RESEARCH INTO BARRIERS TO TRANSLATION AND BEST PRACTICESA STUDY FOR THE GLOBAL TRANSLATION INITIATIVECONDUCTED BY DALKEY ARCHIVE PRESSMARCH 20111

1. TABLE OF CONTENTS
Acknowledgements
List of survey respondents
List of tables
List of acronyms
Definitions
2. Introduction
Background
Objectives and aims
Methodology
Reporting stages
3. Country Profiles
Australia
CanadaIreland
New ZealandUnited Kingdom
United States
4. Key Survey Findings by Sector
Booksellers
Media
Publishers
Translators
University translation programs
5. Overall Findings
6. Summary of Recommendations
7. Appendix 1: Related Studies and Resources
8. Appendix 2: Survey Questions
Bookseller Survey
Media Survey
Publisher Survey
Translator Survey
University Translation Program Survey

2

Acknowledgements
We would like to thank all the organizations and individuals that took part in this survey
for their time and cooperation. Special thanks to the Arts Councils which were
instrumental in providing contact information, guidance and financial support: Academi,Arts Council England, Arts Council Ireland, Australia Council for the Arts, Canada
Council for the Arts, Creative New Zealand, National Endowment for the Arts, Scottish
Arts Council, and Welsh Books Council.
Respondents to the survey included:
BOOKSTORES
Amazon (US)Baker & Taylor (US)Books Upstairs (IR)City Lights Books (US)Elliott Bay Books (US)Glee Books (AU)
Hodges Figgis (IR)

Idlewild Books (US)London Review Bookshop (UK)
McNally Jackson Books (US)
Readings (AU)St. Mark’s Bookstore (US)This Ain’t the Rosendale Library (CA)
Waterstone’s (UK)
W.H. Smith (UK)

UNIVERSITIES
Brown University (US)Columbia University (US)Edinburgh Napier University (UK)
Georgetown University (US)Glamorgan University (UK)
Glasgow University (UK)
Heriot-Watt University (UK)New York University (US)
Massey University (NZ)
Monash University (AU)
Salford University (UK)
Swansea University (UK)
Sydney University (AU)
Trinity College Dublin (IR)University College Cork (IR)University College London (UK)

University of Auckland (NZ)
University of Birmingham (UK)
University of Canterbury (NZ)
University of Cardiff (UK)
University of East Anglia (UK)
University of Illinois, UrbanaChampaign (US)University of Iowa (US)University of Michigan (US)University of Ottawa (CA)University of Queensland (AU)
University of Rochester (US)University of Toronto (CA)University of Western Sydney (AU)Victoria University of Wellington (NZ)
York University-Glendon Campus (CA)PUBLISHERS
Alma Books (UK)
Arcadia (UK)
Archipelago (US)Canongate (UK)
Carcanet (UK)Center for the Art of Translation (US)Coach House (CA)Dalen (UK)
Dedalus (UK)
Farrar, Straus and Giroux (US)Fish Publishing (IR)Gecko Press (NZ)
Giramondo (AU)Harvard University Press (US)
Huia (NZ)

3

Marion Boyars (UK)
McClelland and Stewart (CA)Melville House (US)
Mercier Press (IR)New Directions (US)Northwestern University Press (US)Parthian (UK)Peter Owen (UK)Portobello (UK)Pushkin Press (UK)Random House UK (UK)
MEDIA
Books Ireland (IR)The Bookman (NZ)
Booktrust (UK)Brick Magazine (CA)Complete Review (US)Cyphers Magazine (IR)Harper’s Magazine (US)London Review of Books (UK)Los Angeles Times (US)National Public Radio (US)New Welsh Review (UK)
TRANSLATORS
Anne McLean (UK)Barbara McGilvray (AU)Bill Johnston (US)Brian Nelson (AU)
Chris Andrews (AU)Cliff Landers (US)Cormac O’Cuilleanain (IR)Daniel Hahn (UK)David Homel (CA)
Esther Allen (US)Frank Wynne (IR)Harry Aveling (AU)Ian Monk (UK)
Jamie Richards (US)Jean Anderson (NZ)
Judith Bishop (AU)Julie Rose (AU)
Lawrence Venuti (US)Michel Henry Heim (US)
Linda Coverdale (US)Sandstone Press (UK)
Saqi Books (UK)
Seren Books (UK)
Serpent’s Tail (UK)
Talon Books (CA)Text Publishing (AU)
Titus Books (NZ)
University of Illinois Press (US)Victoria University Press (NZ)
Words Without Borders (US)Rain Taxi (US)SBS (AU)
Scotland on Sunday (UK)
Scotsman (UK)The Guardian (UK)The New York Times (US)The Telegraph (UK)The Washington Post (US)Times Literary Supplement (UK)
Verbal Magazine (IR)Winnipeg Free Press (CA)Morgaine Reinl (US)
Nicky Harman (UK)
Patrick Camiller (UK)Peter Bush (UK)
Phyllis Aronoff (CA)Quynh-Du Ton-That (AU)Rhett McNeil (US)Ros Schwartz (UK)Sara Bollati (NZ)
Sean Golden (IR)Sheila Fischman (CA)Shir Alon (US)Sinead MacAodha (IR)Siobhan McNamara (IR)Susan Bernofsky (US)
Susanne Harwood (CA)Suzanne Jill Levine (US)Thomas Colchie (US)Weizhen Pan (AU)42

