Isabel Adey and I were shortlisted for the QSSI Translation Prize this year, for our co-translation of December Breeze by Marvel Moreno (Europa Editions, 2022).
https://queensofiaspanishinstitute.org/literature/2023-qssi-translation-prize-shortlist-announced/
Isabel Adey and I were longlisted for the QSSI Translation Prize this year, for our co-translation of December Breeze by Marvel Moreno (Europa Editions, 2022).
https://queensofiaspanishinstitute.org/literature/2023-qssi-translation-prize-longlist-announced/
Blog post on the National Centre for Writing website about the literary translation database I set up a couple of years ago:
Charlotte Coombe’s new collaborative resource
Charlie Coombe has set up an amazing Literary Translation Database full of valuable information and contacts for the literary translation sector in the UK. You can access the database here. We asked Charlie a few questions about her work, and why she set up the database.
Read the full article here: posted on 29th September 2020 here:
https://nationalcentreforwriting.org.uk/article/introducing-the-literary-translation-database/
On 11th June 2020, I took part in the Borderless Book Club, talking about my translation of the novel Holiday Heart by Margarita Garcia Robayo, in discussion with my editor Fionn Petch and my publisher Carolina Orloff (Charco Press). This was my first time doing a virtual book club, let alone one focused on translated fiction, and in this case, focused on my translation (eek!). It turned out to be a really fantastic chance to discuss the themes of the book and my experience of translating it, and Margarita’s work more generally, as well as hearing what readers thought of the book for the very first time. The discussion was lively and interesting, and possibly could have gone on for hours, but we ran out of time.
Big thanks to Maddie Rogers at Peirene for inviting me to talk about the challenges and joys of translating this Colombian author.
If you missed it, then Alice Banks has done a very comprehensive write-up of the event here: https://alicebankstranslation.com/2020/06/15/borderless-book-club-holiday-heart/
And the podcast will soon be made available by Peirene Press on Soundcloud: https://soundcloud.com/user-41111498-859108077/sets/translated-fiction-online-book
Holiday Heart is the story of two deeply unhappy (and unpleasant) Colombian immigrants to the US, Lucía and Pablo. When Pablo is diagnosed with a cardiac condition known as 'Holiday Heart', the secrets in their relationship are exposed and the couple is no longer able to pretend all is well.
This is a novel about lives that have been carefully polished and painted to appear ideal, but the dark and bitter thoughts and turmoils that plague this aspirational family are just beneath the surface and in danger of being exposed. This book is a searing indictment of racism, class inequality and the deception of the American Dream from the perspective of those in the 'middle' of society. It is essential for understanding the rifts and divisions of our times, in the US and Latin America.
‘García Robayo’s prose is concise and startling, her voice versatile and capable of packing a serious punch.’ -- LA Review of Books
FREE - book via Eventbrite: https://www.eventbrite.co.uk/e/holiday-heart-virtual-launch-w-margarita-garcia-robayo-tickets-108968295104
Tuesday, 7 July 2020 / 8:00 pm 9:00 pm / ZOOM
I was delighted to find out that I’ve been shortlisted for the Premio Valle Inclán prize for my translation of Fish Soup by Margarita García Robayo.
Looking forward to the award ceremony at the British Library in February 2020!
https://www.societyofauthors.org/News/News/2019/November/SoA-2019-Translation-Prizes-shortlists
Bella Adey and Charlie Coombe are co-translators of Project Plume’s October fiction spotlight, the short story Self-criticism by Marvel Moreno. In this interview, they talk to us about their collaborative process, why they decided to translate the late Colombian author into English for the first time, and the importance of bringing writers who were overlooked during their lifetime into the limelight.
My colleagues at Wessex Translations featured an interview with me on their blog to celebrate WIT month 2019.
