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    Arts

    Novel Dialogue

    Novel Dialogue: where unlikely conversation partners come together to discuss the making of novels and what to make of them. What makes us special? Critics and novelists in conversation. Breaking down the boundaries between critical, creative, and just plain quirky, Novel Dialogue’s approach is wide-ranging and unconventional. Ever wondered what Jennifer Egan thinks of TikTok, how Ruth Ozeki honed her craft working on the movie Mutant Hunt, or if Colm Tóibín will ever write a novel about an openly gay novelist? Join us for lively conversations hosted by scholars who admire and write about the novelists that help shape our literary culture. Learn more about Novel Dialogue here.

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    Copyright: © Aarthi Vadde and John Plotz

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    Latest Episodes:
    4.4 “A short, sharp punch to the face”: José Revueltas’ The Hole (El Apando) with Alia Trabucco Zerán and Sophie Hughes. Oct 20, 2022
    Show notes

    Alia Trabucco Zerán, award-winning author of The Remainder (La Resta), and Women Who Kill (Las Homicidas), and Sophie Hughes, Alia’s translator and finalist for the International Booker Prize talk with Novel Dialogue host Chris Holmes about a novel that has shaped their lives as writers and thinkers: The Hole by José Revueltas. Sophie and Alia discuss how The Hole, written while Revueltas was held in the infamous Lecumberri prison, purposefully makes readers feel lost in a small, confined space. Reading a section from her co-translation of The Hole, published in 1969 as El Apando, Sophie considers how the novel’s intense feelings of confinement and limitation prompt a contemplation of what exactly defines freedom. The conversation turns on how the novel does not spare you from having “been victim of a violent book yourself,” and that literature which confronts our shared inhumanity toward prisoners should make you feel uncomfortable. In a series of thoughtful exchanges, the novelist and her translator confront the difficulties of preserving the immersiveness of the novel’s affect while being attuned to the precise choices and sacrifices of drawing out the novel in English. The episode ends with our season’s signature question, and a wonderful example of untranslatable Chilean Spanish from Alia.

    Mentioned in this episode:

    • Hurricane Season, Fernanda Melchor, trans. Sophie Hughes (2020)
    • Paradais, Fernanda Melchor, trans. Sophie Hughes (2022)
    • The Hole, José Revueltas, trans. Sophie Hughes and Amanda Hopkinson (1969/2018)
    • El Luto Humano (The Stone Knife), José Revueltas (1990)
    • Jorge Borges
    • Sergio Chejfec
    • Amanda Hopkinson, translator
    • Lecumberri Prison, “The Black Palace”

    Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics.


    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.


    4.3 Strange Beasts of Translation: Yan Ge and Jeremy Tiang in Conversation Oct 06, 2022
    Show notes

    Yan Ge and Jeremy Tiang are both writers who accumulate languages. Sitting down with host Emily Hyde, they discuss their work in and across Chinese and English, but you’ll also hear them on Sichuanese, the dialect of Mandarin spoken in Yan Ge’s native Sichuan province, and on the Queen’s English as it operates in Singapore, where Jeremy grew up. Yan is an acclaimed writer in China, where she began publishing at age 17. She now lives in the UK. Her novel Strange Beasts of China came out in English in 2020, in Jeremy’s translation. Jeremy, in addition to having translated more than 20 books from Chinese, is also a novelist and a playwright currently based in New York City. This conversation roams from cryptozoology to Confucius, from the market for World Literature to the patriarchal structure of language. Yan reads from the “Sacrificial Beasts” chapter of her novel, and Jeremy envies the brevity and compression of her Chinese before reading his own English translation. Throughout this warmhearted conversation, Yan and Jeremy insist upon particularity: upon the specificity of language, even in translation, and the distinctiveness of identity, even in a globalized world. We learn more about Yan’s decision to write in English, and Jeremy’s cat chimes in with an answer to our signature question about untranslatability! Tune in and keep a look out for Yan’s English-language debut, Elsewhere, a collection of stories, due out in 2023.

    Mentions:

    -Yiyun Li

    -Liu Xiaobo

    -Jhumpa Lahiri

    -Confucius

    -Strange Beasts of China

    -Tilted Axis Press

    -State of Emergency

    -Yu char kway

    -Wittgenstein

    Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics.


    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.


