The stories that confirm that bigger story are brought in and easily digested. But there's another set of stories that are always there, which do not confirm, but which complicate and contradict what we think we already know. And I'm always attracted to that. There doesn't seem to be much of a market for it. Translated books rarely get reviewed in the press. Books or poems or works of art that don't seem to have a corresponding style or figure or theme, obviously they're hard to digest.
Elliott CollaWhy is thinking about crime or imagining crime so goddamn central to pop culture? It doesn't matter whether it's American TV or British TV. And there's entire sections of bookstores devoted to crime.
Elliott CollaWe like to look out on the world and see ourselves, so we have many, many novels, memoirs, and short stories in Iraq that are largely about Americans in Iraq, doing what Americans do.
Elliott CollaIn the Green Zone in Iraq you have your radio, you have your food, you have your own electricity, your own toilets. Everything is a sealed American reality overlaid on top of an infrastructure that is crumbling.
Elliott CollaThe truly astounding thing is the Baathist regime supports poetry like nobody else, probably in the world.
Elliott CollaIn translation studies we talk about domestication - translation styles that make something familiar - or estrangement - translation styles that make something radically different. I use a lot of both in my translation, and modernism does both. For instance, if you look at the way James Joyce presents Ulysses, is that domesticating a classic? Think of it as an experiment in relation to a well-known text in another language.
Elliott Colla