New Books in Language and Translation

Recent years have seen a striking resurgence of anti-imperial and anticolonial rhetoric on the international stage, from Global South to Global North and from the Left to the Right. Why do states deploy these forms of rhetoric in global politics? How do practitioners from the so-called non-Western world differ in their use and performance of rhetoric, and in what ways do they shape international order?In Rhetorical Powers: How Rising States Shape International Order (Columbia UP, 2026) Sasikumar Sundaram provides a bold new theory of rhetoric as power politics, demonstrating how non-Western states challenge their silencing within the Western-led international order. He argues that, in the deeply hierarchical international system, states in the lower rungs resort to rhetorical performances in order to be heard. Through anti-imperial and anticolonial rhetorical statecraft, states such as India, Brazil, and China seek to expose and exploit the contradictions in the legitimating principles, norms, and rules of the international system—and, in so doing, pursue and exercise power. Today, as Russia, Europe, and even the United States engage in anti-imperial and anticolonial rhetoric, Sundaram shows why lessons from the non-Western world are crucial to recognizing the dynamics of power politics and global disorder. A bracing challenge to established theories of power in international relations, Rhetorical Powers underscores the need to address enduring forms of silencing within the international order. Hosted by Sachin Nikarge Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Engages with the life and ideas of the twelfth-century Shaiva mystic and philosopher-poet Allama Prabhu. In his last, profoundly innovative work Allama Prabhu and the Shaiva Imagination, D. R. Nagaraj (1954-1998) engages with the twelfth-century Shaiva mystic and philosopher-poet Allama Prabhu, whose enigmatic writings have perplexed many and thus resisted analysis. Nagaraj situates Allama in three intellectual contexts: the medieval philosophical world built around the worship of Shiva; the pan-Indian bhakti tradition; and, most broadly, Indian mystical thought. This framework enables a reconstruction of Allama through the poet's engagement with fellow poet-spiritualists (vachanakaras) such as Basava, as well as with the Kashmiri Shaiva philosopher Abhinavagupta and the founder of Hindu monasticism Gorakhnath. Nagaraj's close readings of Allama's vachanas offer a vision of Shaiva bhakti that seems to contradict the erotic and romantic expressive modes of Sringara rasa while tracing the limits of language for an understanding of the divine. Allama, Nagaraj suggests, is an epistemological iconoclast who expands the horizons of language and thought.Through these explorations, Nagaraj decolonizes the standard modes of inquiry and critiques certain settled notions in Indian philosophy, revealing himself as a postcolonial scholar whose "hermeneutics of suspicion" leads to a novel understanding of Indian texts and traditions. Unifying literary criticism with critical theory, philosophical inquiry, and the history of ideas, the book's focus on a specific religious tradition--Virashaivism--is never singular, making it as much a work for scholars of Indian spiritualism and religious thought as for those interested in frameworks that transgress Eurocentricism. Translated into English by Kannada philosopher N. S. Gundur, this is a major contribution to studies of Indian philosophy and literature. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

