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Showing posts by: Ann VanderMeer click to see Ann VanderMeer's profile
Wed
Sep 3 2014 9:25am

The First English Translation of “Headache” by Julio Cortázar

Julio Cortazar Julio Cortázar was an influential Argentine writer who wrote poetry, essays, plays, novels and short fiction. Although considered one of the major writers of Latin American literature of the 20th century—along with Jorge Luis Borges, Carlos Fuentes and Gabriel Garcia Márquez—Cortázar wrote much of his important work while living in exile in France. During the 1960s and 1970s his work became world renowned and many of his more popular writings were translated, thereby reaching an even larger audience.

World literature is a passion of mine, and translated fiction is near and dear to my heart. Seeing the world from diverse perspectives is also near and dear to my heart. The nuances of culture and point of view add depth to the reader’s understanding and help break down barriers between people. Communications can occur, and influences, that might otherwise never happen. Indeed, Cortázar spent some time as a translator himself, bringing the work of such authors as Edgar Allen Poe and Daniel Defoe into Spanish.

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Mon
Jul 14 2014 9:30am

Announcing the First English Translation of “Headache” by Julio Cortázar

Julio Cortazar Julio Cortázar was an influential Argentine writer who wrote poetry, essays, plays, novels and short fiction. Although considered one of the major writers of Latin American literature of the 20th century—along with Jorge Luis Borges, Carlos Fuentes and Gabriel Garcia Márquez— Cortázar wrote much of his important work while living in exile in France. During the 1960s and 1970s his work became world renowned and many of his more popular writings were translated, thereby reaching an even larger audience.

World literature is a passion of mine, and translated fiction is near and dear to my heart. Seeing the world from diverse perspectives is also near and dear to my heart. The nuances of culture and point of view add depth to the reader’s understanding and help break down barriers between people. Communications can occur, and influences, that might otherwise never happen. Indeed, Cortázar spent some time as a translator himself, bringing the work of such authors as Edgar Allen Poe and Daniel Defoe into Spanish.

[Read More]

Thu
Oct 4 2012 10:00am

Steampunk III: Steampunk Revolution (Excerpt)

We've got the introduction to Steampunk III: Steampunk Revolution, edited by Ann VanderMeer, out on December 1 from Tachyon Publications:

Playfully mashing up the romantic elegance of the Victorian era with whimsically modernized technology, this entertaining and edgy new anthology is the third installment in a bestselling steampunk series. Featuring a renegade collective of writers and artists—from beloved legends to rising talents—the steam-driven past is rebooted and powered by originality, wit, and adventure. Lev Grossman offers a different take on the Six Million Dollar Man who possesses appendages and workings from recycled metal parts, yet remains fully human, resilient, and determined. Catherynne M. Valente explores a new form of parenting within the merging of man and machine while Cherie Priest presents a new, unsettling mode of transportation. Bruce Sterling introduces steampunk’s younger cousin, salvage-punk, while speculating on how cities will be built in the future using preexisting materials and Jeff VanderMeer takes an antisteampunk perspective as a creator must turn his back on an utterly destructive creation. Going beyond the simple realms of corsets and goggles, this engaging collection takes readers on a wild ride through Victoriana and beyond.

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Wed
Oct 28 2009 1:06pm

Can Dirigibles Slouch Along? Can They Saunter?

In Angela Carter’s amazing Nights at the Circus, Fevvers, a highwire act if ever there was one, causes disbelief and awe in equal measure because she’s billed as a flying woman, but in flight she takes her time and rudely ignores the laws of gravity. It’s as if she’s daring the audience to call her a fake, to accuse her of being held up by invisible wires and other tricks of the circus trade.

Steampunk has its own version of this high wire act, in that depictions of dirigibles in movies represent a kind of tipping point for the audience’s threshold of disbelief. Most films don’t attempt to realistically map out what a fantastical dirigible might look like—they’re just interested in something that seems visually cool. We can get behind that—cool is good. But sometimes it doesn’t work, especially because a dirigible in a righteous Steampunk movie is a kind of character in and of itself. Not believing in a character, even one made of canvas, wood, and metal, can doom a film.

[Who gets it right?]