||[31 Dec 2013|09:49pm]
I've fallen out of the habit of tallying what I've done for the year. I've also gotten lax about keeping notes of what I've read this year (in part because I've abandoned so many books partway through--Sigh).
But here goes a quick summary of 2013:
Poetry collections for adults:
DELETED NAMES from A Midsummer Night's Press.
Kidzbooks written in Spanish:
LA CASA DE LOS ESPEJOS, illustrated by Rocío Parra, was published in Colombia by Panamericana.
VOLANDO COMETAS, illustrated by Nuria Fortuny, was published in Spain in Spanish and Catalan by Edicions Bellaterra. (A Slovenian translation also appeared this fall from Alef.)
Translations of books by me:
My picture book ¡VAMOS A VER A PAPÁ! was published in Brazil by Ediçoes SM.
My picture book IGUAL QUE ELLOS/JUST LIKE THEM, illustrated by Doug Cushman, was chosen by IBBY for Outstanding Books for Young People with Disabilities 2013.
This year I went to Bologna (twice), New York (three times), London, Frankfurt, Slovenia, and Mexico (Guadalajara and Mexico City).
Translations into English:
I translated many, many things this year, although most of them have not been published yet.
My translation of poems by Jordi Doce poems appeared in AGENDA and an art catalogue by Mela Ferrer.
My translations of poems by Care Santos appeared in the journals SO TO SPEAK and CASCADIA SUBDUCTION ZONE.
My translations of poems by Sofía Rhei appeared in STAR*LINE and DREAMS AND NIGHTMARES.
My translation of a poem by Ángel Erro appeared in the anthology BETWEEN (Chelsea Station Editions)
My translation of Anna Lidia Vega Serova's story "Harpooned Woman" appeared in WORDS WITHOUT BORDERS.
Some books I translated that were published in 2013 include:
TERRA NOVA (Sportula) I co-translated this anthology of Spanish sci-fi with Sue Burke. I translated the novelette by Lola Robles, Erick Mota, and Teresa P. Mira de Echeverría.
REVUE by Eugenio Recuenco (TeNeus)
PABLO PICASSO: MEET THE ARTIST by Patricia Geis (Princeton Architectural Press)
CUSTOMER COMPLAINT MANAGEMENT by Palmira López-Fresno (Amanuense)
A few other books I translated this year, including an essay by Claudio Naranjo and two books for Assouline, won't appear until 2014.
I think that's everything.
We'll see what 2014 brings. :-)
||[08 Nov 2013|01:02pm]
I have two translations in this new anthology BETWEEN: NEW GAY POETRY edited by Jameson Currier for Chelsea Station Editions: www.chelseastationeditions.com/BetweenNewGayPoetry.html
One is a poem by Basque poet Angel Erro. The other is a self-translation into English of a poem from my Spanish-language collection DESAYUNO EN LA CAMA.
||[21 Sep 2013|08:10pm]
Some updates on where I'll be over the next few months:
Oct 3-5, Liber, Madrid
Oct 8-11, Frankfurt Book Fair, Frankfurt, Germany
Oct 13-20, poetry translation workshop on San Simon Island, Vigo, Spain
Oct 29-Nov 1, GenderBender festival, Bologna, Italy
Nov 21-24, Ljubljana, Slovenia
Dec 1-3, FIL, Guadalajara, Mexico
It's going to be a busy fall!
||[28 Aug 2013|10:44am]
Just booked my tickets to Slovenia in November, to present the Slovenian translation of VOLANDO COMETAS in Ljubljana. My 5th children's book to be published in Slovenia! :-)
|Guest editing issue of EYE TO THE TELESCOPE dedicated to science fiction poetry in translation
||[23 Jul 2013|04:30pm]
I was asked to guest-edit an issue of EYE TO THE TELESCOPE (www.eyetothetelescope.com), the online journal of the Science Fiction Poetry Association, and I decided to edit an issue devoted to SF-nal poetry in translation into English from other languages. Here are the guidelines:
Eye to the Telescope is looking for submissions for the October 2013 issue. The theme will be SF poetry in translation. The editor is looking for translations into English of speculative poetry from a broad range of both subgenres (cyberpunk, mythological, etc.) as well as languages. It is impossible to cover such an enormous subject as the SF-nal poetry written in languages other than English in a single online issue; this issue will attempt to merely offer readers a glimpse in English of that vast kaleidoscope. Guest-edited by Lawrence Schimel.
The editor will accept translations into English in any style or form.
The editor also actively encourages submissions of translations of relevant work by writers who have historically been marginalized, including but not limited to women writers (see the annual VIDA count: http://vidaweb.org), LGBT writers, writers of color, writers who are ethnic or linguistic minorities in the countries they live in, etc.
The editor also actively encourages submissions from so-called “minority” or regional languages, including those languages which don't have an official status in the state or country where they are used (Basque, Catalan, Cornish, Esperanto, Yiddish, etc.)
It is the translator's responsibility to secure permission from the author or rightsholder to publish the translations of the poem.
