{"id":355,"date":"2010-01-17T09:05:40","date_gmt":"2010-01-17T08:05:40","guid":{"rendered":"http:\/\/www.pamiela.com\/bloga\/?p=355"},"modified":"2010-01-19T07:06:57","modified_gmt":"2010-01-19T06:06:57","slug":"premian-la-version-inglesa-de-el-hijo-del-acordeonista-de-bernardo-atxaga","status":"publish","type":"post","link":"https:\/\/www.pamiela.com\/bloga\/?p=355","title":{"rendered":"Premian la versi\u00f3n inglesa de “El hijo del acordeonista”, de Bernardo Atxaga"},"content":{"rendered":"

La obra, cuya primera edici\u00f3n, en euskera, corri\u00f3 a cargo de Pamiela, ha sido reconocida por el “Times”<\/h2>\n

\"\"<\/a><\/h2>\n

La novela El hijo del acordeonista<\/em>, del escritor vasco Bernardo Atxaga, acaba de ganar el premio a la mejor traducci\u00f3n del Times Literary Supplement<\/em>, una distinci\u00f3n que se suma a otros galardones conseguidos por esta obra en el extranjero, como el Mondello y el Grinzane Cavour, ambos de 2008.<\/p>\n

Seg\u00fan inform\u00f3 ayer la editorial Alfaguara, responsable de la edici\u00f3n en castellano, el diario The Times<\/em> acaba de hacer p\u00fablicos los premios que el citado suplemento literario otorga cada a\u00f1o a las mejores traducciones a lengua inglesa y, entre los ganadores de 2009, figura Margaret Jull Costa, por su versi\u00f3n de El hijo del acordenista<\/em>, publicada en el Reino Unido bajo el t\u00edtulo The Accordionist”s Son<\/em>.<\/p>\n

Esta obra, cuya primera edici\u00f3n, en euskera, corri\u00f3 a cargo de la editorial pamplonesa Pamiela, es una de las m\u00e1s personales de Atxaga y obtuvo el Premio de la Cr\u00edtica en lengua vasca concedido por la Asociaci\u00f3n Espa\u00f1ola de Cr\u00edticos Literarios. Asimismo, su traducci\u00f3n al castellano, realizada por el propio Atxaga y por su mujer, Asun Garikano, fue seleccionada para el Premio Nacional de Narrativa de 2004, un galard\u00f3n que el escritor ya hab\u00eda ganado en 1989 con Obabakoak<\/em>. En El hijo del acordeonista<\/em>, Bernardo Atxaga regresa a Obaba, ese territorio imaginario en el que el escritor ha situado varias de sus novelas y que le ha servido para reflejar el presente y el pasado del Pa\u00eds Vasco.<\/p>\n

Ese retorno tiene “sabor a despedida, ya que en esta ocasi\u00f3n Atxaga vuelve para no regresar jam\u00e1s, para narrar la desintegraci\u00f3n del mundo de Obaba y para que en esta novela confluyan todos los rasgos principales de su estilo”, se afirma en la nota de Alfaguara.<\/p>\n

traducciones Por otro lado, Atxaga tambi\u00e9n ha sido noticia esta semana porque ha llegado al p\u00fablico extranjero en los \u00faltimos meses con las nuevas ediciones de siete de sus obras en pa\u00edses como Francia, Portugal, Croacia o Corea del Sur.<\/p>\n

Paseando por g\u00e9neros como la novela, el ensayo, la poes\u00eda, la literatura infantil, el teatro y los relatos juveniles, el autor ver\u00e1, por ejemplo, su novela Siete casas en Francia<\/em> publicada en ingl\u00e9s (primavera de 2011), franc\u00e9s (oto\u00f1o de 2010) y portugu\u00e9s (el pasado oto\u00f1o). Ser\u00e1 su noveno t\u00edtulo en Francia, tras las traducciones de Obabakoak, El hombre solo, Dos hermanos, El hijo del acordeonista, Esos cielos <\/em>y Memorias de una vaca, <\/em>entre otros. En Reino Unido, por su parte, ya ha publicado seis libros, mientras que Bulgaria acaba de editar El hijo del acordeonista<\/em>. Durante los pr\u00f3ximos meses tambi\u00e9n ver\u00e1n la luz cuatro nuevas ediciones de la obra Obabakoak<\/em>: en rumano, ruso, coreano e ingl\u00e9s (en la que tendr\u00e1 una nueva versi\u00f3n con tapa dura en Estados Unidos). Con estas nuevas traducciones, Obabakoak<\/em> se podr\u00e1 leer en 27 lenguas diferentes.<\/p>\n