If you’re interested in my ramblings about loving books, reading books, translating books… and the role of women in all of those things, then you can read the full blog post here:
Author portrait © Mariana Roveda
I was asked to write an article about Margarita Garcia Robayo's writing, the process of translating Fish Soup and about how we brought the two novellas and the collection of short stories together into one book, on Bookanista. You can read it here.
You can also read extracts from the third part of the book, Sexual Education here.
Delighted to have a preview of The Imagined Land published online by LALT, ahead of publication in July. Read the excerpts here.
Editor's Note:
The editorial team of Latin American Literature Today is happy to bring our readers exclusive previews of upcoming works of Latin American literature in translation. In this issue, we feature a preview of The Imagined Land by Eduardo Berti, translated by Charlotte Coombe, which will be published by Deep Vellum on May 15, 2018. We with to thank Deep Vellum for their collaboration with LALT; visit their official website to learn more about this outstanding press:
“Deep Vellum is a 501c3 nonprofit literary arts organization founded in 2013 in Dallas’s historic cultural neighborhood of Deep Ellum, with the goal of bringing cultures into conversation, to share stories, build connections, and grow empathy. Our mission is threefold: to publish award-winning, diverse international literature in original English-language translations; to promote the craft, discussion, and study of literary translation; and to cultivate a more vibrant, engaged literary arts community both locally and nationally.”
CLICK HERE TO READ THE EXCERPTS.
Argentine writer Eduardo Berti.
From internationally acclaimed Colombian author Margarita García Robayo comes Fish Soup, a unique collection comprising two novellas plus a book of short stories. Through a style that skilfully blends cynicism, beauty and dark humour, García Robayo delves into the lives of her characters, who at points challenge the reader’s loyalties with their unexpected choices.
Come and join award-winning translator Charlotte Coombe and Charco Press main editor and co-founder, Carolina Orloff, to talk about the challenges of translating the wonderful world of Fish Soup. Margarita García Robayo will contribute to the conversation with a message sent from Argentina, where she currently lives.
Friday, June 1, 2018 6:30 PM 8:00 PM
December 15, 2016 | in Interviews, Translations | by Nina Sparling
To cover the female body with a veil, a burqa, a hijab, a burkini, is to accept that said body is a site of desire and only that.
The first time I heard Abnousse Shalmani speak was her TEDxParis talk, which opened with: Oh, putain de bordel de merde [oh, motherfucking shit]. The auditorium echoed with scattered titters of discomfort and appreciation. “It’s ugly, all these curse words in a woman’s mouth, at least that is what parents tell their daughters,” Shalmani continued, “but I think the opposite: that all these swear words—words of the mouths of men—in the mouths of women, are indispensable.” In the remainder of the talk Shalmani exhibited through personal anecdotes and precise historical and literary analysis how sexism and misogyny, through the constraints on women’s bodies, permeate the Republic celebrated for equality and liberty.
To Shalmani, freedom begins with the liberation of the body and the assurance of one’s ability to fulfill corporal desire without limits or restriction. In her first book, Khomeini, Sade, et Moi [Khomeini, Sade, and Me, tr. Charlotte Coombe, World Editions]—which toes the line between memoir, manifesto, and novel—Shalmani expands and elaborates upon these foundations. In September 2016, I had the opportunity to interview the author about her book, feminism, and the conundrums facing contemporary France...
Read the full interview on Asymptote's website, here.
Khomeini, Sade and Me by Abnousse Shalmani received a PEN Translates Award in 2015, among a large number of other women writers, I was very pleased to note. #readwomen
This means that I have earned myself a place among other (intimidatingly better than me) translators on the English PEN World Bookshelf.
For more on English PEN's wonderful Writers in Translation programme, which aims to "champion literature beyond national and linguistic borders and beyond conventional literary expectations", visit their website: http://worldbookshelf.englishpen.org/Writers-in-Translation-about
Out on 19th May 2016...
