{"id":1057,"date":"2019-08-23T17:00:49","date_gmt":"2019-08-23T16:00:49","guid":{"rendered":"http:\/\/blogs.exeter.ac.uk\/translatingwomen\/?p=1057"},"modified":"2019-08-23T17:00:49","modified_gmt":"2019-08-23T16:00:49","slug":"building-bridges-interviews","status":"publish","type":"post","link":"https:\/\/sites.exeter.ac.uk\/translatingwomen\/2019\/08\/23\/building-bridges-interviews\/","title":{"rendered":"Building Bridges: Translating Women interview series 2019"},"content":{"rendered":"

In the springtime this year, I published a remarkable interview with translator Sophie Hughes<\/a>. Shortly after Sophie’s interview I received a small grant to travel across the UK and turn this into a series, interviewing translators, publishers and publicists to explore the barriers facing women in translation, and the ways in which these might be broken down. Later this year I\u2019ll be publishing the rest of the interviews here, but what strikes me most as I transcribe them is how many ideas recur \u2013 explicitly or implicitly \u2013 across the many and varied responses to my questions. So I am offering this \u201cprelude\u201d by setting extracts from each interview in dialogue with one another: I hope you find this as fascinating as I do, and I look forward to sharing the full interviews with you in due course.<\/p>\n

I am very grateful to all these dynamic and talented interview participants. Their goodwill, good humour and wisdom are inspiring: every single person I approached agreed to meet with me, and gave freely of their time and their thoughts; my appreciation is matched only by their generosity.<\/p>\n

\"\"<\/p>\n

On source cultures<\/h2>\n

SOPHIE HUGHES: \u201cwhenever [women writers] sit at their desks to write, the blank page is the least of it; it\u2019s when their page is full that the battle begins\u201d<\/p>\n

SOPHIE LEWIS: \u201cWomen do struggle to get published outside the Anglophone world; they have so many things against them. They struggle to get published, and to get published well \u2013 in big enough numbers and with a big enough marketing campaign behind them \u2013 to make an impact. So they then don\u2019t win prizes. Everything is against them.\u201d<\/p>\n

BECCA PARKINSON & ZO\u00cb TURNER:\u00a0\u00a0\u201cWith our\u00a0Reading the City<\/em>\u00a0anthologies, we try to find a 50-50 split of men and women with the authors and the translators if it\u2019s possible. It\u2019s not always possible. There are some countries or cities where we go and we simply can\u2019t find the women writers,\u00a0sometimes\u00a0because they\u2019ve been so suppressed, or because they\u2019re scared.\u201d<\/p>\n

NICKY HARMAN: \u201cThere are very many women authors in China. I don\u2019t know whether there are more males than females. But I know who gets the prizes: it\u2019s men who get the prizes.\u201d<\/p>\n

JEN CALLEJA: \u201cThere are issues in the whole infrastructure, and then in the publishing industry there still isn’t parity for women being published in English, let alone in translation. And then in reviewing culture, we know that women aren\u2019t reviewed as much as men. So the problem is from the top to the bottom. There are obviously other issues, such as class, so for example if you translated a woman, because of the class structures in other countries you\u2019re translating women who are predominantly upper or middle class: they get translated, but what about all the working-class authors?\u201d<\/p>\n

On the importance of translated literature<\/h2>\n

ANTONIA LLOYD-JONES: \u201cI feel that if we understand another culture, if we read its books, watch its films and so on, then we find out that we\u2019re all very much\u00a0the same. And to me that\u2019s \u00a0important, it’s\u00a0something we need in today’s\u00a0world.\u201d<\/p>\n

JEN CALLEJA: \u201cWe push for translation into English because we need it. I mean that in an existential, soul sense; we\u2019re starving for outside voices.\u201d<\/p>\n

NICCI PRA\u00c7A: \u201cI see translated literature growing,\u00a0particularly if our borders shrink, but especially because younger generations, from the millennials down, are really keen to find out about what\u2019s going on around the world.\u201d<\/p>\n

CAROLINA ORLOFF: \u201cAll of the Charco books so far stem from an impact in the societies of origin that I hope will translate into the English-speaking society. They bring philosophical questions, universal questions that are important for all of us, whatever the language or the society. And the translators have to understand, have to have a relationship with the story, the book, the universe that they\u2019re going to translate, that is beyond the semantics of the language.\u201d<\/p>\n

BECCA PARKINSON AND ZO\u00cb TURNER: \u201cPeople will automatically go for something that they think they will relate to. And if we\u2019re not being shown that we can relate to these works from other cultures across the world, if they\u2019re being \u2018othered\u2019 in our narratives, then without even thinking about it people won\u2019t pick them up.\u201d<\/p>\n

C\u00c9CILE MENON: \u201cI\u2019m publishing books that I think will have a connection with the previous books that I\u2019ve published. And yes, which I think are relevant to a British readership.\u201d<\/p>\n

