In this final episode of Hawthornden's Como Conversazione series for 2025, we’ll confront a subject that the literary world likes to keep subtextual: money. The translators and publishers, who usually meet over contract negotiations, open up their books and compare bottom lines, to see who feels like they’re being short-changed, and why. Is there—or could there be—a pay structure that works for everyone? And how should the translator be compensated, when their role is still so unresolved? 

How do we decide which translations are better than others?  In this episode of Hawthornden's Como Conversazione, Jacques Testard of Fitzcarraldo Editions and Adam Levy of Transit Books reveal how they evaluate books for acquisition. And, because so many of the guests on this show have served on prize juries, we compare our experiences making judgments that can seem at once arbitrary and hugely consequential. 

In this episode of Hawthornden's Como Conversazione, another session of practical translation: the reading and comparing of many renditions of one passage, to see how translators make their choices.  But the text we’ll be examining, 1001 Nights, presents an unusual challenge. Unlike with the Proust that we discussed in the first episode, there is not one fixed source text to work with. There were many retellings of Scheherazade’s tales over the centuries, which were then written down as many different manuscripts. What, then, does it mean for a translator to “take liberties,” or to be “faithful to the text”?

In this episode of Hawthornden's Como Conversazione, we discuss the problem of English. What happens when you bring a nation’s literature into its colonizer’s language? Is it inevitably a kind of violence? Here, we look to the field of translation studies, which provides some answers—not all of them satisfying. 

In this episode of Hawthornden’s Como Conversazione, the translators discuss the fraught emotional condition of their work: the sense that not only is their work shameful and grotesque but that they are too, for daring to attempt it.  Translation demands a deep and scholarly knowledge of language, which never feels sufficient. Translators are often faced with a binary of either making themselves invisible or asserting their styles. Many of them are caught between identities. You’ll hear Maureen Freely, an American who grew up in Istanbul, talk about her vexed relationship with Orhan Pamuk and Tiffany Tsao, American-born, but of Indonesian heritage, confess the shame she felt when translating Budi Darma. All of the translators in this group, for reasons of temperament and structure, seem to have a masochistic relationship to their work. But as in all cases of masochism, the pain is a kind of pleasure, too.

In this second episode of Hawthornden’s Como Conversazione, we explore beginnings. Anyone who has been around kids knows that a good Lego build starts with a good base. In a translation, this is the first sentence of a text. First sentences are so often the most famous lines.  They are a place for a translator to make their mark. They dictate the voice in which the book unfolds. But has the importance of the first sentence been overly inflated?

In the first episode of Hawthornden’s Como Conversazione, we start with an exercise in practical translation: a discussion of seven different English interpretations of one, highly complicated sentence from Volume One of Marcel Proust’s In Search of Lost Time.  Maureen Freely will speak first, followed by Daisy Rockwell, Virginia Jewiss, Jeremy Tiang, and finally Tiffany Tsao. It sounds like a lot to keep track of, but in the course of these conversations,  you will get to know all of their voices very well. 

Leo Carey is a senior editor at The New Yorker.

Yahdon Israel is a senior editor at Simon Schuster and founder of Literaryswag, a cultural movement that intersects literature and fashion to make books accessible. He brings an entrepreneurial spirit to these pursuits as the founder of a popular book club, host of a literary podcast, creative writing teacher, event producer, as well as his work in support of several prestigious literary awards.

Ben Calhoun is the executive producer of "The Daily" (The New York Times). Previously, he was an editor and producer for This American Life and Serial , and VP of programming at WBEZ in Chicago.

Sasha Weiss is a writer and the deputy culture editor at The New York Times Magazine. Previously she was the literary editor at The New Yorker and an editor at The New York Review of Books. _________________________________ The Critic and Her Publics Hosted by Merve Emre • Edited by Michele Moses • Music by Dani Lencioni • Art by Leanne Shapton • Sponsored by Alfred A. Knopf The Critic and Her Publics is a co-production between the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Lit Hub.

Radhika Jones is the fifth editor-in-chief of Vanity Fair. She previously held senior editorial roles at The New York Times, Time, and The Paris Review. She also was the managing editor at Grand Street, an editor at Artforum, and the arts editor of The Moscow Times, where she began her career. Jones holds a B.A. from Harvard University and a Ph.D. in English and comparative literature from Columbia, where she has also taught courses in writing and literature. Born in New York City, she grew up in Cincinnati and Ridgefield, Connecticut. _________________________________ The Critic and Her Publics Hosted by Merve Emre • Edited by Michele Moses • Music by Dani Lencioni • Art by Leanne Shapton • Sponsored by Alfred A. Knopf The Critic and Her Publics is a co-production between the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Lit Hub.

Zakiya Dalila Harris received her MFA in creative writing from The New School. Her debut novel, The Other Black Girl, was an instant New York Times bestseller and is now a critically acclaimed Hulu Original Series. Her essays and book reviews have appeared in Cosmopolitan, The Guardian, The New York Times, The Rumpus, and elsewhere. She lives in Brooklyn with her husband. _________________________________ The Critic and Her Publics Hosted by Merve Emre • Edited by Michele Moses • Music by Dani Lencioni • Art by Leanne Shapton • Sponsored by Alfred A. Knopf The Critic and Her Publics is a co-production between the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Lit Hub.

Fergus McIntosh is the head research editor at The New Yorker and runs the magazine's fact-checking department. _________________________________ The Critic and Her Publics Hosted by Merve Emre • Edited by Michele Moses • Music by Dani Lencioni • Art by Leanne Shapton • Sponsored by Alfred A. Knopf The Critic and Her Publics is a co-production between the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Lit Hub.

