Flash Fiction: Man on Train

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The man sits beside me, his suited belly pressed against the table, his laptop open, a mouse plugged in. The train sways and we all sway with it. The man pulls a handkerchief from his trouser pocket, sneezes into it and blows his nose vigorously. Five minutes later: handkerchief, sneeze, blow. And again. The fourth time the sneeze comes unexpectedly with only his hand to contain it. From the corner of my eye I see him run the length of his tie between his fingers. His hand hovers over his computer mouse, considering, then he holds it and clicks.

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I’ve missed several weeks of Friday Fictioneers – just been too busy. It’s meant to be a short short story inspired by the photo, but this week I have written a scene of 100 words, which is much easier to do than a story, so I’m cheating really (or just easing myself back in gently). Join in here and write your own 100-word flash fiction, or read some other writers’. This week the picture is provided by C.E.Ayr, and the whole is hosted by Rochelle Wisoff-Fields.

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Swimming Lessons

My second novel, Swimming Lessons, will be published in January 2017 in the UK, and Canada, and February 2017 in the USA. Click on the country links to pre-order.

 

Publishing Interviews: The Translator

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I’m lucky enough to have had my first novel, Our Endless Numbered Days, translated into eight languages, with a few more on the way. Swimming Lessons, my second novel, has so far only been translated into German for the publisher, Piper, by Susanne Hoebel, and she has agreed to answer my questions about what it’s like to be a translator of fiction.

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Claire: Hello Susanne. How did you come to be a translator of fiction?

Susanne: It′s what I always wanted to be. (Short of becoming a writer, of course.) French was my first choice, and I remember when still at school trying to translate the opening sentence of L′Etranger by Albert Camus and getting stuck immediately.

Claire: This may be a naïve question, but you only translate from English into German and not the other way around. Why not?

Susanne: This was a hard truth for me to learn: Translators of fiction only translate into their mother tongue. (Translators of technical or legal texts or conference interpreters go both ways, they also  often have more than one foreign language). It turned out alright for me because as a student of English literature I was interested in translating works of English language fiction.  But it meant I couldn′t continue living in England as intended while trying to establish myself with publishers and trying to find translation work.

Claire: When you’ve been given a book to translate by a publisher, what’s your process, and how long does it generally take?

Susanne: Publishers have quite a rigid timetable and assign a translation with a deadline. Usually I have four to five months for a project, and usually that is sufficient.

The process is quite mundane. I start at the beginning and translate every sentence and continue until I have reached the end. I don’t read the book beforehand, as I will be reading it four times at least before I am done with it. I do a first translation that gives me a good idea of what the book is about and what difficulties and tricky aspects there are. I then revise it bearing everything I have learnt about the book in
mind. Choice of vocabulary, tone, register, etc. Quotations, repetitions, place names.
I use real dictionaries, but most other research for which I used to have an encyclopaedia and go to the library, I now do on the internet, although I have books about plants, a technical dictionary, a pictorial dictionary in both English and German and various other reference books which I love. To get a better feel of a word I often use the ODE (a short version of the OED), and with an idea of what the German should be I use a German
thesaurus.Once the revision is done – which can take as long as the initial
translation – I read the whole text again.

The fourth reading comes later when I get the proofs. My last chance to
make changes, so I always take that stage very seriously.

Claire: What type of person do you think makes the best translator?

Susanne: Someone who loves books. Who loves language, both the language and culture of the original work and their own language. Who has the self-discipline to organise their working day and doesn′t get distracted easily. Who has perseverance and stamina. Who can sit down and write day after day (you don′t have to wait for inspiration, it′s all there on the page). Who is interested in details and niceties and never tires of caring for them. Who likes working in solitude and doesn′t miss the camaraderie of the office. Who doesn′t mind disappearing behind or in the original work. Also someone who doesn′t mind not earning a lot of money.

Claire: What is the hardest thing about translating from English into German? Have you come across anything that you would say was untranslatable?

Susanne: There is something untranslatable practically every day. I consider the art of translation as an approximation. Similar to communication, really. Take a word like “lunch″. There are many connotations, not one of which is conveyed if you translate it as ″Mittagessen″, which has a myriad of connotations of its own. Or consider the ambiguity of this sentence: “Flying planes can be dangerous.″ You need two sentences in German to render this. Okay, so you can translate both meanings, but the highly satisfying cleverness of the sentence structure is lost. Hence it is untranslatable.

