Tag: translation

ASP’s 2024 Year in Review

ASP’s 2024 Year in Review

The end of the year provides an opportunity to reflect. This year had many highs and lows, including social and humanitarian tragedies throughout the world. For many of us, books… READ MORE

2024 Holiday Gift Guide

2024 Holiday Gift Guide

As gift-giving season approaches, we’re excited to share our recommendations for many different types of readers! For Story Seekers: Everyone loves a good story, and this time of year provides… READ MORE

ASP Summer Reads

ASP Summer Reads

Looking for a new read this summer? Look no further! From poignant short story collections to tell-all memoirs to authoritative histories, ASP has you covered. Check out some of our… READ MORE

Read the World 2022: An ASP Reading List

Read the World 2022: An ASP Reading List

As a publisher that’s values efforts to improve the accessibility of works from all over the world through translation, ASP is excited to be joining the American Literary Translators Association (ALTA) in celebrating works in translation, their translators, and their publishers by participating in Read The World, an online bookfair taking place over social media from September 30 (International Translation Day) to October 7. To celebrate, we’ve compiled a reading list of some of our favorite recently published and forthcoming translations.

An Interview with Ainsley Morse and Philip Redko, Editors & Translators of Permanent Evolution

An Interview with Ainsley Morse and Philip Redko, Editors & Translators of Permanent Evolution

Yuri Tynianov was a key figure of Russian Formalism, an intellectual movement in early 20th century Russia that also included Viktor Shklovsky and Roman Jakobson. Tynianov developed a groundbreaking conceptualization of literature as a system within—and in constant interaction with—other cultural and social systems. Ainsley Morse and Philip Redko, editor/translators of Permanent Evolution, a collection of Tynianov’s critical works, discuss in this interview the translation and compilation processes, Tynianov’s impact on literary and film criticism, and more.

An Interview with Luba Jurgenson and Meredith Sopher, Author and Translator of Where There Is Danger

An Interview with Luba Jurgenson and Meredith Sopher, Author and Translator of Where There Is Danger

In Where There Is Danger (originally published Au lieu du péril, Verdier, 2014), Jurgenson meditates on what it means to live between two languages—in this case, her native Russian and adopted French. Earlier this month, we released a Fall 2019 Literature in Translation Sampler featuring an excerpt from Where There Is Danger (download it here). Today we bring you an interview with Luba Jurgenson and Meredith Sopher exploring the ins and outs of bilingualism, the process of translating the book, and more!

National Translation Month 2019: Featured Literature in Translation from Azerbaijan, France, Russia, and Uzbekistan

National Translation Month 2019: Featured Literature in Translation from Azerbaijan, France, Russia, and Uzbekistan

Happy National Translation Month! We’re celebrating all month on the blog—earlier this week, we published a guest post from translator Christopher Fort on the legacy of Uzbek writer Abdulhamid Sulaymon o’g’li Cho’lpon and his unfinished dilogy Night and Day.

Today, we’ve put together a sampler full of excerpts from four novels, a memoir, a book of essays, and a collection of short stories, translated from Russian, French, and Uzbek.

Uzbek author Cho’lpon’s Equivocal Legacy and Its Importance in Post-Soviet Uzbekistan

Uzbek author Cho’lpon’s Equivocal Legacy and Its Importance in Post-Soviet Uzbekistan

Stalinism undoubtedly robbed the Uzbek people and the world of an incredible talent at a young age—Cho’lpon was most likely 41 when Stalin’s secret police, the NKVD, took his life—but it is because of Stalinism and Cho’lpon’s erasure from Soviet Uzbek life that the author is so interesting and enigmatic a figure today. The absence of information about his life and his oeuvre echoes across history and continues to affect how Uzbek audiences relate to the author. This absence provides opportunities for individuals to offer differentiated and heterogenous interpretations of the author’s biography, his art, and consequently, Uzbekistan’s past, present, and future.