May 14th, 2012

Fun and Games, by Sara Lippmann

fwrictionreview:

I’m trying to tell him what it was like.

My brothers played foosball. In my mother’s closet among party dresses suffocating in bags I’d hide while in the basement rods spun and missed. Sometimes I’d carry a jar of olives, but usually I kept my hands free in case the KKK should happen to hop the porch and catch the wink of chrome on our doorpost and torch it all down to reach me. 

That’s reasonable. The Ku Klux Klan in suburban New Jersey, he says, toothpaste foaming. 

I vow to try harder. 

It was a game, I insist.

He spits.

You mean Jehovah’s Witness, he says, coming out of the bathroom. I had a classmate once who wouldn’t stand for the Pledge of Allegiance. Wore burgundy bloomers and smelled like canned spaghetti; now, there’s a home life.

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Reblogged from fwriction : review
May 13th, 2012
Whatever else is unsure in this stinking dunghill of a world a mother’s love is not.
James Joyce (1881-1941)

(Source: thetinhouse)

Reblogged from
May 10th, 2012

Photos from the PEN World Voices Festival Closing Party, including:

√ A gorgeous photo of Associate Editor Laura Brown with Etgar Keret (and Editor Danny Goodman off to the side, looking certifiably insane)

√ Editor Danny Goodman sharing stories with PEN author and fwriction : review contributor Róbert Gál

√ PEN author and fwriction : review contributor Róbert Gál conversing with David Goldfarb of the Polish Cultural Institute 

(Source: flic.kr)

May 9th, 2012

An Editor’s Welcome: Laura Brown on Translation at fwriction : review

It gives me great delight to announce fwriction : review’s call for submissions for our new Translation section. I hope everyone read and enjoyed this week’s issue, an excerpt from Erwin Uhrmann’s novel, The War Beyond, translated by Shelley Frisch, as it marks our launch into publishing works of translation. 

World Literature is a style of writing that I have long admired. I remember in college reading a deteriorating copy of Asylum Arts’ Echoes of Baudelaire, with the original rhymed French printed on the left and its English translation on the right. I remember trying to decode “L’Invitation au voyage’s” precise meaning, my eyes darting from left to right to left again. 

In addition to publishing the English translation, to supplement the reading experience I will be asking each translator three questions pertinent both to the text and the art of translation, called the Translator Trio. Shelley Frisch, fwriction : review’s first translator, kick-starts this section, providing a unique insight into her process of translating The War Beyond. With the Trio, we want to call attention to the work and art and presence of the translator, an imperative in making these texts understood and known.

It also seems appropriate to announce our launch of translated writing on the heels of the PEN World Voices festival last week and my interview with the Chair of the PEN Translation Committee, Susan Bernofsky. It is with the same energy I found at PEN, in introducing foreign authors and advocating for their writing, that we welcome World Literature to our fwriction : review home.

Please review our new guidelines on translations before submitting. Any questions you may have, feel free to email me directly. We ask you to please spread this good news, and to please keep on reading.

May 9th, 2012

“The graves,” I asked Nenad, “why are so many dates of death left blank?”

I kneeled down at a grave to read the inscription on the stone. Once again, Nenad looked around frantically. The date of birth was engraved in red.

“They’re still alive,” Nenad said, and flicked around in his pockets. “The date of death is entered when people die. When a family member dies, the birthdates of the spouse, the father, or the mother are engraved on the stone.”

There were wedding photos, men who had most likely died during the war in the 1990s. And the relationship to a deceased person was inscribed.

He is already waiting for her,” I sneered.

Nenad gave me a long hard look. Eventually he smiled.

“What happens if someone gets remarried?”

“Marriage is sacred in Serbia,” Nenad said.

“It’s like the Mafia.”

“During the war, tradition was important for many people.”

The stone in front of me was shiny black. All these wars set in motion, all across the world.

“Not for everyone.”


Erwin Uhrmann, from The War Beyond, translated from the German by Shelley Frisch

May 8th, 2012
My great-aunt was murdered by a nurse, at some point in the 1980s where there was a hole, a glittering hole brimming with neon light, tragedy, and glamour. And there, in a house with dark drapes, emerald-colored wall fabrics, and sheepskins on smooth parquet floors, is the place where I grew up. Racks of books, where I slid along the top shelf and flew by, pulling them with me, and they came tumbling down upon me. Somber music, smoky glass surfaces, and beige and brown gave me a sense of comfort and shielded me from the fear outside. Everything was fear. Fear and non-fear were black on black.
Erwin Uhrmann, from The War Beyond (translated by Shelley Frisch)
May 7th, 2012
Translation is a highly addictive, and deeply satisfying, pursuit. It allows you to explore the linguistic dimensions of a vast array of subjects, and to throw yourself headlong into fields of inquiry you might never have engaged with otherwise, all the while tugging at the limits of your language.
Shelley Frisch, in discussion with Associate Editor Laura Brown for the first Translator Trio, regarding translation and her work on Erwin Uhrmann’s The War Beyond
May 4th, 2012
May 4th, 2012

Read the first issue of fwriction : review’s Fiction Month—Erwin Uhrmann’s novel excerpt from The War Beyond—on your mobile device!

