Frisch & Co. was founded on the idea of making great fiction from around the world available to English-readers everywhere. We started with the place of keenest need, translated fiction, but what’s true of translated fiction—overlooked by most publishers despite it’s undeniable quality—is increasingly true of English-language literary fiction.
So, Frisch & Co. is happy to announce that we’re now accepting submissions of English-language literary fiction and poetry. Have a look around, and if you think your book would be a good fit for Frisch & Co.‘s list, please send a synopsis of your work, three sample chapters, and some brief information about yourself to email@example.com.
“Like the remnants of the German traditions of the fatherland bastardized by world wars, J is shunned but tolerated ultimately fading from view when his mother dies. J dies shortly after his mother but his legacy does not disappear. The narrator believes as an “artist” that it is necessary to keep repressed personal and cultural emotions alive. J’s life and the history of Germany are what they are and guilt is not inherent in the records. The effort to “bypass” the personal and collective memories, as a bypass is constructed in Wetterau to divert Frankfurt traffic from the region, may only lead to an unsettled short term memory loss.”
You can read the rest of the review here.
“‘Here, paradise. There, at home, the law. The woman on the steps is around forty-five years old and J knows her, any time you pass by she’s sure to be standing there; the window panes are painted red so no one can see in, and in the doorway there’s a yellowed poster with a woman on it—you can see everything, everything you are supposed to see and want to see.’
From an excerpt of Andreas Maier’s The Room in this week’s Saturday European Fiction.
The Room is Andreas Maier’s first novel of an 11 volume cycle chronicling modern Germany and the first of the writer’s works to be translated into English by Jamie Lee Searle. The book is being published on June 24, 2014 by Frisch & Co. and subsequent volumes The Street, The House will follow.”
You can read the excerpt here.
“Family Heirlooms is a very good short novel by Brazilian writer Zulmira Ribeiro Tavares translated from the Portuguese by Daniel Hahn into a lively, humorous, and cynical English narrative.”
You can read the rest of the review here.
“Which is better, print or online? Which is more helpful to the cause of advancing translated literature, starting a publishing company or something else? The literary world is abuzz with debate. Two years ago EJ Van Lanen, already at work publishing translated literature, began a new venture: publishing translated literature, but only in digital format. Here WLT talks with Van Lanen about this enterprise, Frisch & Co., and whether he’s been praised or pilloried since moving into the e-book market.
Michelle Johnson: You’ve worked at Ecco, Dalkey Archive, and cofounded Open Letter Books, all of whom publish translated literature. So you aren’t the new kid on the block, bursting onto the scene with nothing but a love for international literature and your e-reader. How difficult was this decision to begin your own, e-book-only venture?
EJ Van Lanen: The decision to start an e-book-only publisher wasn’t especially difficult, to be honest. It was tough conceptually; that is, finding a way to publish the books in a way that made sense to authors, readers, translators, and publishers alike. But the idea of publishing e-book-only wasn’t something I agonized over. It seemed to me a good way to publish translations, and an excellent opportunity to see if there were possibilities of using e-books to expand both the number of voices that were available to readers of English and the audience for authors and translators.”
You can read the rest of the interview here.
It so happens that I’ve been publishing literature in translation for a few years, almost ten by now, and as with all other kinds of book publishing pursuits, though it’s made for a pleasant sort of life, it’s been a struggle—whether in trying to succeed with translated books at a larger publisher, finding allies in the internal, and eternal, fight for institutional attention, or at a smaller publisher, where simply maintaining forward momentum, feeling as though you can afford to continue to publish next month’s or next season’s books, let alone have the resources to find the readers your writers deserve, can feel like an overwhelming task. . .