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Eulalia is an independent press that brings radical poetry into English for the first time.
Eulalia is an independent press that brings radical poetry into English for the first time.
Eulalia is an independent press that brings radical poetry into English for the first time.
100 backers pledged $3,903 to help bring this project to life.

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Unheard-of Poetry | Bringing Experimental Poets into English

$3,903

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Stretch! New Goal: $3500

With 22 days left until our deadline, and a whopping 53 backers, we're thrilled that we have surpassed our original goal of $2500. Thank you for pledging so generously - and so early! We can't help but ride this momentum with a stretch goal of $1000. With this additional amount, we can fund our first chapbook publication, Prepoems in postSpanish, by Ecuadorian poet Jorgeenrique Adoum and co-translated by Katherine Hedeen and Víctor Rodríguez Núñez. 

This short book will be printed by Pittsburgh letterpress artist Haylee Ebersole, designed by poet and artist Tyler Friend, and lovingly hand-folded and stapled by yours truly.  

Thank you for believing in us! 

Michelle Gil-Montero and Román Antopolsky 

 P.S. Here is a link to a wonderful recording of Jorgenrique Adoum reading his poem "Le gustaban"...as a bonus, we will translate it for you and post that translation soon.

About Eulalia Books

Mission:  At Eulalia Books, we publish translations of exceptional, ex-centric work by modern and contemporary poets who do not yet have a collection translated into English. We celebrate difficulty and risk, favoring texts whose expressive necessities drive them to the limits of language and form. Our books expose the lyric to extreme pressures, experiment with hybridity, monstrosity, and mysticism. We wish to honor what translation does best: to shed light on literature that exposes the limitations of our language, genre, canon, and culture. 

Description of the press: We publish books by risk-taking translators who take on underrepresented and radical poetries. We believe that the most surprising writing often happens outside the margins of privilege, in various cultural and geographical peripheries. We love translators who work on the ground to find these books. 

What we will do: Eulalia Books will publish two full-length books and three chapbooks of international poetry in translation per year. Each book will be the poet’s first book publication in English. 

Book #1: Eco del parque by Romina Freschi (Argentina, 2016, Juana Ramirez Editora), translated by Jeannine Marie Pitas 

About Romina Freshi Romina Freschi was born in Buenos Aires in 1974. She received her B.A. in Literature from the Universidad de Buenos Aires. Her publications include redondel (Siesta, 1998), Estremezcales (tsé tsé, 2000), Petróleo (Eloísa Latinoamericana, 2002), El-Pe-Yo (Paradiso, 2003), as well as the chapbooks Soleros (BAND, 1998), Incrustraciones en confite (Self-published, 1999), Villa Ventana (Arte Plegable, 2003), 3/3/3 (Proveedora de Droga, 2005), Solaris (pájarosló editora, 2007), Variaciones de Órbita (pájarosló, 2010), Quien siempre gana es Poseidón (Tocadesata, 2011), Ejercicio Cósmico (Los poetas del 5 ed. Chile, 2011) and Eco del parque (Juana Ramirez, 2016). Her accomplishments include receiving a grant Fundación Antorchas grant (an artists residency funded by the same institution as well as the Banff Centre of Canada), and in 2004 and 2006 she received grants from the government for her literary magazine Plebella. She has founded various projects, including the group Zapatos Rojos, the multispace Cabaret Voltaire, the project Living de la Poesía, and her role as editor of the collection Arte Plegable and the independent publishing house pájarosló editora. (Her blog: http://www.freschi.blogspot.com/

A reading from Eco del Parque (Spanish)  
A review of Eco del Parque
A poem, trans. Romina Freschi, Deborah Meadows (Chronos Loves Kairos)An Interview with Romina (Jacket2, 2007) 

About Jeannine Marie Pitas Jeannine Marie Pitas is the author of three poetry chapbooks and the translator of several Uruguayan poets, including Marosa di Giorgio. Her first full-length poetry collection, Things Seen and Unseen is forthcoming from Mosaic Press in 2019. She lives in Iowa and teaches at the University of Dubuque. 

