Dr. Marija Girevska on Translating Ulysses
FM: Translating Ulysses seems like a daunting, almost-insurmountable task. What attracted you to translating it? [...]
Beyond the familiar Modernist canon, many writers of the early twentieth century remain oddly absent from today’s reading lists. Their works appear in slim volumes, signed editions, or small literary magazines that rarely resurface. Recovering these figures can reshape how readers understand the period, especially the quieter exchanges between avant-garde circles, exile communities, and independent presses that published fiction, poetry, and essays when larger houses would not.
The cluster of writings tagged within the interviews category reflects this impulse toward recovery. Contributors consider how translation choices, editorial decisions, and archival finds can revive a text that once circulated only in mimeographed journals or limited runs. Readers drawn to rare books often find themselves tracing similar paths, following marginal notes, dedication pages, and the history of particular printings toward larger patterns of literary exchange that the standard histories tend to smooth away.
For collectors and curious readers alike, navigating rare books is partly about learning the vocabulary of physical objects. Editions can be distinguished by their paper stock, binding style, and presence of original wrappers, and a signed copy may carry inscriptions that later scholars treat almost like manuscript evidence. Recognising these distinctions helps readers approach catalogues, library listings, and dealer descriptions as informed participants rather than passive buyers, which in turn deepens the pleasure of discovery.
The magazine also gathers posts in clusters that move between writer profiles, translation notes, and reflections on editorial process. Such grouping encourages readers to see individual essays as fragments of a longer conversation, where a piece on reportage can sit beside an analysis of perception in poetry, or a meditation on authorial voice can open into a discussion of the body in fiction. The structure invites return visits rather than single readings.