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Vítame vásna stránke ǻ峦ٴDZérozhovorovvenovaných slovenskej literatúre, a to hneď v dvoch jazykoch:v angličtine a nemčine. Podcasty sme nahrávali od apríla 2020 do júna 2021. Hostiteľkou anglickej verzie bola známa prekladateľkaJulia Sherwood, ktorá sa podpísala pod viacero úspešných prekladov slovenských kníh do angličtiny. Nemeckú verziumoderujoval spisovateľMichal Hvoreckýa prekladateľ Mirko Kraetsch, do virtuálneho domáceho štúdia si pozývali autorov, prekladateľov či odborníkov na slovenskú literatúru.
Since April 2020 Julia Sherwood has interviewed nearly thirty guests for . In today’s final – and slightly longer, 30th episode Peter Michalík, who has worked with her on this podcasts series, has turned the tables on her. He coaxed the renowned translator and tireless promoter of literature to tell the fascinating story of her enforced exile from Czechoslovakia, her years in Germany, England and the US, her love of Central Europe and her beginnings as a literary translator.
In LIT_cast ia29 deputy director of Karolinum PressMartin Janečektalks toJulia Sherwoodabout bringing Czech books to foreign audiences, being undeterred by the disruptions to publishing schedules caused by the pandemic, and about the Modern Czech Classics series that aims to go beyond the traditional literary canon. And – ta-da! – he reveals plans for anew Modern Classics series and his publishing house‘s long-term commitment to introduce the best of literature.
In LIT_cast28 translator and journalistTomáš Hučkotalks toJulia Sherwoodabout what made him co-found the monthly辱á, about championing socially engaged writing and political comic books, about the most popular children’s books since 1989 as well as the joys and challenges of translatingJohn Fante,Henry David ThoreauandJohn Steinbeck. He has plenty of suggestions of books by authors that might be worth translating into English, and recommends taking afresh look at some interwar communist writers.
In episode 27 of the writer, artist, editor and DIY enthusiast Monika Kompaníková talks to Julia Sherwood about the universal appeal of her novel Boat Number Five, about the book’s screen adaptation and the importance of translations as well as about discovering deep sea creatures with her son, writing lyrics for rock bands and commissioning books that aim to improve access of Roma children to education and change the way people think.
In 26 translator Tünde Mészáros talks to Julia Sherwood about growing up bilingually in Bratislava and raising multilingual daughters in Budapest, about the importance of musicality in translation, the variety of specialists she consults in her research, why she prefers good non fiction to bad fiction and how aswimming pool attendant helped her solve aparticular translating challenge in Samko Tále’s Cemetery Book.
In #25 David Short, scholar and translator from Czech and , talks to Julia Sherwood about some of the staggering number of books he has translated, about grappling with ambiguities and archaisms in Vladislav Vančura’s works and deciphering the mix of Czech and in the writing of 18th century writer Jozef Ignác Bajza. He reveals his preferred English rendition of Hrabal’s words áí and áٱ and explains why České Budějovice might be the only place in the Czech Republic where people chat away in pidgin (Tok Pisin) in local pubs.
In 24, literature scholar, translator and one-time rock band member Peter Petro admits to being baffled by the mysterious link between Slavonic studies and rock music. He further talks to Julia Sherwood about about the difficulties in finding publishers for books in English, praises the natural beauty of Vancouver and the kindness of Canadians and pleads for fair pay for authors and translators.
In 23 literature scholar Ivana Hostová talks to Julia Sherwood about the agendas that drive translations of poetry into English and why quantity does not necessarily translate into quality, and why publishing poetry in translation is challenging even in atranslation-dominated culture such as ia. She also introduces Nóra Ružičková, one of the first experimental poets, as well as the subversive poetry of Peter Macsovszky.
In #22 Hungarian literary organiser Éva Karádi talks to Julia Sherwood about championing European and, specifically, literature and which writers have made theirmark in Hungary. She explains how editing Hungarian Lettre Internationale taught her that writers write better than philosophers, about the the importance of cultural bridge-building and why we shouldn’t make a distinction between ‘big’ and ‘small’ literatures.
In #21 the award-winning writer and journalist Irena Brežná talks to Julia Sherwood about rebelling against the dogma of writing in her native language, the importance of maintaining an outsider’s perspective and avoiding the trap of assimilation. She also talks about her political birth during the Prague Spring of 1968, about combining writing with activism as well as feminism.
In Episode 20 of Polish translator and theatre director Kasia Dudzic-Grabińska talks to Julia Sherwood about what she misses most about ia and her favourite theatre companies, how she combines literary translation with theatre work, why she objects to „pop Auschwitz“ literature and about the challenge of finding hidden literary allusions in Milo Janáč’s alcohol-fuelled novella.
In the first edition of LitCast ia in 2021, literary critic Peter F. ‘Rius Jílek helps Julia Sherwood usher in the New Year in aconversation ranging from earthquakes and the pandemic to the importance of literary awards. He shares his experience of being on the jury of Anasoft Litera, explains why he doesn’t mince his words in his reviews, and calls for asustained and better funded campaign to promote literature abroad.
In the 18th and last instalment of of 2020, literature scholar Ivana Taranenková talks to Julia Sherwood about this year’s literary output, both by established and emerging writers and assesses the impact of the pandemic on the country‘s literary life and research. She introduces aforthcoming English-language publication that will offer insiders‘ and outsiders‘ look at contemporary literature, and tells why her favourite 19th century author is Martin Kukučín.
