Yoko Tawada's Portrait of a Tongue: An Experimental Translation by Chantal Wright is a hybrid text, innovatively combining literary criticism, experimental translation, and scholarly commentary. This work centres on a German-language prose text by Yoko Tawada entitled `Portrait of a Tongue' [`Porträt einer Zunge', 2002]. Yoko Tawada is a native speaker of Japanese who learned German as an adult. Portrait of a Tongue is a portrait of a German woman-referred to only as P-who has lived in the United States for many years and whose German has become inflected by English. The text is the first-person narrator's declaration of love for P and for her language, a `thinking-out-loud' about language(s), and a self-reflexive commentary. Chantal Wright offers a critical response and a new approach to the translation process by interweaving Tawada's text and the translator's dialogue, creating a side-by-side reading experience that encourages the reader to move seamlessly between the two parts. Chantal Wright's technique models what happens when translators read and responds to calls within Translation Studies for translators to claim visibility, to practice "thick translation", and to develop their own creative voices. This experimental translation addresses a readership within the academic disciplines of Translation Studies, Germanic Studies, and related fields.
Cloudburst is a milestone in Canadian literature. For over a half-century, beginning with the Spanish Civil War and continuing through the coups d'état and military repression in South and Central America in the 1970s and 80s, Spanish-speaking writers have been arriving in Canada as exiles and immigrants and have been creating new works in their native language. Cloudburst is the first anthology of short stories by Hispanic Canadian writers from across Latin America and Spain to appear in English. Edited by Luis Molina Lora and Julio Torres-Recinos and first published in Spanish as Retrato de una nube: primera antología del cuento hispano canadiense in 2008, Cloudburst is a prodigious collective work, containing forty-two stories by twenty-two authors from nine different countries-Argentina, Bolivia, Chile, Colombia, El Salvador, Guatemala, Mexico, Peru, and Spain-and rendered into English by seven translators.
The stories in Cloudburst reflect the enormous variety of Hispanic writing in Canada today. Each of the authors' native countries has its own artistic and literary tradition, yet all are bound together by the Spanish linguistic and cultural sphere. Moreover, the women and men in the anthology have settled in cities and towns across Canada, some of them entering into contact with the English-speaking literary world, others with the French. A number of them began writing before they left their homelands, while many of the younger contributors started their careers in Canada. Some of them prefer a traditional literary style, others a more surrealist, experimental, or colloquial approach. All of them are passionate about their writing, and all have gone through the common experience of leaving or being uprooted from the land of their birth and settling in Canada, where they face the challenges and difficulties involved in reestablishing their lives in a largely unknown environment. In Cloudburst, through the prism of translation, they share their latest fiction with English-speaking readers.
- This book is published in English.
Death may seem a grim subject matter but, in the capable hands of Suzanne Myre, nothing is beyond humour. Though at times sincere, sorrowful, and even a tad gruesome, Death Sentences is also wry, mordant, and amusingly ironic.Death Sentences features 13 unique short stories, thematically united by death, sex, and existential angst. Solitary and dejected characters explore Montreal's parks and alleys, seeking comfort and contending with their own everyday tragedies. A woman contemplates the deadly consequences of an almond croissant; another escapes her worries in a monastery. Precocious children's fates are intertwined with a Rottweiler's. Young girls fall in love with the most unlikely partners and a woman seeks salvation in a most unconventional way. The tales in Death Sentences intrigue, surprise, and entertain, from one page to the next.
Bonté III was five years old. A cow at that age is at her prime. Prime is an accounting term. A dairy farm is a business and must be managed as such. From this perspective, Bonté III's days were numbered. Numbered is not an empty word. She had been a good representative of her breed. A cow, after all, has no need to try to be a cow. Her life is that of a cow: a predetermined cycle that is easily reflected on a balance sheet. She eats. She drinks. She ruminates. She urinates. She defecates. All this has a cost. She ovulates. She bears a calf. She gives birth. She produces milk. All this brings money. [...] Tit for tat. The only thing left to do for Bonté III was to call the butcher.The Fate of Bonté III is a story of love and loneliness with colourful characters, a reflection on life and the vital need to be useful to someone or to something.