Send submissions to email@example.com with “Eye to the Telescope” in the subject line. Reprints of translated poems already published in English are acceptable if the poem has never appeared online; provide previous publication information with your submission.
Please submit 1–5 poems in English translation (in body of email or attached as .rtf).
In your cover letter, please state the language the poems are translated from and the country where the author is from and/or currently lives.
Include short bios of both author and translator.
Deadline: September 15, 2013.
Payment and rights
Accepted poems will be paid for at the following rate: US 3¢/word rounded to nearest dollar; minimum US $3, maximum $25. Payment is on publication.
Payment can be made to either the translator or the poet or split between the translator and the poet, as agreed upon in each individual case.
The Science Fiction Poetry Association normally uses PayPal to pay poets, but can also send checks.
Eye to the Telescope is an online publication. Therefore, First Electronic Rights (for original translations of poems) or reprint electronic rights are being sought.
||[03 Jul 2013|11:53pm]
Nearly 2am. Just turned in a little over 14,000 words of translations, which I've been proofing all evening. Although I'm afraid that the later it got, the less proofing I did... Zzzzzzz.
||[03 Jul 2013|02:31pm]
Last night I got an email from a publishing client who felt guilty that I couldn't invoice a translation since the author still hadn't turned in the last chapter, in fact the book had been bumped to the next season since this was all supposed to have been finish weeks and weeks ago.
She told me to go ahead and invoice everything up until that last chapter, even though contract specified no payment until it was all done.
So I did and sent it back to her last night.
And lo! this morning the author turned in the last chapter, which I've just translated and delivered to the publisher along with a revised invoice. Whew!
||[24 Apr 2013|12:40pm]
I got my contributor's copy of ASSARACUS 10, which includes 9 poems by me.
I've been translating so much lately, it's nice to suddenly have a flurry of publishing activity for my own work for a change. :-)
||[24 Apr 2013|10:42am]
Do people delete from their online "friendships" the profiles of friends who have passed away?
Facebook says that today is the birthday for a publishing colleague who passed away last year, and I just had to inform another colleague who hadn't heard the news that she shouldn't be writing HAPPY BIRTHDAY on her wall any longer.
The title poem for my new poetry collection, DELETED NAMES, is about this issue, more specifically: whether or not to delete the entry for a friend who passed away, because every time I scrolled past her name in my phone's address book, it provokes a fresh pang of sadness, but at the same time it feels like that digital link is the last remaining tie of our friendship and to sever it would be worse.
With the more-public online profiles, like the Facebook page of the woman whose birthday would've been today, many people wrote tributes on her wall after she passed away. Which is one reason I didn't "unfriend" her profile yet.
Although, thinking for myself, I'd rather my profile be taken down after I'm gone, if no one were going to be "managing" it (with updates of my posthumous publications, perhaps).
Are people making arrangements for what will happen to their online profiles after they pass away?
Am I awful for thinking that, on a practical level, since I've hit the limit of 5000 contacts on Facebook, if I do delete this deceased colleague from my "friends" list, I could add someone else?
|A fairy tale for Yom HaShoah
||[08 Apr 2013|07:39pm]
by Lawrence Schimel
She wore glass spectacles
for her vision was clouded,
as if that night her family's home
was burned to the ground in a pogrom
the smoke had gotten into her eyes
and never left them.
They named her Cinderella
when they pulled her from the ashes,
their hearts going soft because
she was only three years old.
Years later, her stepsisters teased
that she was named Cinderella
because she was dark as soot.
They pinched her bold nose
and pulled her black hair
and powdered their pale faces
to go to parties with the Vienese elite.
Cinderella was never invited
to attend these lavish functions;
her foster family left her at home,
working while they danced,
dreaming of the day she was asked to accompany them.
She was always certain it would not be long,
and therefore worked unfailingly, hoping
While her stepsisters primped and prepped
to waltz among princes, Cinderella walked
to the market, stepping over sewage in the gutters,
dodging the nimble rats that boldly crossed
the streets in search of food. A kindly frau
who sat beside a cart of squash--yellow gourds
and fat pumpkins like lumpy little suns--stopped her.
She took Cinderella's hands into her own.
"You look so sad. I will help you."
The woman drew Cinderella into the shadows
of the alleyway, and pulled papers from her pocket.
"Take these," she said. "They are mine,
but I am old. Go to America instead of me.
Find a new life. Send for your family,
if any are still alive. I am too old to begin again.
But for you, there is still hope for you."
Cinderella stared at this woman."I am
no Jew," she said, handing back the papers.
She walked away, but the frau's words--
the insinuations, the generosity--
haunted her. She walked faster,
trying to outrun the echoes in her mind.
Passing a shop window, Cinderella saw
a pair of slippers made of glass.
If she had been invited to the ball,
she thought, she would wear those.
She stared at them,
and her reflection stared back:
swart, square. Semitic.
She bought the slippers with the grocery money
and hurried back to the now-empty house.
Cinderella powdered her face
with the stepsister's cosmetics,
put on one of their dresses.
