for German, in which he soon became fluent. He was later assigned to a top secret operation known only by its mailing address “P. O. Box 1142” where he and others used their language skills to great effect in the war effort.

That sounds like a blurb for a great movie, one of those black-&-white ones with steely-jawed men in fedoras and women who always used a really long cigarette holder, dahling! In his photo, Leslie looks as though he starred in his own movie – which sounds like one definition of a happy life.

When I finished reading about him, I asked the old question: Where do old translators go? And it occurred to me that old translators never die because they live on in their works. Not just in literary translations of books and poems, but in the countless documents of all kinds that translators work on day to day. The manuals and labels and patents and contracts. The signs and forms and letters and birth certificates. The brochures and instructions and warnings and all the fine print that nobody ever reads.

All those words were one day invoked by a translator and thenceforth entered the canon of their time and space as the issue of their creators – as the fruit of their lives, the essence of their very own synthesis, an expression of their being. Translators make the world a little more understandable, which is an honorable occupation. Leslie Willson did, and we salute him for it.

The next AATIA Literary Special Interest Group will meet Saturday, January 12, from 2 to 4 p.m. Traci Andrighetti will present an excerpt from Rossana Campo’s The American Actor for review. Contact LitSIG Coordinator Marian Schwartz for directions. By way of introduction, Andrighetti had this to say:

This excerpt is from the latter pages of Rossana Campo’s The American Actor, a novel about an Italian journalist who decides to spend the holidays in New York hunting down an American actor with whom she had a one-night stand following the opening of his latest film in Paris, where she lives and works.

At this point in the story, our protagonist is in the process of discovering that the actor, Steve Rothman, with whom she is by now completely infatuated, is less like his character in the recent love story he has made and more like his characters in the gratuitously violent films “Dangerous Men” and “Bloody Brothers.”

Incidentally, the “storm” she refers to in the opening sentence of the excerpt has to do with the first sign she has seen of Steve’s dark side the previous evening.

Rossana Campo, born in Genoa to Neapolitan parents in 1963, writes novels, short stories, and theater. Her writing, recognized as part of an innovative literary style known as “New Fiction,” incorporates youth jargon and irony in the depiction of issues affecting the lives of women and has earned Campo recognition in Italy and abroad. She was a finalist in 1994 for the Premio nazionale di narrativa Bergamo and again this year for the Premio Ricercare. In 1999 her first novel, In principio erano le mutande (Feltrinelli, 1992), was made into a film directed by Anna Negri, for which Campo co-wrote the screenplay. In addition, several of her novels have been translated into Spanish, German and French, and one of her short stories has appeared in English.

Despite the paucity of her work in English translation, Campo’s fiction is often the subject of study in universities in both the United States and Great Britain. Because her work is closely related to the American postmodernist culture of quotation and parody, I believe that Campo would enjoy a wide audience in the United States. Unfortunately, not all of the university presses I have approached agree with me.

Literary Special Interest Group