On barriers<\/h2>\n

CHARLOTTE COOMBE: \u201cTranslated literature already faces one hurdle, its perceived \u2018foreign-ness\u2019 which some (not all) publishers and booksellers see as a barrier to sales. Then if you throw \u2018women\u2019s\u2019 into the mix, the hurdle doubles in height.\u201d<\/p>\n

ANTONIA LLOYD-JONES: \u201cOne reason why the translator\u2019s name should be visible is that we\u2019re still having \u2013 in translation into English in particular \u2013 to change the imbalance in attitude to books that are\u00a0published in English and books\u00a0published in translation. People have a\u00a0kind of allergy to things foreign. And look what\u2019s happening to our world: there are all sorts\u00a0of\u00a0barriers going up, but\u00a0I feel I\u2019m a barrier remover, I want people to feel they can read anything from everywhere, and not have a\u00a0mindset that\u00a0says \u2018Oh, that\u2019s foreign, so\u00a0it’s not for me’ or ‘That\u2019s translated, so it can\u2019t be any good.\u2019 Unfortunately that attitude\u00a0does exist, a lot of people think like that without even being aware of it. So the more you normalise translated literature\u00a0by having the translator\u2019s name mentioned\u00a0alongside the author’s, the more it simply\u00a0becomes an accepted part of all\u00a0literature. And that should be the normal state of affairs.\u201d<\/p>\n

CAROLINA ORLOFF: \u201cThat duality \u2013 on one hand we\u2019re keen to give prominence to our translators, they\u2019re always on the cover of our books, as well as our copy editors, who are always on our back cover, but then on the other hand, we want to overcome this block from so many readers in relation to translated fiction, that they would immediately understand translated fiction as something that\u2019s niche, difficult, too complex, and we just want to prove that that\u2019s not the case. So it\u2019s a balancing act, that we try to do with every book.\u201d<\/p>\n

NICKY HARMAN: \u201cI think Chinese women writers all acknowledge the fact that they have less visibility … there\u2019s certainly a dominance of men amongst writers and publishers.\u201d<\/p>\n

On the publishing industry<\/h2>\n

SOPHIE LEWIS: \u201cI think publishers need to go a little bit further in the work that they do, or in the tentacles that they reach out, assuming that they do, in order to hunt down the women that they want to publish, to give them a better chance of making it over into another language.\u201d<\/p>\n

NICCI PRA\u00c7A: \u201cSmall independent publishers who publish women in translation are activist publishers. They\u2019re the ones who\u00a0see that there is that there is a gap in the market which needs to be filled.\u00a0 I think that\u2019s why I prefer independent publishing, because a lot of it is driven by gaps in markets and people\u2019s passion to fill those gaps.\u201d<\/p>\n

CAROLINA ORLOFF: \u201cIndependent publishers working with translations have an opportunity to change that balance, to re-balance as it were, and make that balance right, to bring women\u2019s voices to be at the same level as their male counterparts.\u201d<\/p>\n

NICKY SMALLEY: With translation specifically, there\u2019s a real issue of women in other countries not necessarily getting the acclaim that brings them to our attention. This is definitely not an excuse, but if those women writers in other countries are not getting the acclaim for their writing that they deserve, then they\u2019re not going to find agents who will take them into English. So that\u2019s a key issue. And it\u2019s a push and pull thing, because if English-language publishers are looking for more writing by women, then you create an awareness in other countries that this is something that\u2019s desirable.\u201d<\/p>\n

C\u00c9CILE MENON: \u201cGenerally, the books that I take on are by authors who haven\u2019t been translated into English before, have been overlooked. They were considered as too niche or not commercially viable. A prime example of that was Translation as Transhumance <\/em>by Mireille Gansel, translated by Ros Schwartz, which turned out to be one of our two best-selling titles and was selected for events at Jewish Book Week and the Edinburgh International Book Festival.\u201d<\/p>\n

ROS SCHWARTZ: \u201cIndependent publishers are essential, because they can make those decisions and there\u2019s no finance department telling them they can\u2019t do it. And booksellers are essential as well.\u201d<\/p>\n

On readers and booksellers<\/h2>\n

SOPHIE HUGHES: \u201cA truly wonderful thing about literature is that it\u2019s never too late to redress the imbalance [\u2026] every writer has their time to be read. All of those silenced voices are still out there, waiting to be read<\/em>. It is still perfectly within our power to do those writers the service of reading them.\u201d<\/p>\n

CAROLINA ORLOFF: \u201cWe\u2019ve had a lot of support from small independent bookshops, but there needs to be a bigger movement from bigger companies, where they give more prominence to other regions or small publishers, because if you don\u2019t see a book then you might not buy it. If Waterstones, for example, give prominence to a particular publisher, it can have a real impact. So we can only hope. We need to provide a more diverse array of fiction and worlds and voices for people to read \u2013 or not read, but our commitment is that they should be there.\u201d<\/p>\n

