European Literature Days

Popular with cyclists, hikers and wine lovers, the tiny town of Spitz, in Austria’s picturesque wine-growing region of Wachau, has also become the regular host of a lively international writers and publishers’ conference. I have just returned from the third European Literature Days festival aimed at encouraging cross-cultural dialogue about literature. The festival featured a diverse range of writers and publishers, including Gwendoline Riley representing the UK; Sjon, Icelandic poet, a lyricist with Bjork and author of From the Mouth of the Whale (Telegram Books); and Ukrainian author, poet, essayist and translator Yuri Andruchowtsch.

This year, the debates about European literature were set in the context of the growth of the digital books market. Facilitating the meeting of minds across linguistic and national borders was again high on the festival’s agenda. Many of the discussions focused on European identity and the values of a shared European culture, but all of them contributed toward a wider understanding of translated literature in general.

Andruchowtsch opened proceedings with a lecture about whether there is a distinct East Central European literature. He counted seventeen languages, including Polish, Czech, Hungarian, Ukrainian, Estonian and Albanian that could be considered part of this “belt” of literature. As well a “socio-historic shared fate and experience”, Andruchowtsch argued, the literature of East Central Europe is also characterised by a “kindred linguistic consciousness”. It is created in “minor languages”, like writing in Gaelic or Welsh. Language, he concluded, is the foundation of an author’s identity and by “fleeing from your native language, you will not necessarily remain yourself in a foreign one.” It is an interesting point that translators of literary fiction must have to confront again and again.

The next day featured an open debate about digital publishing and translation. Nathan Hull, digital publisher, UK Penguin Books, gave an instructive presentation on Penguin’s experiences. The publishing house was already working on digital books ten years ago and appear to be well ahead of the game. Penguin’s approach is not now confined to literature. “It is more about narrative and storytelling – in whatever form that takes” Hull said. So Penguin is looking at addressing the needs of all manner of consumers and this requires a diversity of forms, from conventional e-books, audio and video to new, interactive e-books. As an example, Hull described the launch of their geolocation food guide, in collaboration with Jamie Oliver. This is a mobile and iPad application which uses a map and GPS function to help people discover the best places to buy food, based on Oliver’s recommendations.

Sjon pointed out that Amazon may be an enemy of publishers, but is becoming a friend to foreign literature. With its new imprint AmazonCrossing, the world’s largest online retailer has expanded into the publication of foreign literature in translation. Sjon observed that the digital form and “print on demand” may, in the long run, help foreign literature. Sjon also commented on the influence of bloggers who, he suggests, are fast replacing the “bookstore front”. By writing about books they love they gain a following, he said, and potential readers are beginning to trust their judgement as they once trusted the opinion of booksellers.

That evening, British writer, Gwendoline Riley, author of Joshua Spassky shared a platform with an eclectic mix of authors reading from their work.  An extract from her novel was read in German translation by Croatian author Jagoda Marinic. One of the most intriguing participants was the elusive Danish performance artist and author, Das Beckwerk — a pseudonym for Claus Beck-Nielsen, who declared himself dead in 2001 and thereafter appeared as Das Beckwerk. Prior to this, Claus Beck-Nielsen was known as a playwright, actor, musician, and author. ‘Das Beckwerk’ was founded in 2002 with the purpose of carrying on Beck-Nielsen’s life and work. In 2003 the biography, Claus Beck-Nielsen (1963-2001) was published, ending with the death of the author in 2001.

As this annual festival amply demonstrates, there is still a keen interest in translated fiction and the printed book form is not yet dead. Of the sixteen participants, all the foreign writers have been published in German, but only Sjon is translated here, thanks to Telegram Books. As the festival brought home to me, foreign literature is still woefully under-represented in Britain. It is the smaller, independent publishers – often working on a shoestring – that are keeping international fiction alive in this country.

Ultimately it is up to us, the readers and fans of literary fiction in translation, to ensure that these courageous presses stay in business. Visit their websites, buy the books and recommend the titles you like. You could start here by sharing some of the contemporary translated fiction you’ve enjoyed.

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