In # 17 writer and editor Mária Modrovich talks to Julia Sherwood about the works of literature and cinema that have inspired her writing, about literary prizes and festivals and the literary scene in New York City, as well as about helping people to navigate the waters of literature through the website Books from ia.
In # 16 writer and translator Lucia Duero talks to Julia Sherwood about the chance encounter in Spain that led her from ia to Mexico, and navigating cultural differences between these two countries. She discusses her favourite poets whom she has introduced to Spanish readers through her translations, and to the Anglophone public through the journal Tupelo Quarterly and talks about the irrational criteria she uses to choose the authors she translates regardless of commercial considerations, and why she enjoys translating without acontract with apublisher.
In # 15 translator John Minahane tells Julia Sherwood why a new English translation of the anti-war cycle The Bloody Sonnets was needed and what their author Pavol Országh Hviezdoslav has in common with the Russian futurist poet Velemir Khlebnikov. His succinct and vivid characterisations of a range of writers from Ladislav Novomeský, Miroslav Válek and Milan Rúfus through Ivan Štrpka to Ivan Kolenič and Peter Macsovszky are accompanied by spirited readings from his translations of their works.
In # 14 translation studies scholar Ľudmila Pánisová talks to Julia Sherwood about the legacy of Professor Anton Popovič and the need to treat the source text with respect; she welcomes the growing number of English translations of literature and suggests that more writing from the interwar and postwar period, as well as crime stories and books for children and young adults should be translated.
In #13 translator Marie-Theres Cermann talks to Julia Sherwood about persuading German-language publishers to give writers achance, about the joys and challenges of translating Balla, Marek Vadas and Ivan Medeši and why she believes the plight of refugees remains relevant even during the pandemic.
In ,Lutheran pastor, publisher, editor and blogger Sarah Hinlicky Wilson, who grew up in the US and now lives in Japan, talks to Julia Sherwood about diving into the history of ia and unearthing some forgotten gems in her quest to read every single novel available in English. She explains her criteria for rating books, recommends her favourite works of literature and unveils the most translated writer of all times.
In #11, poet and translator Mária Ferenčuhová tells Julia Sherwood how the pandemic made her appreciate virtual literary events and turn from writing straight poetry to texts dealing with fragility, aging and dying, in an interdisciplinary and intuitive way of working. She also talks about translating Michel Houellebecq and cooperative translation of poetry, and recommends a bunch of poets to read in, or be translated into English.
In #10, James Sutherland-Smith talks to Julia Sherwood about his own poetry and the intuitive link he feels with the poets he translates, why he doesn’t believe in creative infidelity and why he finds translating prose more difficult than poetry and why he feels that being aman is no hindrance to translating women poets.
In #9, Nataša Ďurovičová talks to Julia Sherwood about exile as the point of no return, reveals how creative writing came to be one of Iowa’s main exports alongside corn and pork, explains the different social need fulfilled by creative writing in the US and the rest of the world, and unpacks the writing and translation workshops at Iowa University.
In #8 writer and journalist Michael Stein talks to Julia Sherwood about Central European sensibility, the surreal sight of a tourist-free Prague and the unforced surrealism in the writing of Uršuľa Kovalyk as well as subtle irony of Jana Juráňová, and recommends his other favourite writers Pavol Rankov, Dušan Mitana, Peter Karpinský and Ondrej Štefánik.
In Lit_Cast ia #7 literature scholar Katarina Gephardt talks to Julia Sherwood about intrepid women travellers who helped shape an ambivalent image of Central and Eastern Europe in 19th century Britain, about generational memory and productive nostalgia in the writing of Verona Šikulová and Maroš Krajňak and her plans for a Companion to Contemporary Literature.
In Lit_Cast ia #6 Jonathan Gresty talks to Julia Sherwood about his British DNA and going native in ia, about translating two very different books – Anton Baláž’s Camp of Fallen Women and Jana Bodnárová’s Necklace/Choker and explains what is skopos theory, and what is wrong with English-language information for tourists and why some books would benefit from some serious editing.
In the Lit_Cast ia #5, world traveller and translator Janet Livingstone talks to Julia Sherwood about reinventing herself in Seattle after living in Bratislava for 16 years, picking up foreign languages, translating women writers, cultural differences between Europe and the US, and praises the politeness of the people.
In the fourth edition, American literary scholar and translator Charles Sabatos talks to Julia Sherwood about searching for his roots, the University of Pittsburgh’s studies programme and the legacy of Martin Votruba, about translating Pavel Vilikovský’s „Ever Green is...“ – “a side-splitting satire on totalitarianism, spy mania, s and nationalism” as well as Dominik Tatarka and Gejza Vámoš.
In the third edition Magdaléna Mullek talks to Julia Sherwood about her lifein three countries and two languages.
In the second edition Rajendra Chitnis tells Julia Sherwood about teaching Czech and at British universities, why Vladimír Mečiar was beneficial for literature and why Franz Kafka is a big problemfor literatures of smaller European countries. They will also discuss whether readers need to know history in order to understand older literature and whether Milan Kundera would still beaknowledged world-wide had the books ofJuraj Johanidesbeen translated into English.
First guest is the translator and publisher Donald Rayfield.