Here are the details of my forthcoming translation for World Editions, of Asha Miro and Anna Soler-Pont's novel, Traces of Sandalwood... In all good bookshops on 14th April. Look out for the film too: https://tracesofsandalwood.wordpress.com/
Back in November 2015, I was honoured that Lisa Carter of Intralingo featured me as part of her 'Spotlight on Literary Translators'. I thought I'd share it:
by Lisa Carter | Nov 10, 2015 | Uncategorized | 0 comments
Spotlight on Literary Translators is a regular feature here at Intralingo. The aim of these interviews is to get the word out about our profession and the works we bring into other languages. The insight the interviewees provide is also sure to help all of us who are aspiring or established literary translators. Enjoy!
Spotlight on Literary Translator Charlotte Coombe By Lisa Carter, Intralingo Inc.
Lisa Carter: What language(s) and genres do you translate?
Charlotte Coombe: I translate from French and Spanish into my mother tongue, English. I suppose I am open to any genre, and have translated a few works of fiction, children’s fiction and some poetry. I have a particular interest in literature by women writers, not least because I think they tend to be under-represented in translated fiction. #readwomen
LC: How did you get started as a literary translator?
CC: I have been freelancing since 2008 as a translator, reviser and proof-reader, translating in various fields, but increasingly with a focus on more creative fields, literature and the arts. I always knew I wanted to translate literature, from the moment I set out on my translation career. I was a member of the ETN and other networks from quite early on, as I started to try and understand the literary translation industry and how to find opportunities within it, while honing my translation skills by studying for the IoL Diploma in Translation (which I passed with a merit in Literature).
A chance encounter with a publisher at the London Book Fair led to me translating my first couple of children’s books, and after that, while still doing commercial translation, I pursued my dream of becoming a literary translator through relentless networking, researching new books in my source languages and contacting agencies and publishers. Like so many translators, I started doing some reader’s reports for publishers, and then finally got the opportunity to translate my first full length fiction work throughPontas Agency, and then my second. Since then I have translated a few more fiction and non-fiction works, one for a self-published author, one non-fiction eBook and a co-translation for Cahiers du Cinema’s Anatomy of an Actorseries. I now have the confidence and the means to find books I am interested in, as well as a growing network of publishing contacts to pitch those potential books to. The whole way the industry works is something that took me a long time to get to grips with, as it is quite a daunting industry for beginners, what with so many talented and experienced literary translators around, as well as so many ‘ways in’ for translators. I now see that the translator plays many roles: they are not only responsible for translating, but also for discovering new books, making publishers aware of them, persuading them to commission translations, and promoting translated fiction and the visibility of the translator, among many other things. Translation opportunities do not tend to land in your lap – you have to put in the groundwork.
For emerging translators, (of which I still consider myself one), I cannot stress enough the importance of joining associations (ITI, IoL, Translators Association) and networks and attending events like LBF with its wonderful Literary Translation Centre. Without these, I would not be in the position I am in now. It is not just about ‘who you know’, although contacts do help. It is about putting yourself forward for opportunities, and proving you are the best person for the translation – even if they don’t know it yet! With my first book, for example, the agency told me they had already found a translator. Most people might have given up at that point, but as I liked the book so much, I let my enthusiasm get the better of me. I wrote back, persuading them to let me send them a sample anyway and then to see whose sample they liked best. In the end, the author much preferred mine and I got the contract. So it definitely pays to be a bit ‘go-getting’ in this business, especially when you feel strongly about a book. You can feel it, you know when you are going to be able to do a great translation – you definitely have to love the text you are working on, otherwise it tends to be struggle, and that will show in your translation.
LC: What do you love most and least about this work?