BECCA PARKINSON AND ZO\u00cb TURNER: \u201cWe need to get people over the idea that if it\u2019s translated it\u2019s going to be difficult. Maybe bookshops and libraries need to give us a bit of a hand in the marketing. You need a bookseller or a librarian or a reviewer to pick a book up and say \u2018this is special\u2019 and add their voice to yours. But especially as an indie, you\u2019re going up against much bigger dogs in the industry, and then you\u2019ve got Amazon, you\u2019ve got a lot of people fighting against you. You\u2019re not getting your books on the Waterstones front tables, you\u2019re not on the Amazon homepage, so how do people find you? But the audience is there, and it\u2019s growing.\u201d<\/p>\n

NICKY SMALLEY: \u201cPublishers are obviously gatekeepers to an extent, but different publishers have different degrees of power in their gatekeeping, as do booksellers. So a chain like Waterstones has the power to make or break a writer.\u201d<\/p>\n

On activism<\/h2>\n

JEN CALLEJA: \u201cPeople are still challenging the idea that there is gender bias in literature, and so firstly there has to be an acceptance that it exists. You have people who are consciously opting into publishing women, making those kind of changes, but it has to be a long-term thing. So it might be that for the next year or two people make a big thing of publishing women to push it forward. But people are so reactionary against that kind of positive discrimination without really acknowledging what comes before it. It doesn\u2019t happen in a vacuum, it happens in a historical context. So it\u2019s about making some real choices about women in translation, making an effort to work with women translators, using that as a consultancy basis to find more women.\u201d<\/p>\n

BECCA PARKINSON AND ZO\u00cb TURNER: \u201cIf more festivals invited over authors who aren\u2019t from the UK and fought those visa battles, there wouldn\u2019t be a news story about visas getting turned down. That shouldn\u2019t be news, it shouldn\u2019t be happening in the UK, but this insular atmosphere at the moment is focusing on British authors. It\u2019s just so wrong and the opposite of what we should be doing.\u201d<\/p>\n

CHARLOTTE COOMBE: \u201cThe more we talk about books by women or translated by women, the more mainstream this thinking becomes. And more normalised, less \u2018niche\u2019. Women are not niche. But women\u2019s writing is perceived as such.\u201d<\/p>\n

SOPHIE HUGHES: \u201cGender equality to me doesn\u2019t mean always finding an equal number of women and men to read, review, publish, laud. It is about calling out injustices in order to slowly forge new taboos: for example, the taboo of talking over<\/em> or speaking for <\/em>women\u201d<\/p>\n

ROS SCHWARTZ: \u201cWhat we can do about it is that as translators, we need to seek out those books and take them to publishers. It\u2019s as simple as that. Publishers are busy people, they get bombarded the whole time from every foreign publisher on the planet sending them books for consideration. And the only way we can change things is by actually seeking out really brilliant books and taking them to publishers. And that does happen, and it is happening.\u201d<\/p>\n

To be continued…<\/h2>\n

With thanks to:<\/h2>\n

Jen Calleja<\/strong>, translator from German
\nCharlotte Coombe<\/strong>, translator from Spanish
\nNicky Harman<\/strong>, translator from Chinese
\nSophie Hughes<\/strong>, translator from Spanish
\nSophie Lewis<\/strong>, translator from French and Portuguese; co-founder of Shadow Heroes
\nAntonia Lloyd-Jones<\/strong>, translator from Polish
\nC\u00e9cile Menon<\/strong>, director of Les Fugitives
\nCarolina Orloff<\/strong>, co-director of Charco Press
\nBecca Parkinson<\/strong>,\u00a0engagement manager at Comma Press and Zo\u00eb Turner<\/strong>, publicity and outreach officer at\u00a0Comma Press
\nNicci Pra\u00e7a<\/strong>, formerly publicist for Fitzcarraldo Editions; manager of Amnesty Kentish Town bookstore
\nRos Schwartz<\/strong>, translator from French
\nNicky Smalley<\/strong>, publicist for And Other Stories<\/p>\n","protected":false},"excerpt":{"rendered":"

In the springtime this year, I published a remarkable interview with translator Sophie Hughes. Shortly after Sophie’s interview I received a small grant to travel across the UK and turn this into a series, interviewing translators, publishers and publicists to explore the barriers facing women in translation, and the ways in which these might be […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[13],"tags":[81,103,131,179,193,195,199,235,485,541,661,663,665,785,861,863,1073],"acf":[],"yoast_head":"\nBuilding Bridges: Translating Women interview series 2019 - Translating Women<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sites.exeter.ac.uk\/translatingwomen\/2019\/08\/23\/building-bridges-interviews\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Building Bridges: Translating Women interview series 2019 - Translating Women\" \/>\n<meta property=\"og:description\" content=\"In the springtime this year, I published a remarkable interview with translator Sophie Hughes. 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