An interview with Jeannine (Tupelo Quarterly, 2017)
A review of I Remember Nightfall by Marosa di Giorgio, translated by Jeannine (Three Percent, 2018)
A review of I Remember Nightfall by Marosa di Giorgio, translated by Jeannine (Reading in Translation, 2017)
Purchase a copy of I Remember Nightfall (SPD) 

Book #2: Concierto animal by Blanca Varela (Peru, 1999, Editorial Pre-Textos), translated by Kelsi Vanada and Violeta Gil 

About Blanca Varela Born in Lima, Peru in 1926, Blanca Varela became associated with a group of intellectuals, artists and writers known as the Generation of 1950. Between 1949 and 1957 she lived in Europe and the United States. In Paris she met the Mexican writer Octavio Paz, and later wrote: "Through Paz … I understood and learned that poetry is a daily task, that we don’t choose it, it chooses us. We don’t own it; it owns us. It’s nothing more than reality and at the same time the only and true escape route from reality.” Varela published her first book of poems, Ese puerto existe, in 1959, after her return to Peru, and several more collections subsequently. She became a leading figure in Latin American poetry and received many awards for her work, including the Federico García Lorca International Poetry Prize (the first woman ever to receive it), and the Queen Sophia Prize for Ibero-American Poetry. She died in Lima in 2009. (Ruth Fainlight, Modern Poetry in Translation) 

Three poems, trans. Lisa Ortiz (Duende)
Three poems, trans. Vered Engelhard (Asymptote)
Two poems, trans. Esther Allen (BOMB)
Two poems, trans. Eileen O’Connor (New Poetry in Translation)
Blanca Varela gives a reading (YouTube)
“Notes on a Return to the Ever-Dying Land,” a memoriam of Blanca Varela (Anomaly) 

About Kelsi Vanada Kelsi Vanada writes poems and translates from Spanish and Swedish. Her translation of The Eligible Age by Berta García Faet came out in 2018 with Song Bridge Press, and Toward Muteness by Sergio Espinosa is forthcoming from Veliz Books. She holds MFAs in Poetry (The Iowa Writers’ Workshop) and Literary Translation (The University of Iowa). Other poems and translations have been published most recently or are forthcoming in The Iowa Review, The Bennington Review, Anomaly, and elsewhere. She was a 2016 ALTA Travel Fellow, and enjoys building a readership for literature in translation by writing reviews. She is the Program Manager for the American Literary Translators Association.

An interview with Kelsi Vanada (Massachusetts Review, 2017)
Her website (including poems)

About Violeta Gil
Violeta Gil was born in Spain in 1983. She hold a PhD in English Literature from the Complutense University in Madrid, and a degree in Acting from The Royal Academy of Dramatic Arts in Madrid. She founded the theatre company La Tristura in 2005 and has written, directed, produced, and published pieces that have been performed all over the world including Spain, Brazil, Germany, among others. She has participated in several collaborative translation programs including the International Writers Workshop housed by the University of Iowa.

Risks and challenges

1) Who reads poetry?
It seems as if every year we hear more news about the struggles of the publishing world, e.g. declining readership, flat book sales. The National Endowment for the Arts (NEA), however, recently released the results of the 2017 survey that found poetry readership growing across gender, minority/diversity groups, education levels, and geo-demographic status: positioning poetry as a unifying cultural force (link: https://www.arts.gov/art-works/2018/taking-note-poetry-reading-—federal-survey-results). While eleven (11) percent may seem insignificant, with growth reaching five (5) percent over 2012 results & three (3) percent over 2008 results, the trend is upward for poetry readership. With poetry culture on the rise, the curatorial role of small independent publishers in selecting books to publish is ever more important.

Most small press publishers will agree that their work is a labor of love, with rewards beyond and apart from financial gain. If we just about break even, while bringing out new books and educating students in the process, then we feel that we will have wildly succeeded.

2) Why translation?
Translation readership is also on an upward trend, with translation receiving increasingly more of the attention it has long deserved. The National Book Award has begun to award an annual prize for a work of translation: reinforcing the necessity of translation for a culture’s vitality & growth, stating the goal for the prize “to broaden readership for global voices and spark dialogue around international stories”(link: http://www.nationalbook.org/nba2018-translated-literature-award-announced.html#.W1_NrdhKgWo). Our press seeks to expand this conversation, bringing out voices that otherwise would go unheard in English.

