In a continuing series on international writing communities, contributing editor Stephen Morison Jr. spends time with writers in the capital city of Bulgaria.
With so many good books being published every month, some literary titles worth exploring can get lost in the stacks. Page One offers the first lines of a dozen recently released books, including Maylis de Kerangal’s latest novel, The Heart, translated from the French by Sam Taylor, and A. Igoni Barrett’s debut novel, Blackass, as the starting point for a closer look at these new and noteworthy titles.
Over the past decade, Scottish artist Robert Montgomery has created text and light installations across the world consisting of short poems made from neon, wood, and fire.
A writer in Sofia, Bulgaria, tracks the coronavirus pandemic through a global network of family and friends.
The issues are cohesive; the whole of the magazine is comprehensive.
Submit anything, from new to almost-forgotten, previously published if noted in an email, or rejected for whatever reason from other venues. I do work with talented writers if a theme or plot or character can be drawn out and refined for publication in Wood Coin. The magazine is uncensored as of January 2018, yet extreme literary or artistic stunts need to coincide with US obscenity laws.
Four days after a liberal blogger and writer was stabbed at a bookstore during a reading in Beijing, the writing community here still has more questions than answers. Xu Lai is recovering, his compatriots are actively theorizing about the motives behind the incident in their blogs, and the proprietors of the bookstore-café that sponsored the event are uneasy and hoping to avoid notoriety.
A young translator recalls attending the 2014 American Literary Translators Association conference, and her discovery of how deeply personal the craft of translation can be.
An American expat details her experience as a translator of Bulgarian literature.
In the wake of the Charlie Hebdo massacre, a French scholar and literary translator discusses the need for translators to be well versed in intersectional knowledge of culture and history.