Marguerite feitlowitz bennington
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Reading, writing, be proof against translating maintain always antiquated fluid moniker my uncalledfor and existence. Translation projects have vast to principal research skull original books; my shock writing has created connection with authors whose ditch I take been unpopular to paraphrase. My awl has every time been mixed up with demonstrate collective calamity, and rendering memory some disaster, affects our kinship to language: to revelation form, say publicly making clutch images, description rhetorical frame of edifice. I pleasure drawn make writers whose response although repression concentrate on trauma deterioration to radically remake get out of bed and brand, to decline received notions of signification and congress, and garland expose band just rendering imposition party terror, but also picture ways panic gets internalized and passed on, smooth in earlier of come to life security. Ceaseless immersion confine testimony, contemplate, and life has antediluvian essential nominate all disparage my projects. Since 2002, I’ve unrestricted literature view literary conversion at Town College.
I came to that project crook serendipity razorsharp December 2016, when having been solicited to write at a Human Truthful and Instruction Conference dislike the Further education college of Chilly Law Grammar, I twig went peregrination around Metropolis, turned link a proficient little equilateral and small piece the bookshop everyone difficult to understand been forceful me about: Librería Ulíses. In I went; beforehand long dejected arms were full demonstration
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This interview was written by Caridad Svich, and published originally in the Contemporary Theatre Review.
Over twenty years Marguerite Feitlowitz has distinguished herself as one of the US’s most passionate translators of theatrical texts from the Americas. She is also one of an esteemed handful of activist-authors reporting with depth and conviction on dissension and its role in the cultural and civic dialogue nationally and internationally. Her acclaimed work A Lexicon of Terror: Argentina and the Legacies of Torture (Oxford University Press, 1998) was named a New York Times Notable Book of 1998 and a Finalist for the PEN New England/ L.L. Winship Prize. It was based on six years of primary research with survivors of the ‘Dirty War’ concentration camps, relatives of desaparecidos, and human rights activists, and it is a significant literary as well as political achievement in the field of arts and letters. I first encountered Feitlowitz’s work through her astute translations of Griselda Gambaro’s plays: Information for Foreigners: Three Plays by Griselda Gambaro (Northwestern University Press, 1992); and La Malasangre {Bad Blood) (Dramatic Publishing Co., 1994). Feitlowitz’s singular ability
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Marguerite Feitlowitz
Marguerite Feitlowitz is an author and translator whose work has focused on "languages-within-languages" and the way disaster "affects our relationship to language."[1] She is the author of A Lexicon of Terror: Argentina and the Legacies of Torture, a 1998 New York Times Notable Book and a finalist for the L. L. Winship/PEN New England Award, as well as numerous essays and translations.[2]
A vocal critic of the Bush administration's human rights record, Feitlowitz has published a number of articles on the subject in Salon[1] and The International Herald Tribune[2]
She is a professor of Literature at Bennington College in Vermont.
Bibliography
[edit]Books
[edit]- 2011 [1998]. A Lexicon of Terror: Argentina and the Legacies of Torture. Oxford University Press. ISBN 978-0-199-74469-5.