3) What about costs?
We are an independent press that is affiliated with the Literary Translation and Publishing programs at Saint Vincent College, a nonprofit, Catholic, liberal arts college in Latrobe, Pennsylvania (45 minutes east of Pittsburgh, PA). Saint Vincent College provides our press with 501(c)3 non-profit status, making us eligible for grants & offer tax-deductible donations. The college also provides us with undergraduate student interns, administrative support, and funding for a visiting writers series to host translators at readings and book launches. We are also able to reach out to its strong alumni network who seek to grow the arts community on campus & also provide students with more opportunities to expand their knowledge of poetry & global literature.

Publishing translations can be more expensive than publishing poetry in the original language, because the necessity of securing permissions from the holders of the foreign rights. We publish poets who are too recent for their work to be freely available in the public domain, so permissions are a cost that we anticipate.

4) Who will run the press & ensure its future?
The press is directed by poet-translators Michelle Gil-Montero & Román Antopolsky.

Gil-Montero is a poet and translator of contemporary Latin American literature. Her book translations include Poetry After the Invention of América: Don't Light the Flower by Chilean poet Andrés Ajens (2011); This Blue Novel by Mexican poet Valerie Mejer Caso (longlisted for the National Translation Award); and Mouth of Hell (2013), The Tango Lyrics (2013), and Dark Museum (2013) by Argentine writer María Negroni. She has one book of poetry, Attached Houses (2013). Her translation of María Negroni’s lyric novel The Annunciation if forthcoming from Action Books in March 2019, and she has several other translation and writing projects in the pipeline. Grants and awards include a Fulbright Scholar’s Grant to Argentina, PEN/Heim fellowship, Howard Foundation Fellowship, NEA Literature Fellowship in Translation, a SUR Translation Support Grant, and an Academy of American Poets University Prize. Her work has appeared in Conjunctions, Colorado Review, Beloit Poetry Journal, Words Without Borders, Jacket, and may others. She has a B.A. in English from Brown University, and an M.F.A. in Poetry from the Iowa Writers’ Workshop, where she was a Dean’s Merit Fellow. She is an advisory editor for Action Books, and the publisher of Eulalia Books. She teaches poetry and directs the undergraduate literary translation program at Saint Vincent College in Latrobe, PA.

Antopolsky is a poet, artist, and translator born in Buenos Aires living currently in Pittsburgh. He studied philosophy (UBA) and fine arts (IUNA) in his native city and is the author in Spanish of six books of poetry (ádelon, Cythna en red, Amor Islam, El ruido elegido, CaNCaN, and El trayecto hablado), three books of short fiction/essays (MI TO MA NO, Breve fábrica, and Defixiones), a novel (La orilla del día), a play (Texto), and a visual book (420 Abîmes). He translates poetry and philosophy from several languages (including Russian, English, Hungarian, French, and Portuguese) into Spanish. His own writing has been translated into French, English, Dutch, and Portuguese. He has been working in collaboration with Argentinian composer Jorge Sad Levi since 2009 and was Writer-in-residence at the PASSA PORTA literary center in Brussels (2013).

The press will also seek the guidance of an advisory board composed of writers, poets, translators, publishers, and friends of translation.

The press also employs a poet-designer-artist, Tyler Friend (BA, Saint Vincent College; MFA, Vermont College of Fine Arts), with experience in small press publications; a marketing assistant, Zach Tackett (BA, Saint Vincent College), with experience in web marketing, events and public relations; and three student assistants/interns. The designer and marketer are paid a small stipend and are hired on a project-basis (book-by-book). The student interns are employed by Saint Vincent College. The press is affiliated with the Literary Translation Minor at Saint Vincent College (link: https://www.stvincent.edu/academics/majors-and-programs/literary-translation).

5) What about the future of the press?
We’ve already lined up the poets, translators, printers, and manuscripts, and we are applying for US distribution by Small Press Distribution (https://www.spdbooks.org). We will promote our books through the Saint Vincent College Visiting Writers Series (https://www.stvincent.edu/community-events/visiting-writers-series) as well as local literary organizations and establishments in Pittsburgh, such as City of Asylum/Pittsburgh (http://cityofasylum.org). The press is already planning to have a presence at the annual AWP (Association of Writers & Writing Programs) (link: https://www.awpwriter.org/awp_conference/) and ALTA (American Literary Translation Association) conference book fairs (http://literarytranslators.org/conference). To sustain our press, we are hoping to use Kickstarter to supplement revenue toward each book’s publication, while using grants & donations to pay for employee stipends, marketing costs, and other necessary costs of a growing press.

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Funding period

- (30 days)