Emerging Translator Katie Whittemore Discusses Spanish Literature and Translation

Chad W. Post: Can you tell us about your background and how you entered the field of literary translation?

Katie Whittemore: I've been interested in literary translation for about ten years, but I took it seriously just under a year ago. I've always been a reader and studied literature, both as an undergraduate and as a master’s student in Latin American Studies. My initial goal was to pursue a doctorate in comparative literature focusing on Latin America, but first, I committed to achieving fluency in Spanish. I attended Middlebury’s MA in Spanish program, taking various translation courses. I really enjoyed the general translation course where we translated pieces from authors like Rosa Montero and Juan García Hortelano. At that time, translating literature wasn't something I considered a career option.

Years passed, and despite admitting that "translating books" could be my dream job, I often dismissed it as unrealistic. Then I realized that it was a valid pursuit and applied to the Bread Loaf Literary Translators Conference in June 2018, starting to work on stories that winter.

CWP: You shared a short story by Mesa at Bread Loaf. What attracted you to her work, and what did you think of the conference?

KW: I started reading Mesa’s collection "Mala letra" (2016) to explore contemporary Spanish authors who haven't been widely translated. Her stories are compelling, featuring disconcerting, suggestive, and elliptical narratives, but with clear, sharp language that is enjoyable to translate. I found her exploration of childhood and adolescence, particularly for girls and young women, both poignant and often uncomfortable.

My time at Bread Loaf was wonderful; the setting was beautiful and felt vacation-like. I learned a lot, especially from Sora Kim-Russell in our workshop, who provided insightful critiques. The feedback we discussed about everyone’s translations helped me view my work differently—a truly productive environment. Attendees had the opportunity to connect with editors and publishers, enriching our understanding of the translation landscape.

CWP: You're currently translating "Four by Four" for Open Letter. What can you tell us about it?

KW: "Four by Four" is Mesa’s second novel, published in 2012. It was nominated for the Herralde Prize and consists of three sections written in distinct voices. The first introduces Wybrany College, an isolated Spanish boarding school amidst societal chaos, meant to serve as a refuge for the elites and scholarship students. However, something unsettling permeates the narrative. The second part features diary entries from a newly arrived substitute teacher, while the epilogue reveals deeper mysteries through personal papers. The novel examines themes of power, oppression, and individual struggles against systemic forces.

CWP: You also mentioned other works by Mesa. How has her writing evolved?

KW: Mesa’s first novel, "Un encendio invisible," pairs well with "Four by Four" as they exist in a similar world, focusing on more allegorical and dystopian themes. Her later work shifts towards realistic storytelling, exploring power dynamics within close relationships rather than grand systems. There’s a noticeable maturity in her writing as she portrays characters with more compassion, evident in works like "Scar" and "Cara de pan."

CWP: Besides Bolaño, which other Spanish authors inspire you?

KW: My early focus was mostly on male contemporary Latin American writers, but now I’m drawn to Spanish writers, particularly female authors like Lara Moreno and Aroa Moreno Durán. Each has captivating novels and stories that explore similar themes.

CWP: What trends do you observe in contemporary Spanish literature?

KW: One emerging trend is neoruralism, which deals with rural settings and how characters navigate their environment. For example, Lara Moreno’s "Por si se va la luz" presents an escape from urban decay, also reflecting on societal issues like depopulation. These narratives often intertwine with themes of environmental and economic crises, providing a backdrop for personal stories.

CWP: Would you say there's overlap between neoruralism and eco-fiction?

KW: Yes, there are shared themes of environmental anxiety and rejection of contemporary issues. Aroa Moreno Durán’s story "Gravity" resonates with these themes, showcasing personal and intimate perspectives amid societal collapse.

CWP: Does living in Spain enhance your connections with writers?

KW: Living here has allowed me to engage with authors personally and professionally. For instance, I met Lara Moreno and Aroa Moreno Durán shortly after arriving, deepening my understanding of their work.

CWP: Are there other authors you'd like to translate?

KW: I've worked on stories by Mesa and am currently engaged with Lara Moreno and Aroa Moreno Durán. I'd like to translate more of their works, including Moreno Durán’s "The Communist’s Daughter," which I believe has strong potential in English. Additionally, I’m interested in translating Soledad Puértola, an important figure in Spanish literature.

CWP: What challenges have you faced as a new translator?

KW: I find it intimidating to compare myself to the successes of others in this field. It can be demoralizing, especially since literary translation is not widely recognized. However, I’ve been fortunate and aim to create meaningful connections with the authors and get my name out there in the industry. I also advise emerging translators to be proactive in understanding publishing logistics and to build a portfolio of published translations early on.