CC: What I love: Playing around with words. Creating. Searching for the perfect phrasing. The variety of subject matters that a novel can bring up (it is strange what you find yourself researching – a literary translator’s internet browsing history must make for very bizarre reading!). That moment when you find the author’s voice or when that devilishly difficult paragraph finally clicks into place. The joy of bringing a text to an English readership; knowing that people will get to read a story that they might otherwise never have had access to. I love being that invisible bridge between languages and cultures (although of course, I would like literary translators to become a bit more visible in the publishing process, and am keen to campaign for this). Seeing your words in print (the smell of a new book is always incredible, even more so when the words inside are yours). I love it when an author tells you how happy they are with the result, with seeing their novel ‘reborn’ in another language. When a translation flows out of you effortlessly, when you have found the voice, got inside the author’s head and manage to transfer their tone to your text in English, that is what I love most. I love the fact that literary translation is a learning curve; as the years go by, I will always be improving and developing my translation skills. It is an endlessly diverse profession, in that sense, in terms of the things you end up researching, taking you into worlds you might never have known about otherwise.
Of course, literary translation is endlessly challenging and frustrating. You could spend hours re-writing one line, or one paragraph. I find that I never feel completely satisfied with a translation, and this is evident especially when you go back to read something you translated a couple of years ago – I try to avoid reading old translations, as you always see things that you would do differently, with the benefit of hindsight. You have to keep in mind that there are countless different ways to translate most texts. Eventually, as a translator you have to make a choice, over one word, or one phrase and run with it. Or you will go mad. When you do find your way to a translation that clicks, and that you feel pleased with, that really is the best feeling in the world. Those days when nothing seems to click, those are the dark times.
Another thing that irks me about literary translation as a profession is the vast lack of acknowledgement of the work that translators do: crediting the translator, and making them visible. Often, translators are not named on the cover of a book and are not mentioned in promotional material. They should be named whenever the author is, in my opinion. It is something that all literary translators feel strongly about and many of us are working to improve, either directly through means such as the #namethetranslator Twitter campaign, or through general nudging, cajoling or telling off of publishers, writers, reviewers, online magazines and anyone who will listen, whenever we get the chance. Sometimes, readers are not even aware that they are reading translated fiction, and this needs to change. Publishers should be making sure that they credit translators properly and clearly for their work, increasing the visibility and importance of translators in the publishing industry.
LC: Can you tell us a little about a recent project?
CC: I am currently working on the English translation of Abnousse Shalmani’s fascinating first book, Khomeiny, Sade et Moi, for the publishing house World Editions (the English language imprint of De Geus) who publish world literature and non-fiction with an emphasis on translations from Dutch and international literature. The translation will be finished by the end of the year and published in 2016. Iranian-born French journalist Abnousse Shalmani bares all in her book, from rebelling against the regime by getting naked in the playground as a six-year old girl, to the challenges of learning how to live as an exiled Iranian with her family in her new homeland of France, via her discovery of nudity, her sexual awakening and the freedom that comes with reading the libertine literature of French 19th-century writers such as the Marquis de Sade… It is the story of one woman’s search for freedom from oppression in all facets of her life and it is recounted with fiery conviction and humour. Each chapter of the book takes the reader back and forth between her life in Paris and her childhood in 1980s Tehran, moving gradually through time, and unveiling her views on issues of feminism, (especially the oppression of women’s bodies, which is her main focus) freedom, politics, religion, ignorance, identity, exile and integration. I am incredibly honoured to be translating this book, by such an interesting and bold female writer – she is intelligent, unabashed and funny, to boot – although I feel that by the time I have finished translating this book, my bookshelves are going to be full of erotic 18th-century French libertine literature. People might start to wonder! The book has been granted a PEN Translates award 2015, along with a host of other international women writers, which is excellent news for the author, the publisher, et moi!
As I spend most of the year here in Marrakesh, I am also exploring new Moroccan literature in French, trying to uncover new gems and bring interesting new writing to a wider audience. I feel that now would be a good time to translate a Moroccan author, as I am immersed in the culture of the country.
