“The Complete Review Guide to Contemporary World Fiction provides an entry point and more general overview of various nations’ literatures, as well as a foundation to help readers navigate what is available on the internet.”
Years ago, I was so busy burning through the ‘canon’ of British and the American literature, I didn’t give a great deal of thought to reading books in translation. Certainly, I read the Greats–the ones most of us come across in university courses, and I can comfortably say that almost everything assigned, I loved. Tolstoy, Madame Bovary, etc. etc. Well, why bore anyone–after all most of us have read those same books… It’s only been the past few years that I really became interested in books in translation, and again, not as a topic, but the awakening probably began through curiosity about crime novels in translation. Of course, there are a handful of publishers who do a marvelous job of bringing books to the shelves that we would not have otherwise–special thanks here must go to the publisher of international crime titles, Bitter Lemon Press who delighted me, repeatedly, with Claudia Piñeiro.
Thanks to the efforts of some publishers I’ve read some marvelous books in translation, but let’s face it, beyond the Great Novels, it’s almost impossible to ‘break’ into a country’s literature without some sort of help. Someone who can point us in the right direction … And that brings me to The Complete Review Guide to Contemporary World Fiction from M. A. Orthofer—a must-have reference volume for any reader seeking to broaden the reading experience. And I’m going to add here that ‘reference’ book sounds a bit ominous, and yet this book is very accessible, very readable, and very well organized. Don’t miss reading a page of this book.
The intro begins very informatively laying out the current publishing situation in America with “only a few hundred” translated books hitting the market very year. Orthofer points out that we “are arguably spoiled for choice,” and that’s a good way of putting it as when I visit a brick and mortar book shop, I see row upon row of new books but very little captures my attention. But things aren’t bleak at all: Orthofer states “an established group of smaller publishers that have found success in focusing largely or exclusively on fiction in translation,” are shaking up our choices, and that we may very well be “entering a golden age of literary dissemination and exposure.” The goal of Orthofer’s book, then is to “lead readers into and through this rapidly expanding world.”
Does this volume accomplish this admirable goal? Yes indeed it does. I can’t remember ever being this excited about a reference book, so that should tell you something. Here’s a quote I loved:
When publishers in the United States do seek out translated works, they often take their cues from elsewhere. Critical acclaim, literary prizes, and best-seller status–preferably in several different markets, rather than just the original local one–are prerequisites for most foreign fiction to be considered for the American market, especially by large commercial publishers. The herd mentality is widely practiced elsewhere as well, leading to a narrow, homogenous tier of international fiction that is widely available throughout the world and in many languages whereas excellent works from less internationally celebrated authors can struggle to find the recognition and readers they deserve. Even though exceptional works do come into circulation this way, too often it is the second-rate works-the earnest prizewinning novels and imitative local thrillers that make the cut and disappoint readers (with their mediocre quality) and publishers (with their low sales).
Orthofer goes on to explain that “smaller and more nimble publishers” are bringing a “broader and more innovative range of foreign fiction to American audiences,” but as we all know, these publishers have “fewer resources.”
Another quote I must add, simply because I’d never come to this conclusion, even though I loathe a lot of the mush being published here:
Readers in the United States seem to prefer that in this nation of immigrants and assimilation, their authors become recognizably Americanized beyond writing in English. Nostalgia for the old country is permissible, but America should be the reference point. The durable formula of combining ethnic background and American contexts has proved remarkably successful, and variations on the multigenerational, transnational historic saga are the most popular kind of vaguely foreign fiction-as long as they are strongly tied to present-day America: The Joy Luck Club, to name just one title out of thousands, is indicative of this phenomenon.
Finally I understand The Joy Luck Club’s success. I’ve been baffled about that for years. And that brings up another point–probably a fairly obvious one–that “the success of a movie version can lead to the rebranding of a book” for the American market.
I knew I loved this book when Orthofer mentioned a pet peeve of mine when it comes to foreign crime series:
publishers also continue to present foreign series out of sequence. When new authors are introduced into translation, American and British publishers generally select the particular volume they believe will appeal most to English-speaking readers, and in the case of mystery series, this is rarely the first volume. If more work by the author is deemed worth translating, publication may be haphazard, a major irritant when authors develop their characters across several books.
Rants and excitement aside, I cannot empathize enough what a great resource this book is. Countries and/or regions are separated geographically into chapters. First we get an overview of the books considered classics, then the important writers of the 20th century (with brief descriptions of their work), sections about more modern writers and then there’s a ‘Keep in Mind’ section in some of the chapters. There’s a section called Eastern Europe which goes into some detail regarding how the collapse of Communism impacted the book market. Apparently modern Russian books are a much harder sell than books published in the Soviet era. Some chapters are shorter than others, which is to be expected, and if a reader is knowledge about a specific country’s literature, I’m sure he/she will argue that a name or two has been omitted or disagree with the author’s opinions.
I came away from this guide with a long list of new names, more book titles to read, and a determination to increase support for publishers bringing translated fiction to the marketplace. I should add, though, that getting this knowledge doesn’t solve all the problems. Just check out the price of Lucky Per, a classic from Danish author Henrik Pontoppidan. The paperback on Amazon is 82.95 (as of 6/25/16) with private sellers running about $20 less. But on a positive note, I found plenty of other contemporary titles, some out of print, very reasonably priced.
Special thanks to Karen from BookerTalk for turning me onto this book in the first place. This book is going on my Best-of-Year list.