    4.2 Light and Sound: Boubacar Boris Diop with Sarah Quesada Sep 22, 2022
    Show notes

    Boubacar Boris Diop is the author of Murambi: The Book of Bones, (Indiana UP, 2016; translated by Fiona McLaughlin), an unforgettable novel of the Rwandan genocide that blends journalistic research with finely drawn characterizations of perpetrators, victims, and bystanders. In this episode, Mr. Diop reads from Murambi, translated from French by Fiona McLaughlin, and speaks to Duke professor Sarah Quesada and host Aarthi Vadde about how his work on the novel spurred him to rethink his language of composition. Mr. Diop wrote his first five novels in French, but after Murambi, shifted to Wolof, the most widely spoken language in his home country of Senegal. Asked to describe the difference between writing in French and writing in Wolof, Mr. Diop sums it up memorably: “When I start writing in French, I shut the door; I shut the window…I don’t hear the words I’m writing. When I write in Wolof, I hear every word.”

    Sarah and Mr. Diop discuss whether translation can be an ally to a Wolof worldview or whether the sounds that Mr. Diop hears through his window will inevitably be lost to readers who encounter his Wolof novels in English or French. Their dialogue suggests that, while Wolof represents a form of linguistic emancipation from the legacy of a French colonial education, there is also discovery and freedom in raising the literary profile of Wolof for an international audience. Mr. Diop’s Doomi Golo: The Hidden Notebooks is the first Wolof novel to be translated into English and an excerpt from his second Wolof novel Bàmmeelu Kocc Barma is available in translation here.

    In response to our signature question of the season, Mr. Diop proposes that the Wolof word “keroog” is very difficult to translate but not impossible. And it spurs an impromptu comparison to the Spanish word “ahorita,” which like “keroog,” blurs the distinctions between present, past, and future. In an episode about personal and political memory, nothing could be more fitting!

    Mentioned in this episode:

    --Toni Morrison

    --Gabriel Garcia Marquez

    --Mario Vargas Llosa

    --Ernesto Sábato

    --Léopold Sédar Senghor

    --Doomi Golo: The Hidden Notebooks

    --Les Petits de la guenon (French Translation of Doomi Golo)

    --Bàmmeelu Kocc Barma – literally translated as Kocc Barma's Grave (Diop’s second Wolof novel)

    --Malaanum Lëndëm – Diop’s third Wolof novel

    --Alice Chaudemanche (French translator of Malaanum Lëndëm)

    --Pierre Nora – French historian

    --Marianne Hirsch

    --“Sites mémoriaux du génocide” – memorial sites of genocide (term used by UNESCO that qualify as heritage sites.)

    --Rwandan term – “ejo” (similar to keroog) from the language: Kinyarwanda

    Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics.


    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.


    4.1 “Sometimes I’m just a little disappointed in English” Sep 08, 2022
    Show notes

    A novelist, a translator and a theorist of translation walk into a Zoom Room......Alejandro Zambra, Megan McDowell, and Kate Briggs provide the perfect start to Season 4 of Novel Dialogue. Our first themed season is devoted to translation in all its forms: into and out of English and also in, around, and over the borders between criticism and fiction. We talk to working translators, novelists who write in multiple languages, and we even time travel to discover older novels made new again in translation. How perfect then to begin with Kate, whose 2017 This Little Art is filled with translational brainteasers: how do I translate characters speaking French in a German novel? what does it mean that “A translation becomes a translation only when somebody declares it to be one”?

    In this episode, Alejandro and Megan discuss their working relationship and share both Spanish and English passages from Alejandro’s most recent novel, Chilean Poet. There follows a dazzling discussion of poetry within novels, of struggling to be “reborn” as you learn a second language “as something that no longer goes without saying.” Alejandro proposes that to speak Spanish itself, (except “bestseller Spanish”) is already to pivot between the language as it’s spoken differently in different countries. Finally, the new ND “signature question” engenders a cheerful tirade from Megan that brings the conversation to a delightfully feisty conclusion.

    Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics.

    Mentioned in the episode

    • --Roland Barthes, The Preparation of the Novel; How to Live Together
    • --Samanta Schweblin
    • --Mariana Enriquez
    • --Lina Meruane
    • --Joseph Conrad
    • --Vladimir Nabakov
    • --Oulipo writers who chose rules to organize their writing: e.g.. Georges Perec wrote a novel without the letter e.
    • --Wordsworth, "Nuns Fret Not at Their Convent’s Narrow Room"
    • --Robert Browning as practitioner of "dramatic monologue" (or "double poem")
    • --Alfred, Lord Tennyson
    • --Elizabeth Barrett Browning
    • --Emily Brontë
    • --Charlotte Brontë
    • --Emily Dickinson
    • --T. S. Eliot, "The Waste Land"
    • --I. A. Richards
    • --Randall Jarrell ("Gertrude spoke French so badly anyone could understand it.....")


    Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics.


    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.


    4.0 Novel Dialogue Season 4: Transitions and Translations Sep 01, 2022
    Show notes

    Introducing Season 4.0 of Novel Dialogue! Hosts John Plotz and Aarthi Vadde welcome new lead hosts Emily Hyde and Chris Holmes. This will be Novel Dialogue’s first themed season focusing on conversations between translators and novelists. Our hosts offer a sneak peek into a very exciting season.

    Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics.


    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.


    3.6 Why are You in Bed? Why are You Drinking? Colm Tóibín and Joseph Rezek in Conversation Apr 14, 2022
    Show notes

    Colm Tóibín, the new laureate for Irish fiction, talks to Joseph Rezek of Boston University, and guest host Tara K. Menon of Harvard. The conversation begins with Colm’s latest novel The Magician, about the life of Thomas Mann, and whether we can or should think of novelists as magicians and then moves swiftly from one big question to the next. What are the limitations of the novel as a genre? Would Colm ever be interested in a writing a novel about an openly gay novelist? Why and how does death figure in Colm’s fiction? Each of Colm’s revealing, often deeply personal answers illuminates how both novels and novelists work. As Thomas Mann wrote of the “grubby business” of writing novels, Colm reminds us of the “day to day dullness of novel writing.” Insight and inspiration only arrive, he warns, after long, hard days of work.

    Mentioned in this episode:

    • Robinson Crusoe (1719), Daniel Defoe
    • Pride and Prejudice (1813), Jane Austen
    • The Portrait of a Lady (1881), Henry James
    • The Wings of the Dove(1902), Henry James
    • The Ambassadors (1903), Henry James
    • The Golden Bowl(1904), Henry James
    • The Blackwater Lightship(1999), Colm Tóibín
    • The Master (2004), Colm Tóibín
    • Brooklyn(2009), Colm Tóibín
    • The Testament of Mary(2012), Colm Tóibín
    • Nora Webster(2015), Colm Tóibín
    • The Magician(2021), Colm Tóibín


    Aarthi Vadde is Associate Professor of English at Duke University. Email: aarthi.vadde@duke.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu.


    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.


    3.5 The Romance of Recovery: Ben Bateman talks to Shola von Reinhold (AV) Mar 31, 2022
    Show notes

    Shola von Reinhold is the author of LOTE, a novel about getting lost in the archives and finding what the archives have lost. LOTE won the 2021 James Tait Black prize so who better to join Shola on Novel Dialogue than Ben Bateman of Edinburgh University, lead judge of the prize committee? This conversation takes listeners back to all yesterday’s parties as Shola, Ben, and Aarthi time travel to the Harlem Renaissance and the interwar modernist era. Shola offers up Richard Bruce Nugent as their current figure of fascination (or “transfixion” to use a key image from LOTE), and wonders what it would have been like to move through Harlem and London by Nugent’s side.

    Recovering the stories of black writers and artists is essential to Shola’s literary project. It is also inseparable from restoring queerness to the once hyper-masculine and “muscular” paradigm of modernism. In a stirring discussion of the aesthetic forms and moods of historical recovery, Ben and Shola sink into the “purpleness” of the fin-de-siècle and explore the critical power of black sensuousness. Talk of decadence, ornamentality, and frivolity shapes the latter half of this episode, and Doris Payne, the West Virginian jewel thief, emerges as an exquisitely improbable modernist heroine!

    Mentioned in this episode:

    -Richard Bruce Nugent

    -Dorothy Heyward and DuBose Heyward, Porgy

    -E.M. Forster

    -David Levering Lewis, When Harlem was in Vogue

    -Saidiya Hartman

    -Benjamin Kahan, The Book of Minor Perverts

    -James Joyce, Ulysses

    -Willa Cather, “Paul’s Case”

    -Ornamentality via Kant, Hegel, and Adolf Loos

    -Susan Sontag

    -Doris Payne – a.k.a “Diamond Doris”

    -Édouard Glissant

    Aarthi Vadde is Associate Professor of English at Duke University. Email: aarthi.vadde@duke.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu.


    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.