Jackson Howard is an editor and writer from Los Angeles who lives in Brooklyn. He’s Senior Editor at Farrar, Straus and Giroux and its imprints MCD and AUWA (headed by Questlove), where he acquires and edits a broad range of fiction and nonfiction. Writers he has published include Judith Butler, Brontez Purnell, Catherine Lacey, Bryan Washington, Laura van den Berg, Sarah Schulman, Jonathan Escoffery, Fernando A. Flores, Susan Straight, Imogen Binnie, Shon Faye, Henry Hoke, Thomas Grattan, Venita Blackburn, Missouri Williams, and many others. Books he has edited have won or been nominated for the Booker Prize, the National Book Award, the Kirkus Prize, the Lambda Literary Award, the PEN Open Book Award, the PEN/Faulkner Award, the PEN/Hemingway Award, and the Los Angeles Times Award for First Fiction. A longtime Pitchfork contributor, his reviews, profiles, and essays have also appeared in The New York Times Magazine, The Cut, Rolling Stone, The Ringer, W., i-D, office, Document, and elsewhere. In 2023, he was featured in New York magazine’s Power Issue and was named one of Harper’s BAZAAR’s 36 Voices of Now and part of Town & Country’s Creative Aristocracy. In 2022, he was named a Star Watch Honoree by Publishers Weekly. _________________________________ The Critic and Her Publics Hosted by Merve Emre • Edited by Michele Moses • Music by Dani Lencioni • Art by Leanne Shapton • Sponsored by Alfred A. Knopf The Critic and Her Publics is a co-production between the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Lit Hub.

Meghan O'Rourke is a writer, poet, and editor. She is the author of the New York Times bestseller The Invisible Kingdom: Reimagining Chronic Illness (2022); the bestselling memoir The Long Goodbye (2011); and the poetry collections Sun In Days (2017), which was named a New York Times Best Poetry Book of the Year; Once (2011); and Halflife (2007), which was a finalist for the Patterson Poetry Prize and Britain’s Forward First Book Prize. O’Rourke is the recipient of numerous awards, including a Guggenheim Fellowship, a Radcliffe Fellowship, a Whiting Nonfiction Award, the May Sarton Poetry Prize, the Union League Prize for Poetry from the Poetry Foundation, a Lannan Literary Fellowship, and two Pushcart Prizes. Currently the editor of The Yale Review, she began her career as a fiction and nonfiction editor at The New Yorker. Since then, she has served as culture editor and literary critic for Slate as well as poetry editor and advisory editor for The Paris Review. Her essays, criticism, and poems have appeared in The New Yorker, The Atlantic Monthly, Slate, Poetry, The Kenyon Review, and Best American Poetry, among others. She is a graduate of Yale University, where she also teaches. Hosted by Merve Emre • Edited by Michele Moses • Music by Dani Lencioni • Art by Leanne Shapton • Sponsored by Alfred A. Knopf The Critic and Her Publics is a co-production between the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Lit Hub.

Kaitlyn Greenidge is the author of Libertie and We Love You, Charlie Freeman, one of the New York Times Critics' Top 10 Books of 2016. Her writing has appeared in the Vogue, Glamour,the Wall Street Journal, Elle, Buzzfeed, Transition Magazine, Virginia Quarterly Review, The Believer, American Short Fiction and other places. She is the recipient of fellowships from the Whiting Foundation, the National Endowment for the Arts, the Radcliffe Institute for Advanced Study, the Lewis Center for the Arts at Princeton University and the Guggenheim Foundation. She is currently Features Director at Harper’s Bazaar as well as a contributing writer for The New York Times. Recorded October 18, 2024 at the Shapiro Center at Wesleyan University Edited by Michele Moses Music by Dani Lencioni Art by Leanne Shapton Sponsored by Alfred A. Knopf The Critic and Her Publics is a production of the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Literary Hub.

Emily Greenhouse is the editor of the New York Review of Books. She is the former managing editor of The New Yorker. For the full episode transcript, visit the NYRB Recorded September 17, 2024 at the Shapiro Center at Wesleyan University Edited by Michele Moses Music by Dani Lencioni Art by Leanne Shapton Sponsored by Alfred A. Knopf The Critic and Her Publics is a production of the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, and Literary Hub.

We've got some exciting news regarding the future of The Critic and Her Publics—and here to bring it to you is the latest episode of Literary Hub's The Lit Hub Podcast. If you don't know The Lit Hub Podcast, it's the in-house show at Lit Hub, hosted by podcasts editor Drew Broussard. This week features Merve Emre talking about what's next for TCAHP as well as Lit Hub's editor-in-chief Jonny Diamond on why supporting independent media is important and a raucous round-table of Lit Hub staff talking about awards season. Be sure to subscribe to The Lit Hub Podcast for more bookish fun—and to stay tuned for the return of The Critic and Her Publics in January 2025!

Christine Smallwood is the author of La Captive (Fireflies Press, 2024) and the novel The Life of the Mind (Hogarth, 2021), which Time magazine named one of the top ten fiction books of the year. Her essays, reviews, and profiles have been published in Harper’s, The New York Review of Books, The New Yorker, Bookforum, and The New York Times Magazine, where she is a contributing writer. She holds a PhD in English from Columbia University and is a core faculty member of the Brooklyn Institute for Social Research, where she teaches courses on the nineteenth-century novel and other topics. Recorded April 16, 2024 at the Shapiro Center at Wesleyan University Edited by Michele Moses Music by Dani Lencioni Art by Leanne Shapton Sponsored by the Shapiro Center for Creative Writing and Criticism at Wesleyan University, New York Review of Books, Lit Hub, and Knopf