Publicado por<\/strong> Noticias de Navarra<\/a><\/p>\n


\n<\/a>http:\/\/www.diariovasco.com\/20100116\/cultura\/premian-version-inglesa-hijo-20100116.html<\/a><\/p>\n

http:\/\/www.eitb.com\/cultura\/literatura\/detalle\/335932\/el-diario-times-premia-novela-el-hijo-acordeonista\/<\/a><\/p>\n

Book Review<\/h6>\n

Bernardo Atxaga’s “The Accordionist’s Son”<\/h1>\n

By Jascha Hoffman<\/h6>\n

\"\"<\/a>The Accordionist’s Son<\/strong> By Bernardo Atxaga. Translated by Margaret Jull Costa. 370 pages. Graywolf Press, $25; Vintage, \u00a38.99. <\/em><\/p>\n

The Basque novelist Bernardo Atxaga has spent his career moving between fairy tales and terrorism. His early works were set in the mythical Spanish town of Obaba, where birds, squirrels and snakes could speak. Later he turned out gritty novels about men and women backed into corners by their entanglement with the Basque separatist movement. These two worlds converge in “The Accordionist’s Son,” a sprawling novel about the legacy of civil war in Spain that borrows characters from Atxaga’s previous works but does not have quite the same charm and power.<\/p>\n

Stretching across most of the 20th century, the novel is framed as the memoir of David Imaz, a Basque exile. Dying on a ranch in Northern California in 1999, he steals away from his American family each night to document his early life in his native language. We learn he was raised in the peaceful town of Obaba, not far from Guernica, with only a dim awareness of the civil war that ended a decade before he was born. As a teenager he discovers a list of Republican sympathizers executed on behalf of the Franco regime in 1937. It is in his father’s hand.<\/p>\n

Rather than confront his father, David turns his conscience against himself. He is sickened by the thought of colluding with a corrupt regime, so he refuses to play the family accordion at the unveiling of a monument to Franco’s soldiers, disappearing instead to a cellar that once hid Republicans during the civil war. But one cannot hide from history, especially when it is set to repeat itself. By the late 1960s the Basque separatist movement is brewing, and David comes under suspicion by the Spanish civil guard. He tries to remain neutral as his friends set off bombs and burn the Spanish flag. But in the end, whether in defiance of his father or in imitation of him, he joins the terrorists’ cause.<\/p>\n

As we see David swept up in the partisan violence he tried so hard to avoid, it becomes apparent that he is not the sole author of this memoir. His close friend and collaborator Joseba, who visits him as he is dying in California, has taken the manuscript and rewritten it according to his own view of the past. This shadow editor may be a surrogate for Atxaga himself, whose real first name is also Joseba, and who translates his own work into Spanish.<\/p>\n

Alluring as this literary twist may be, the story line tends to fade behind a screen of expository dialogue and a swarm of walk-on characters. As David’s wife tells Joseba, “events and facts have all been crammed in, like anchovies in a glass jar.” The abundance of detail adds credibility to the novel but weakens its emotional force, even in Margaret Jull Costa’s fine translation from the Spanish.<\/p>\n

It is to Atxaga’s credit, however, that some crucial questions remain unresolved. One never learns exactly how committed David’s father was to the fascist cause, or the extent of David’s own participation in the Basque underground. The truth may die with him. In a world where sons are condemned to reinvent the sins of their fathers, this could amount to a sort of mercy.<\/p>\n

http:\/\/www.nytimes.com\/2009\/02\/12\/arts\/12iht-idbriefs14B.20145482.html?_r=1<\/a><\/p>\n

Ficha sobre el autor en Pamiela.com<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

La obra, cuya primera edici\u00f3n, en euskera, corri\u00f3 a cargo de Pamiela, ha sido reconocida por el “Times” La novela El hijo del acordeonista, del escritor vasco Bernardo Atxaga, acaba de ganar el premio a la mejor traducci\u00f3n del Times … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":356,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[18],"tags":[28],"_links":{"self":[{"href":"https:\/\/www.pamiela.com\/bloga\/index.php?rest_route=\/wp\/v2\/posts\/355"}],"collection":[{"href":"https:\/\/www.pamiela.com\/bloga\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.pamiela.com\/bloga\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.pamiela.com\/bloga\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.pamiela.com\/bloga\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=355"}],"version-history":[{"count":15,"href":"https:\/\/www.pamiela.com\/bloga\/index.php?rest_route=\/wp\/v2\/posts\/355\/revisions"}],"predecessor-version":[{"id":374,"href":"https:\/\/www.pamiela.com\/bloga\/index.php?rest_route=\/wp\/v2\/posts\/355\/revisions\/374"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.pamiela.com\/bloga\/index.php?rest_route=\/wp\/v2\/media\/356"}],"wp:attachment":[{"href":"https:\/\/www.pamiela.com\/bloga\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=355"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.pamiela.com\/bloga\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=355"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.pamiela.com\/bloga\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=355"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}