    3.4 The Work of Inhabiting a Role: Charles Yu speaks to Chris Fan (JP) Mar 17, 2022
    Show notes

    Charles Yu won the 2020 National Book Award for Interior Chinatown but some of us became fans a decade earlier, with How to Live Safely in a Science Fictional Universe (2010). He brilliantly uses SF conventions to uncover the kind of self-deceptive infilling that we all do every day, the little stories we tell ourselves to make our world seem predictable and safe when it’s anything but. His other work includes two books of short stories (Third Class Superhero 2006 and Sorry Please Thank You in 2012) and some episodes of Westworld, He speaks with John and with Chris Fan, Assistant Professor at UC Irvine, senior editor and co-founder of Hyphen magazine, noted SF scholar.

    The conversation gets quickly into intimate territory: the pockets of safe space and the "small feelings" that families can and cannot provide, and that science fiction can or cannot recreate. Graph paper and old math books get a star turn. Charlie's time as a lawyer is scrutinized; so too is "acute impostor syndrome" and the everyday feeling of putting on a costume or a mask, as well as what Du Bois called "double consciousness."

    In conclusion, we followed the old ND custom of asking Charlie about treats that sustain him while writing. Later, we reached out with this season's question about what new talent he'd love to acquire miraculously. He had a lightning-fast response: "the ability to stop myself from saying a thing I already know I will regret. I would use this on a daily, if not hourly, basis."

    Mentioned:

    • Dale Carnegie How to Win Friends and Influence People (1936)
    • W. E. B. Du Bois on "double consciousness" (and so much more): Souls of Black Folk (1903)

    Aarthi Vadde is Associate Professor of English at Duke University. Email: aarthi.vadde@duke.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu.


    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.


    3.3 In the Editing Room with Ruth Ozeki and Rebecca Evans (EH) Mar 03, 2022
    Show notes

    Ruth Ozeki, whose most recent novel is The Book of Form and Emptiness, speaks with critic Rebecca Evans and guest host Emily Hyde. This is a conversation about talking books, the randomness and serendipity of library shelves, and what novelists can learn in the editing room of a movie like Mutant Hunt. Ozeki is an ordained Zen Buddhist priest, and her novels unfold as warm-hearted parables that have been stuffed full of the messiness of contemporary life. The Book of Form and Emptiness telescopes from global supply chains to the aisles of a Michaels craft store and from a pediatric psychiatry ward to the enchanted stacks of the public library. The exigencies of environmental storytelling arch over this conversation. Evans asks Ozeki questions of craft (how to move a story through time, how to bring it to an end) that become questions of practice (how to listen to the objects stories tell, how to declutter your sock drawer). And we learn Ozeki’s theory of closure: her novels always pull together at the end so that readers are free to continue pondering the questions they raise.

    Mentioned in this episode:

    • Mutant Hunt, directed by Tim Kinkaid (1987)
    • My Year of Meats, Ruth Ozeki (1998)
    • All Over Creation, Ruth Ozeki (2003)
    • The Book of Form and Emptiness, Ruth Ozeki (2021)
    • The Life-Changing Magic of Tidying Up, Marie Kondo (2014)


    Aarthi Vadde is Associate Professor of English at Duke University. Email: aarthi.vadde@duke.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu.


    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.


    3.2 Promises Unkept: Damon Galgut with Andrew van der Vlies Feb 17, 2022
    Show notes

    Guest host Chris Holmes sits down with Booker Prize winning novelist Damon Galgut and Andrew van der Vlies, distinguished scholar of South African literature and global modernisms at the University of Adelaide, Australia. Andrew and Damon tunnel down into the structures of Damon’s newest novel, The Promise to locate the ways in which a generational family story reflects broadly on South Africa’s present moment. The two discuss how lockdowns during the Covid-19 pandemic invoke for some the limitations on movement during the Apartheid era in South Africa. The Promise is a departure from Damon’s previous two novels, which were peripatetic in their global movement and range. Damon describes the ways in which this novel operates cinematically, as four flashes of a family’s long history, with the disembodied narrator being the one on the move. Damon provocatively divides novels into two traditions: those that provide consolation, and those that can provide true insight on the world but must do so with a cold distance. While he does not call The Promise an allegory, Damon admits to the fun that he has with inside jokes that play with allegorical connections, as long as the reader is in on the joke. Damon directly takes on his choice to leave a pregnant absence in the narrative’s insight into his black characters “sitting at the very heart of the book.”

    Mentioned in this Episode:

    • The Promise, Damon Galgut (2021)
    • The Good Doctor, Damon Galgut (2004)
    • The Conservationist, Nadine Gordimer (1974)
    • No Time Like the Present, Nadine Gordimer (2012)


    Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers.


    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.


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