She tied her dark hair in a knot
hiding it beneath a silver scarf.
But still her nose betrayed her.
She didn't care. She slipped on her glass shoes
and made her way across town to the gala,
dreaming of finding a prince who would love her
and adore her and take her away to an enchanted life
where it did not matter that she looked like a jew.
The party was as dazzling as she had dreamed.
No one stopped her at the door, or paid her any
notice at all, it seemed, though some people stared.
No one spoke to her. And then a shriek
made Cinderella the focus of six hundred eyes,
as her two stepsisters ran toward her.
"You are not fit to be seen here!" they cried.
They snatched the spectacles from her face
and, in front of the assembled crowd,
crushed them underfoot with a delicate
twist of the toe, grinding downward.
Cinderella's vision blurred without her glasses.
Tears burned in her eyes, and then suddenly
the smoke that had clouded her sight
for as long as she could recall
lifted. She saw, at last, what she had always
refused to see before: these people had killed
her family, had meant to kill her as well.
She stood there, numb, as the stepsisters
poked and pushed her. They stepped
on her toes and broke her glass slippers
into hundreds of sharp splinters.
Cinderella left the shards of her glass shoes
on the dance floor and walked barefoot
out of the hall, leaving footprints of blood
behind her. She was never seen again.
|The Next Big Thing: Volando cometas
||[07 Apr 2013|09:52am]
I was tagged for The Next Big Thing blog campaign by Mexican author and translator Judy Goldman (http://judygoldman.blogspot.mx/2013/02/international-blog-event-next-big-thing.html), whose new children's book is WHISKERS, TAILS & WINGS:ANIMAL FOLKTALES FROM MEXICO.
1) What is the working title of your next book?
2) Where did the idea come from for the book?
At the end of 2009 (although I didn't see the report until 2010) the World Health Organization reported that AIDS was the leading cause of death globally for women of reproductive age (http://www.unaids.org/en/resources/presscentre/featurestories/2009/november/20091109women/). Yet the reality of seropositive women was something largely absent from our cultural landscape.
3) What genre does your book fall under?
It's a picture book for children.
4) What actors would you choose to play the part of your characters in a movie rendition?
I think it would depend on what language and country a film were being made!
5) What is the one-sentence synopsis of your book?
After his parents conceal information from him about his aunt and what's wrong with her (what she has, if it's contagious and how, etc.), Dani's fears are overcome through talks with the aunt's HIV-negative boyfriend, resulting in a pleasant weekend visit on which he discovers that he and his aunt share a love of flying kites.
6) Who is publishing your book?
Edicions Bellaterra in Spanish and Catalan. A Slovenian translation is also forthcoming.
7) How long did it take you to write the first draft of the manuscript?
I often spend months mulling about an idea I'd like to write about, often jotting down little snippets of possible scenes or dialogue. But the actual writing, when it happens, is very quick (a day or two). Then I let it sit and go back and rewrite it, and then, of course, there are editorial changes, and also changes that arise when working with the illustrator, to make the marriage of text and image work best to convey the story.
8) What other books would you compare this story to within your genre?
While there are a few other titles for children about HIV and AIDS, mostly non-fiction, there are no other fiction titles I know of for this age group and in Spanish that deal with women and HIV.
9) Who or what inspired you to write this book?
Reading the aforementioned WHO report, plus the fact of the daughter of a friend having been infected when she was in her late teens made me think that there was a need for more awareness and education about HIV for kids and that writing this book was something I could do to help address this.
10) What else about the book might pique the reader's interest?
In addition to the fictional story, there is a nonfiction appendix talking about HIV, what it is, how it's transmitted and how it's not transmitted, etc. that can be used by parents or educators for further dialogue with children.
A PDF of the book in Spanish can be viewed here: http://issuu.com/edbellaterra/docs/volando_cometas
||[19 Feb 2013|04:35pm]
Today's mail brought copies of 7 editions from Germany of my bilingual picture book originally titled IGUAL QUE ELLOS/JUST LIKE THEM: German-English, German-Spanish, German-Russian, German-Greek, German-Italian, German-French, & German-Turkish.
They each include an audio-CD with recordings of the story in all 8 languages.
This book has now appeared in 12 different language-combinations, and was also chosen by IBBY for their Outstanding Books for Young People with Disabilities 2013 list. :-)
|Recipe for Love
||[14 Feb 2013|12:54pm]
Since it's Valentine's Day, here's a poem from my new collection, DELETED NAMES (A Midsummer Night's Press):
RECIPE FOR LOVE
by Lawrence Schimel
I can never cook from a book:
all exact and impersonal measurements.
I need someone to show me,
step by step, how it's done.
I'm a lazy cook; I didn't begin
to experiment, to explore, until I was no longer cooking
only for myself.
Let's add a pinch
of this, we'll cook by taste, trying every while
what we're preparing. We'll feed
one another. If something's missing
Everything I know about cooking I learned from a friend
who told me: the secret to cooking is to never let
the food smell your fear.
It's also all I know about love.
Let's go into the kitchen
and I'll show you.
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