Finally, on the subject being an Anglophone literary translator living abroad, I must briefly mention the Translators Association Diaspora, which I have been helping to set up this year with my colleague Jamie Searle Romanelli, who succinctly explains it at the end of her Spotlight piece here. Please get in touch on Facebook or Twitter if you are interested in joining!
My translation of one of Rosa María Roffiel's short story, These are things that I only tell myself / Esas son cosas que solo yo me cuento is now online at Palabras Errantes: http://www.palabraserrantes.com/these-are-things-that-i-only-tell-myself/
One morning we happened to bump into one another in Coyoacán and we sat down to have a coffee together. It was the first time you talked about yourself. Through the steam of the cappuccino I glimpsed a picture of you as a little girl, a sad girl, a lonely girl, a girl with a dead mother, a stepmother and wimp for a father. You spewed out your story, raging, your cheeks blazing, your hands knotted tightly together. I stored away each and every one of your sentences, taking possession of your past. I wanted to squeeze your shoulder, to hold one of your hands; to kiss this little girl who was pouring out the long story of her short life. But I did not do any of those things; I sat in my chair, not moving a muscle.
The story is taken from: El para siempre dura una noche, pp. 123-28, Editorial Sentido Contrario, México, D.F: 1999.
About the author: Rosa María Roffiel was born in Veracruz, Mexico in 1945. Her book *Amora*, published in 1989 and still circulating is considered the first lesbian-feminist novel in Mexico. She is also the author of *Corramos libres ahora*, a collection of poems and *El para siempre dura una noche*, a book of short stories.
I am pleased to announce that I am currently working on the English translation of Abnousse Shalmani's first book, Khomeiny, Sade et Moi, for the publishing house World Editions (the English language imprint of De Geus) who publish world literature and non-fiction with an emphasis on translations from Dutch and international literature (read more about World Editions here).
Synopsis:
In 1980s Tehran, a little girl of six, forced to wear the veil, rebels by getting naked. 
Complying with the demands of the 'Beards' and the 'Crows' seems absurd to her. Her father feels the same way and so to escape the oppression of Khomeiny's regime, the family leaves Iran for Paris in exile. However, Abn
ousse Shalmani discovers that her dreams of freedom are not all they are cracked up to be. Her rebellion is far from over. But this time she arms herself with French literature. The little girl, now a woman, uses the writings of Sade, Victor Hugo and Colette (among others) as her weapons in the fight against oppression in general, and of women's bodies in particular. The story is a blend of personal anecdotes and socio-political events, all told with lively humour.
Iranian-born French journalist Abnousse Shalmani bares all in her book, from rebelling against the regime by getting naked in the playground as a six-year old girl, to the challenges of learning how to live as an exiled Iranian with her family in her new homeland of France, via her discovery of nudity, her sexual awakening and the freedom that comes with reading the libertine literature of French 19th century writers such as the Marquis de Sade... This is a story of one woman's search for freedom from oppression in all facets of her life and is one that is recounted with fiery conviction and humour. Each chapter of the book takes the reader back and forth between her life in Paris and her childhood in 1980s Tehran, moving gradually through time, and unveiling her views on issues of feminism, (especially the oppression of the woman's body, which is her main focus) freedom, politics, religion, ignorance, identity, exile and integration. I am incredibly honoured to be translating this book, by such an interesting and bold female writer - she is intelligent, unabashed and funny, to boot - although I feel that by the time I have finished translating this book, my bookshelves are going to be full of pure filth in the form of erotic 18th century French libertine literature. People might start to wonder...
The English edition of Khomeini, Sade and Me is due for publication early 2016, by World Editions.
Here are some links (in French) to interviews with Abnousse Shalmani - she is great at interviews, it has to be said:
Arte 28' programme: https://www.youtube.com/watch?v=2caada2ugVc
Interview with author Abnousse Shalmani and Malek Chebel, philosophor, regligious anthropologist, author of L'érotisme arabe: https://www.youtube.com/watch?v=hcM8bGgunOI