Fritz hoffmann-la roche biography of rory

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Later today Issue 3 of Shiny New Books will appear and, with it my ruminations on the first three Neapolitan novels of the phenomenon that is Elena Ferrante. To coincide with that, Ann Goldstein, who works as an editor at The New Yorker and translates Ferrante’s novels into English, talks here about her career as a translator, the third and most recently released Neapolitan novel and her desert island books.

How did you become a literary translator?

Somewhat by accident. An Italian manuscript came to The New Yorker, where I am an editor, and at the time I was the only person who could read Italian; the idea was that I would read it and then write a polite rejection. But I decided to translate it, and it was published in the magazine. The manuscript was Chekhovin Sondrio by Aldo Buzzi (September 7, 1992).

How did you come to be Elena Ferrante’s translator?

I was asked by Europa Editions (or rather its parent, the Italian publisher e/o) to submit a sample translation from The Days of Abandonment. The editors liked it, and I went on from there.

Are there any particular challenges in translating her Neapolitan novels? How long does it take you to translate each volume? Are there passages where you need to be creative because the Italian idiom doesn&

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Translated from German by Christa Baguss Britt (1991)

As far as plots go, to my C21st century eyes, this novel, while being great fun, is pretty preposterous. But as far as German literary history is concerned, it is rather significant. The History of Lady Sophia Sternheim was the first German novel written by a woman and the first Bildungsroman.

In an age when women did not write novels, but took care of domestic correspondence, it comes as no surprise that Sophie van La Roche chose to write an epistolary novel, albeit not not one in which the letter writers are writing to each other. There are a number of narrators here, the most important being Lady Sophia Sternheim herself, Lord Derby and Lord Seymour. Yes, not one, but two English aristocrats, and Lady Sophia herself has English blood running through her veins. This was the age when Englishness was held to be a virtue, when Samuel Richardson’s sentimental novels were the best sellers of the day. And it is very much in that sentimental mode that The History of Lady Sophia Sternheim was conceived. Prepare yourself for a virtuous, if not downright saintly, heroine, a dastardly villain (Lord Derby), and a good guy who is not afraid to let his emotions show – once he has decided to show them. (Lord Seymour).

And so