In Other Words: The Journal for Literary Translators, Winter 2009 / No. 34. Eds. Valerie Henituk & Amanda Hopkinson. £15 (2 issues, biannual)
This issue of the official magazine of the University of East Anglia’s young but deservedly respected The British Centre for Literary Translation includes Deborah M. Shadd’s notable essay on translation and metaphor, Caterina Sinibaldi’s essay on American comics in fascist Italy, and Daniel Hahn’s micro-memoir on translating The Piano Cemetery. Martin Sorrell’s essay on the increasing number of literary translation MAs in Britain, though unsurprisingly pro-program, offers a considered analysis, and the magazine is rounded out by a nice selection of two-to-four-page reviews of recent translations.
Rossica: International Review of Russian Culture, 19. Ed. Svetlana Adjoubei. £40 UK/£50 World (4 issues)
A beautifully produced, glossy-paged journal on heavy stock paper, this issue of Rossica features short fiction by Vladimir Makanin, German Sadulaev, Olga Slavnikova, Sergei Shargunov (b. 1980), and other contemporary Russians, all translated into English for the first time. The texts are accompanied by the spare and haunted meta-landscapes of Pavel Pepperstein, courtesy Regina Gallery, Moscow.
Swedish Book Review, 2010: 1. Ed. Sarah Death. £15 UK/$25 US (2 issues, biannual)
The first issue of SBR for 2010 highlights crime fiction, anchored by Anna Patterson’s essay on Kerstin Ekman and excerpts from four of her novels, contains translated fiction by Arne Dahl, Staffan Bruun, and Viveca Sten. Swedish fiction, and especially their crime novels, is a proven market, and the review is accordingly business-minded, listing sold rights and even foreign rights holders’ contact information. Still, despite its commercialism, it maintains a respectable level of editorial rigor in this issue.
Dodgem Logic, Issue No. 1. Ed. Alan Moore. £2.50 per issue
The hodgepodge brainchild of comics icon Alan Moore, Dodgem Logic contains a CD of Northampton music, a how-to comic about urban guerilla gardening, recipes for pudding and quiona [sic] soup, Graham Linehan’s reflections on how Twitter might have affected the meeting of John Lennon and Paul McCartney (and how it might affect the meeting of the next Lennon and McCartney), and more. The magazine also includes an insert focused exclusively on Northampton, featuring an opinion piece by Alan Moore himself, as well as local music listings. My favorite piece is on its inside cover, the brief “Great Hipsters in History,” evidently the beginning of a series, also composed by Moore, featuring anarchist and radical heros from days past, like Emma Goldman and Paul Robeson. On the whole, the magazine is enjoyable but uneven, certainly worth following until its character has been more defined—though maintaining its slippery nature seems to be its creators’ primary intention.