Claire: What are you trying to achieve when you translate a book?

Susanne: I want the book to be as good a read in translation as it is in the original. Ideally I want the reader not to think of the fact that it is translation. (Most people don′t anyway.) I want the German to shine and be completely idiomatic. I don′t want the original to shimmer through.

Claire: You’ve translated over 80 novels, including books by Nadine Gordimer, John Updike, and William Faulkner. Which has been your favourite to work on?

Susanne: The Novel Light in August by William Faulkner is the highpoint of my life as a8764189 translator. Not only is it the most brilliant book I know, with the most compelling language creating incredibly powerful images and scenes and several storylines that are so cleverly intertwined that the reader is often unaware of being shunted backwards and forwards by the author. It is also the book that my partner Helmut Frielinghaus and I worked on together, and we gave it our complete attention and concentration and worked on every word and every sentence until we had the desired result. It was the most joyous and fulfilling time of both our professional lives. We both loved the book and the work on it.

But there are two – in terms of world literature far less significant – books that I loved to bits when I translated them, and these are Helene Hanff′s The Duchess of Bloomsbury Street and Letter from New York. I was enthralled by Hanff′s loving and engaging look at England, her eagerness to explore everything about it, from leaky showers to Cream Tea at the Ritz, her enchantment with what she discovers. Perhaps this is so because it echoes my own 515qtv75ecl-_sx288_bo1204203200_enduring love affair with England.

Claire: Do you have any advice for anyone interested in becoming a translator?

Susanne: This is a question have been asked by young translators, and every time I have felt moved to say, ″Make yourself a sponge.″ Meaning, soak up everything you can about the culture, the literature and language of your chosen country. Never allow your curiosity to tire, learn as much as you can about it day after day. Read the dictionary. And the literature.

Of course they should also be proficient in their own language and broaden their outlook by reading voraciously in their target language.

Claire: And this is a bit of a cheeky question – were there any particular challenges in translating Swimming Lessons, or Eine englische Ehe?

Susanne: I loved Swimming Lessons from the start, although it has something decidedly weird about it. What fascinated me was the elliptical nature of dialogues and descriptions and the brevity and succinctness with which you render scenes and characters.produkt-13255 I liked the peculiarly hovering language that rarely tells the reader what anything is and leaves everything to conjecture and interpretation leading to different readings of the story.

Sometimes I feel it is sufficient to translate faithfully what is there on the page. At other times I feel I want to creep inside the text and translate form the inside out. The result may not be that different, but obviously with the second approach you employ more empathy, and I felt that it was the best approach for your book.

Claire: Finally can you tell us anything about yourself and your job that would surprise readers?

Susanne: I still love my work and feel lucky every morning when I sit down to work.

I am incredibly grateful when an editor rings up and offers me a new project.

I am glad I am not a writer (despite of what I said at the start, but that was when I was very young) and glad that somebody else has worked out the plot and the action and is in charge of the characters.

I sometimes feel I have stolen the author′s book, because there it is, his or her book, but they haven′t written a single word in it, nor do they understand what is written.

I love being a translator although I often have doubts that translation is really possible or even exists.

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Read my interview with a reader in a literary agency
Read my interview with a literary agent
Read my interview with a Publishing Director at Fig Tree / Penguin
Read my interview with an Art Director at Tin House
Read my interview with a Foreign Rights Agent in a literary agency
Read my interview with an Editor at Tin House

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Swimming Lessons

My second novel, Swimming Lessons, will be published in January 2017 in the UK, and Canada, and February 2017 in the USA. Click on the country links to pre-order.

Publishing Interviews: The Editor

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Today’s interview is with Masie Cochran, Editor at Tin House Books, an independent publisher based in Portland, Oregon. As well as publishing books Tin House also publishes a renowned quarterly magazine and run summer and winter writing schools.

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Claire: Hello Masie. Can you tell me a bit more about Tin House and the kinds of books that make it onto the company’s list?

Masie: I love working at Tin House. It’s a wonderful combination of a small house with a big reach. We publish about 18 titles a year, so each book gets a lot of detailed attention. All of the editors, everyone in publicity and marketing, and everyone in the art department reads every title. Pub day is a family affair. The collaboration Continue reading

Flash Fiction: Paper dream

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In a box labelled Images d’Épinal, Eva found a flat paper model called Statue De La Libertè. It took her three evenings to meticulously cut around each shape, fold every tab, and stick them together. There were little family groups to attach to the edge: a plump man with a young son gazing upwards, a woman with two children, a mother holding a baby.

