Category Spanish
Foreign Bodies: Margarita García Robayo’s “Holiday Heart,” translated from Spanish by Charlotte Coombe
The uncomfortable, ailing human body is foregrounded in this thematically dense novel, a fable about problematic motherhood and the hard labor of forging epistemological change in the 21st century.
Live on August 31, 2020: Special Issue on Elena Ferrante’s New Novel “The Lying Life of Adults,” Translated by Ann Goldstein
Elena Ferrante and the Question of Gender, Pseudonyms, and Authorship
Anna Karenina, Recomposed: Carmen Boullosa’s “The Book of Anna,” translated from Spanish by Samantha Schnee
The Book of Anna hinges on a paradoxical fantasy: rescuing Anna Karenina from Tolstoy.
On Sex and Death: Vicente Huidobro’s “Skyquake: Tremor of Heaven,” co-translated from Spanish by Ignacio Infante and Michael Leong
Composed as twin originals in Spanish and French between 1928 and 1931, this roving long prose poem witnesses the perpetual, agonized yearning of separated lovers seeking one another across eternity and infinity, where they collide—gloriously—on occasion, before scattering through the universe once again.
Foreign to Literature: Humor, Allusion, and Exophony in Aleksandra Lun’s “The Palimpsests,” Translated by Elizabeth Bryer
By Patrick Powers When I first read Elizabeth Bryer’s translation of Aleksandra Lun’s debut novel, The Palimpsests, back in January, I didn’t like it very much. I didn’t know what to say about it, so I didn’t write anything. After a few months, having left for and returned home from Russia after the onset of the global pandemic, […]
A Terrible Beauty is Born: Fernanda Melchor’s “Hurricane Season,” Translated from Spanish by Sophie Hughes
By Emma B. B. Doyle The title of Fernanda Melchor’s Hurricane Season (La temporada de huracanes), translated by Sophie Hughes, takes its name from the many months in Mexico when you can look up at the sky and expect it to explode at any moment. This reliable forecast of disaster carries a similar tension to […]
Cardboard Conscious: Translation in Community
By Kelsi Vanada My favorite books of translated poetry to hold in my hands are no ordinary paperbacks: they are made of cardboard and screen-printed cardstock and hand-sewn signatures, crafted by independent publisher Cardboard House Press (CHP)’s Cartonera Collective in Phoenix, Arizona. I delight in handling them, rotating them to read the poems placed horizontally […]
Imaginings of Empty Spaces: “The Adventures of China Iron” by Gabriela Cabezón Cámara, Translated from Spanish by Fiona Mackintosh and Iona Macintyre
By Robin Munby “I was definitely getting a taste for them, kisses from girls and gay gauchos” (132), says China, the eponymous narrator of The Adventures of China Iron, reflecting on the previous evening’s drunken orgy. Though set in the mid-19th century, you would be hard-pressed to find much common ground between the “erotics of […]
Masculinity’s Menace: Ángelo Néstore’s “Impure Acts,” Translated From Spanish by Lawrence Schimel
By Griffin Nosanchuk Ángelo Néstore has already accrued a vast array of accolades at the age of thirty three. He works as a poet, actor, and professor in the Department of Translation and Interpreting at the University of Málaga in Spain. His collection of poems Actos Impuros won the 32nd Hyperion Poetry Prize. His poems […]
Lines of Flight: Guillermo Cotto-Thorner’s “Manhattan Tropics,” translated from Spanish by J. Bret Maney
By Sergio Gutiérrez Negrón Caribbean literary archives are very much like those metaphoric sea shores where the leftovers of shipwrecks of the past constantly wash up. A few years ago, in an important anthology of Puerto Rican narrative published in Venezuela, novelist Marta Aponte Alsina put it best when she wrote that the literary critic […]
Slipknots: Jorge Eduardo Eielson’s “Room in Rome,” translated from Spanish by David Shook
By Olivia Lott Room in Rome introduces English-language readers to the work of essential Peruvian poet Jorge Eduardo Eielson (Lima, 1924––Milan, 2006) through David Shook’s translation. A member of Peru’s “Generation of 1950,” Eielson is best known for his borderless aesthetic practice, which includes poetry, narrative, theater, visual arts, performances or “actions,” and syntheses that […]
Sentimental Education: Berta García Faet’s “The Eligible Age,” Translated from Spanish by Kelsi Vanada
By Lucina Schell Fidelity is often considered a virtue in translation, especially when the translator is female. So what happens when a young female poet writing in English decides to translate a feminist work of great rhetorical sophistication by a young female poet writing in Spanish that specifically plays with the idea of an aesthetic […]
Silvina Ocampo’s Queer Eye: “Forgotten Journey,” translated by Suzanne Jill Levine and Katie Lateef-Jan; and “The Promise,” translated by Levine and Jessica Powell
By Dorothy Potter Snyder Do I contradict myself? Very well then I contradict myself, (I am large, I contain multitudes.) —Walt Whitman, Song of Myself Es tan corto el amor y tan largo el olvido. — Chavela Vargas Queerness resists definition and finds expression in the manifold array of ways of being and seeing in […]
Clinical Erotics in Luis Panini’s “Destruction of the Lover,” Translated from Spanish by Lawrence Schimel
This month, in memory of our contributor Professor Jed Deppman who founded the Oberlin College Translation Symposium, instituted a literary translation minor, and taught courses in literary translation and comparative literature, we are featuring three reviews by Oberlin College Comparative Literature graduates and students, taught and trained by Professor Deppman and other Oberlin College faculty. Professor […]
Light Detained by Bones: Miguel Ángel Bustos’s “Vision of the Children of Evil,” translated from Spanish by Lucina Schell
By Jessica Sequeira The two books gathered in this 2018 co•im•press translation as Vision of the Children of Evil, translated by Lucina Schell—“Fantastical Fragments” (1965) and “Vision of the Children of Evil” (1967)—were written in the decade before the military coup in Argentina, and it is understandably tempting to view them through a biographical lens. […]