Zitat des Tages von Jonathan Galassi:
The FSG story starts to lose its fairy-tale aura when filthy lucre invades the sacred enclosure, as it did ubiquitously in the every-man-for-himself Reagan era.
A translation needs to read convincingly. There's no limit to what can go into it in terms of background research, feeling, or your own interests in form and history. But what should come out is something that reads as convincing English-language text.
Poetry is not mainstream, but then neither is serious fiction, really. But I don't think there's a lot to worry about in this particular 'problem'. Why does art have to be mainstream to be significant?
Writing is inherently scary.
As the publisher of FSG and the custodian of its legacy, I have an interested insider's view.
One thing I have noticed is that when you're a younger editor, you're more intense about it. As you go along, you relax a little. More and more, I feel that the book is the author's. You give the author your thoughts, and it's up to him or her to decide what to do.
Elizabeth Bishop in particular had a big impact on me personally as well as artistically. Her insistence on clarity is something I rate very highly.
If you've worked in a company for a long time, there's a mythology that you know by heart, you don't need to look it up to evoke. It's there in your blood, as it were.
My poems are always about my life in one way or another.
I can write anywhere that's quiet. I have a study in my apartment, but I often work in the kitchen of a house that we rent in the country.
I never thought I could write fiction.
I feel that there is not an endlessly expandable universe of fiction readers.
I think poetry should be read very much like prose, except that the line breaks should be acknowledged somehow.
The thing that happened with the music business, there are no stores anymore where you can buy music. It's all an online business now, and that's, you know - the bookstore culture is a very vibrant part of the American experience that we're very reluctant to see go away.
Editing is more by-the-hip. You look at a text and ask yourself how it can be improved.
I think poetry was always where I went to deal with my deepest feelings.
There's been a fragmentation of how the market functions, but I believe printed books are here to stay. People like the tactile experience, the smell of them; there's a great romance to them.
John Updike's first published book was a collection of poems.
Poems are endlessly renewable resources. Whatever you bring to them, at whatever stage of life, gets mirrored back, refracted, reread in new ways.
There are courses you can take to learn the mechanics of the business, like the Radcliffe course, but I don't think they teach you how to edit.
I think that the continuity of what I do as an editor with what I did when I started out 40 years ago is very direct. The delivery system is changing and will continue to, but the actual interaction between publisher and author is exactly the same.
Everything is different - except for publishing itself: getting hold of an amazing author, working to make his or her book the best and best-looking it can be, telling the world.
Claiming your life for yourself feels like a huge deal until you do it.
I was nearly 40 when I published my first book. I was a slow starter - or rather, I was slow to gather my work together, though I had published translations, mainly of the Italian poet Montale, by then.
Giving oneself permission to write to begin with is the first enormous challenge. But you discover that this permission involves a requirement: To write about things that are difficult because they are, in fact, your subject.