When it was finished, Eva imagined herself part of that tiny perfect world; and chose to ignore the too-bright colours, the fixed smiles on the faces, and deliberately forgot that it was all made of card.

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This is a 100-word flash fiction story inspired by the picture. It’s part of the Friday Fictioneers group, where our hostess, Rochelle Wisoff-Fields gives us a picture to write to, this week supplied by Lucy Fridkin. Click here to join in, or here to read other people’s.

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Images d’Épinal were originally stylised and brightly coloured designs developed by a
Frenchman in the town of Épinal. The phrase is now used for something that is so perfect and happy that it is unreal, a chocolate-box image as we might say in England. I’d be interested to know what idioms fellow Friday Fictioneers use for this phrase around the world. s-l500

Publishing Interviews: The Foreign Rights Agent

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This week I’ve interviewed the lovely Juliet Mahony, Foreign Rights Agent at Lutyens and Rubinstein (L&R), a London-based literary agency. Juliet has handled the sales of both my books to non-UK publishers as well as the audio rights. Read on to find out how she does it and to discover something that might surprise you.

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Claire: Hello Juliet. When I was starting out as a writer I had no idea that there was such a thing as a foreign rights agent, let alone what they did. Can you tell me about your role at L&R and what an average day is like for you?

Juliet: I oversee the L&R authors whose rights we handle, being published into foreign languages and also in subsidiary rights, like an audio edition for example. I work directly with publishers in The Netherlands and in Scandinavia but in most other territories I work Continue reading

Flash Fiction: Cedar of Lebanon

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It was hot that summer, the sun leaching colour from the grass, her hair turning blond. The cedar survived the drought though, 100 feet tall and the trunk too large for her arms to meet around it. Still she liked to press her cheek up against the bark, feel it breathe.

One evening Alex built a bonfire, and she stood drinking with the others, trying to whoop as the sparks flew, pretending to laugh when the bird’s nest caught.

Perhaps it was the hangover, but she couldn’t raise herself, couldn’t get out of bed the next morning to see the blackened stump.

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This is a 100-word Friday Fictioneers short story inspired by the picture above (the colour of the grass started it off), this week supplied by Jan Wisoff-Fields. Click here to join in, and here to read other people’s.

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My second novel, Swimming Lessons is currently available as a give-away on Goodreads to UK readers. Click here to enter.

Flash Fiction: Broken

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When things got really bad Cara unlocked the door to the old brew house. In one corner a huge vat squatted, as if awaiting its moment of escape. A rusting metal walkway ran around the inside walls, and under it was a scattering of broken things: chairs, tools, tyres, and other rubbish. A stinking and stained mattress was dumped in the middle. Cara undressed, and lay on it, face and palms upwards, waiting. Sometimes she had to wait for an hour or even two, but they always came if she was silent and still enough. The rats always came back.

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Sorry my story is so dark this week, when the picture is so lovely. I should be happy, I have good news – my first novel, Our Endless Numbered Days has been longlisted for the International Dublin Literary Award. It is a very long longlist, but lovely to be on it.

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This is a 100-word Friday Fictioneers short story inspired by the picture above, provided to us by Rochelle Wisoff-Fields (every week) and (this week) C.E. Ayre.

Our Endless Numbered Days on International Dublin Literary Award longlist

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I’m so delighted to be able to let you know that Our Endless Numbered Days has been longlisted for the International Dublin Literary Award 2017. This award, previously called the IMPAC Award, is presented annually for a novel written in English or translated into English.

Novels are nominated by libraries in major cities throughout the world, and this year 147 have been put forward for the longlist. Five judges have the task of reading and deciding which books should make it onto the shortlist of 10, announced next April. The winner, who receives €100,000  (awarded to the author if the book is written in English, or if in English translation, the author receives €75,000 and the translator, €25,000) is announced next June.

It is such a long longlist, with so many amazing titles, that I am just happy that Our Endless Numbered Days has made it this far.

Click here to see all 147 nominations. I’ve only read 12, so that’s a lot of books being added to my ‘to be read’ list. Let me know how many you’ve read.