In addition, check out our first Translator Trio, with Associate Editor Laura Brown in conversation with translator Shelley Frisch regarding her translation of Uhrmann’s writing.

May 4th, 2012
The Wigleaf Top 50 (Very) Short Fictions of 2012 list is out, and it’s pretty amazing! 
We are very excited to have Jen Knox’s short story, “Types of Circus,” make the Top 50 shortlist… Congratulations, Jen! In addition, Anthony Luebbert’s “The Education of the President’s Dog Quincy” made the Longlist! 
We really do have the best contributors, ever.
In fact, the following fwriction : review contributors made the list (shortlist chosen by Dan Chaon) for the brilliant work they published: Mensah Demary, Sara Lippmann, Meg Pokrass, Myfanwy Collins, Roxane Gay, Howie Good, Gary Percesepe, and Robb Todd.
Best. Ever.

The Wigleaf Top 50 (Very) Short Fictions of 2012 list is out, and it’s pretty amazing! 

We are very excited to have Jen Knox’s short story, “Types of Circus,” make the Top 50 shortlist… Congratulations, Jen! In addition, Anthony Luebbert’s “The Education of the President’s Dog Quincy” made the Longlist! 

We really do have the best contributors, ever.

In fact, the following fwriction : review contributors made the list (shortlist chosen by Dan Chaon) for the brilliant work they published: Mensah Demary, Sara Lippmann, Meg Pokrass, Myfanwy Collins, Roxane Gay, Howie Good, Gary Percesepe, and Robb Todd.

Best. Ever.

May 3rd, 2012

Translator Trio: Shelley Frisch

For each translated work published by the journal, Associate Editor Laura Brown will ask three questions of the translator, in order to illuminate the joys garnered and bruises earned during the literary process of translation. First up, translator Shelley Frisch, whose translation from the German of Erwin Uhrmann's novel excerpt from 'The War Beyond' is currently live at the journal.
LB: What inspired you to become a translator?
SF: I came to translation by way of my academic studies of writers who fled Hitler’s Germany, and the role translation came to play in their assimilation to a new homeland. My first published translation was a piece in Simon Wiesenthal’s now-classic volume called 'The Sunflower: On the Possibilities and Limits of Forgiveness.' Simon Wiesenthal had solicited responses from intellectuals around the world as to what they would have done if they had found themselves in his situation during the Hitler years. The situation was this: while imprisoned in a concentration camp, Wiesenthal was confronted by a dying SS soldier who sought to confess to—and obtain absolution from—a Jew. Wiesenthal opted instead for silence. He later wondered: “Was my silence at the bedside of the dying Nazi right or wrong? This is a profound moral question… ask yourself the crucial question: ‘What would I have done?’” The 46 respondents in this collection included Cynthia Ozick, Dith Pran, the Dalai Lama, Primo Levi, and many others from around the world, including many contributors who wrote in German. Their responses ran the gamut.
After 'The Sunflower,' book projects started coming my way. Books about historical and literary figures who straddle cultures have become my stock in trade. My translations of their stories attempt to preserve the in-between quality of their identities as reflected in their linguistic expression.
Translation is a highly addictive, and deeply satisfying, pursuit. It allows you to explore the linguistic dimensions of a vast array of subjects, and to throw yourself headlong into fields of inquiry you might never have engaged with otherwise, all the while tugging at the limits of your language.
LB: How did you come to work on Erwin’s novel?
SF: I was contacted by the Austrian Cultural Forum in New York, which annually partners with other cultural institutions to sponsor the “Neue Literatur Festival” to present young writers from Germany, Switzerland, and Austria to American readers and publishers, and was asked whether I would agree to translate an excerpt of Erwin Uhrmann’s novel 'Der lange Nachkrieg' ('The War Beyond'). I leafed through the novel, and was intrigued by the protagonist’s pull to his real and imagined past, and the author’s inspired use of language. The excerpt was a joy to translate.
LB: Was there a particular section or sentence in Erwin’s piece that was particularly tricky to translate?
SF: Every sentence of every text resists translation, but the arguably trickiest part of any text is its title. Often, the translator’s working title is transformed once the publisher’s publicity department has weighed in with “marketable” alternatives to the working title. In the case of Erwin’s novel, the choice was left to me, but I contacted him so we could work it through together, and a delightful set of brainstorming sessions ensued over the balance between the psychological and military/political dimensions of the war implied by the book’s German title. At the eleventh hour, we had our “eureka moment,” a title, and a lot of fun in the process.
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