How does an independent press survive by publishing the books the Big Five overlook? Amherst College professor and Spanglish scholar Ilan Stavans joins Sarah Russo to talk about Restless Books, the press he founded to champion immigrant writers, literature in translation, and the books that live between languages. Ilan shares the origin of Restless Books (including the investor who told him to take a finance course first), the creation of the Kellman Prize for Immigrant Literature, and why he considers Spanglish one of the great creative forces in American English. Ilan and Sarah dig into the practical side of publishing in translation: finding the right translator, editing hybrid-language manuscripts, and navigating the politics around a single project. Ilan also offers advice for immigrant and early-career writers, and makes the case that small presses are doing some of the most important work in publishing today.For more information on Ilan and Restless Books, please visit the website.Books mentioned in this episode[1] :“People Who Live Alone Talk Too Much,” by Sofi Stambo “A Nation Wrestles with God: American Prophets, Philosophers, and Firebrands,” edited by Ilan Stavans “The People’s Tongue,” edited by Ilan Stavans “Cecil the Lion Had to Die,” by Olena Stiazhkina, translated by Dominique Hoffmann “Daniel and Ismail,” by Juan Pablo Iglesias and illustrated by Alex Peris “Fictional Translations,” by Ilan Stavans Also mentioned: Don Quixote, Frankenstein, and The OdysseyKey Moments2:02 - How a Midlife Crisis Turned Into a Publishing House 📚Ilan's candid story of the investor who told him to take a finance course before he'd give him a dime.5:31 - The $10,000 Bet That Became an 11-Year Literary Prize 🏆How the Kellman Prize for Immigrant Literature grew from a scrappy idea into a career-launching institution.8:16 - Editing a 100-Voice Anthology on Faith in America ✝️The Lilly Endowment project that brought Obama, Du Bois, Sontag, Ginsberg, Dickenson, Rushdie, and many others into one book.11:15 - Why Spanglish Isn't a "Broken" Language 🗣️Ilan on the creative, mestizo identity behind Spanglish, and why he believes there's no single version of it.19:52 - The Trilingual Children's Book That Took 3 Years to Publish 🌍Finding an Arabic and a Hebrew translator willing to share a byline was "sheer torture."24:09 - His Best Advice for Immigrant and First-Time Writers ✍️Why Ilan refuses to call anyone's English "broken," and what he tells writers drowning in drafts.[1]not sure if you want to mention the classics he cites at the end: Don Quixote, Frankenstein, and The Odyssey (we sort of have a lot here already) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Featuring personal essay, manifesto, creative nonfiction, and poetry, Tsunami: Women’s Voices From Mexico (Feminist Press, 2025) gathers the multiplicity of voices being raised in Mexico today against patriarchy and its buried structures. Tackling gender violence, community building, #MeToo, Indigenous rights, and more, these writings rock the core of what we know feminism to be, dismantling its Eurocentric roots and directing its critical thrust towards current affairs in Mexico today.Asserting plurality as a political priority, Tsunami includes trans voices, Indigenous voices, Afro-Latinx voices, voices from within and outside academic institutions, and voices spanning generations. Tsunami is the combined force and critique of the three feminist waves, the marea verde (“green wave”) of protests that have swept through Latin America in recent years, and the tides turned by insurgent feminisms at the margins of public discourse.Guest: Gabriela Jauregui’s books include Feral, Many Fiestas, and La memoria de las cosas. She edited and coauthored Tsunami and Tsunami 2, published in Spanish in 2018 and 2021 respectively. She is a Soros New American Fellow, a Borchard Fellow, and was part of the Hay Festival's Bogotá 39 best young authors in Latin America. She holds a PhD in comparative literature from USC and teaches at the National Autonomous University in Mexico (UNAM).Guest: Heather Cleary is an award-winning translator whose work has been recognized by English PEN, the National Book Foundation, the Best Translated Book Award, and the Mellon Foundation. A member of the Cedilla & Co. translation collective, she was a founding editor of the digital, multilingual Buenos Aires Review. She holds a PhD in Latin American and Iberian cultures from Columbia University, and teaches at Sarah Lawrence College.Host: Dr. Christina Gessler is a developmental editor and writing coach for scholars in the humanities. She is the producer of the Academic Life podcast, and the show’s newsletter.Playlist:Thanks to LifeThe Madres de la Plaza de MayoThe Things We Didn't KnowIn The Garden Behind The MoonThe CommonThe Translators DaughterWe Take Our Cities With UsA Calm and Normal HeartThe Names of All the FlowersWelcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 325+ Academic Life episodes? Find them here. And thank you for listening! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

What does it mean for a modernist novel to fail?Modernism famously celebrates rupture, difficulty, and deviance from literary norms—but that very embrace of formal experimentation creates a paradox: how can we tell the difference between daring innovation and genuinely bad writing? Bad Writing in the Modernist Novel (JHU Press, 2026) takes up this long-overlooked question and argues that modernist aesthetics have made artistic failure uniquely difficult to recognize, both in fiction and in literary criticism itself.Through incisive close readings of D. H. Lawrence, William Faulkner, Mina Loy, and James Joyce, Nathan Wainstein shows how moments that appear to be mistakes—awkward repetitions, temporal glitches, excessive prose, or stylistic lapses—often hover ambiguously between error and experiment. These moments, he argues, have become privileged objects of interpretation for critics trained to find meaning precisely where form seems to break down. Wainstein situates these textual breakdowns within debates about intentionality, authorial control, and critical authority, showing how modernist fiction unsettles long-standing assumptions about craft and competence. In doing so, the book clarifies why modernist novels continue to generate intense critical attention—and why questions of value and judgment remain so difficult to resolve.At once a work of modernist literary criticism and a searching reflection on the practice of close reading, Bad Writing in the Modernist Novel rethinks how aesthetic judgment operates in a field shaped by modernism's legacy. By confronting the possibility of genuine failure head-on, Wainstein offers a fresh account of the novelistic form and the pleasures and limits of interpretation.Nathan Wainstein is an assistant professor of English at the University of Utah. He is the author of Grant Us Eyes: The Art of Paradox in Bloodborne.  He is also the cohost of the podcast Authors Die Twice. Daniel Moran’s writing about literature and film can be found on Pages and Frames. He earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O’Connor: Her Critics, Her Publishers, Her Readers, he teaches writing and co-hosts the long-running podcast Fifteen-Minute Film Fanatics, available here on the New Books Network and wherever podcasts are found. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.