List of Tables
Page 10
Page 20
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Pages 41–42
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Pages 47–48
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Page 53

Initial respondents from each country and sector
Break-down of responses by country: bookseller survey
Differences in stocking translations of various literary
genresIncentives to placing larger orders for translations
What might cause a translation to sell better
Barriers to inviting international authors
Break-down of responses by country: media survey
Why are translations less often reviewed?
Incentives to review more translations
Break-down of responses by country: publisher survey
Incentives to publish translations
How publishers find works to translate
Factors that contribute to achieving success with atranslation
Market barriers to publishing translations
Editorial barriers to publishing translations
Useful forms of support
Importance of other forms of support
Break-down of responses by country: translator survey
What translators need
Helpful experiences
University training for young translators
Greatest challenges for young translators
Examples of good practice in support of translators
Break-down of responses by country: university survey
Number of professional translators teaching in translation
programs
Why do universities offer degrees in translation?
Evolution of interest in translation studies
Where do universities recruit their students?
How do universities evaluate the success of theirtranslation programs?
Awareness of the number of literary translations publishedeach year in each country
Issues concerning the development and training of youngtranslators
How to provide better and more training for youngtranslators
What would help students become professional translators?
In what ways could students work with publishers andeditors?
In what ways could students work with professionaltranslators?
What would most benefit students who seek to become
professional translators?

5

ACRONYMS OF ORGANIZATIONS REFERRED TO IN THIS REPORT
ACA
ACE
ACI
ACNI
ADM
CCA
CNZ
DAP
NEA
SRC
WBC

Australia Council for the Arts
Arts Council England
Arts Council of Ireland
Arts Council of Northern Ireland
AcademiCanada Council for the Arts
Creative New ZealandDalkey Archive Press
National Endowment for the Arts
Scottish Arts Council
Welsh Books Council

6

DEFINITIONS
For the purposes of this report, “contemporary works in translation” include: literary
fiction, poetry, drama, literary criticism, and creative nonfiction.
The Anglophone world includes: the United Kingdom, Ireland, the United States,
Canada, Australia and New Zealand. This report examines translations of contemporary
works from any languages in the world into English.
In the university survey, “funders” include those who provide government and university
funding, as well as foundations and individual philanthropists.
In the publishers and translators’ survey, “funders” include all bodies that provide funds
for literature (whether domestic or foreign, agencies, foundations or individual
philanthropists).

7

2. INTRODUCTION
Background
This report is premised upon a number of assumptions about literary translation. Perhaps
the most obvious of these are 1) that at present, the English-speaking world faces a
cultural crisis, whereby a startlingly small amount of translated literature is being
published and supported, and 2) that this situation is in large part due to a lack ofawareness, among both the public and philanthropic sectors, of translation’s cultural andhistorical importance.
The fact that this crisis of translation is occurring in the English-speaking world to a far
greater extent than in other language-communities, as documented in several previous
studies1, is both ironic and alarming: ironic, because English is a global intermediary or“bridging language”—a language that the majority of other languages are able to translate
from—making translation into English beneficial not only for English-language readers
but for readers throughout the world; alarming, because it points to the cultural
isolationism of the English-speaking world.
The Global Translation Initiative (GTI) was created by a consortium of organizations in
the UK and US working with arts councils in other English-speaking countries in order toimprove global intercultural dialogue by addressing this significant area of weakness. The
GTI is premised on the idea that the translation crisis affects people of all countries, andis most obviously an issue of shared concern and responsibility for all English-language
countries. With this in mind, the GTI aims to bring together various sectors of thetranslation community with national funding agencies and other stakeholders in the six
largest English-language countries, to create a comprehensive assessment of the current
state of translation and its repercussions on a global scale.
The first objective of the GTI is to build a broad cultural context for understanding thecurrent state of English-language translation. With this in mind, a series of surveys werecommissioned by Arts Council England (UK) with additional support from the National
Endowment for the Arts (US) and conducted by Dalkey Archive Press in 2009 and 2010.
These surveys posed substantive questions about the creation, promotion, and receptionof literary translations to five sectors of the translation community (translators,
publishers, academics, media, and booksellers) in the UK, Ireland, Canada, the US,
Australia, and New Zealand. Dalkey Archive staff worked with program officers fromnational arts councils and other key figures in international literary and translation
communities to identify a list of respondents within each sector; administered online
surveys and conducted follow-up conversations; and assembled these findings in thecreation of this report. A more detailed methodology of this survey and report appears
below.

1

Notably, Literature Across Frontiers’s 2010 “Making Literature Travel: support forliterary exchange and translation in Europe”
8This report does not build an argument for the value of translation, but rather seeks toprovide a broad overview of the current state of the art globally. It is intended as an
introductory document, and a foundation upon which future GTI projects and advocacy
efforts—led by GTI partners English PEN and Free Word in London—will be built.
Objectives and Aims
The primary objective of the “Research into Barriers to Translation and Best Practices”
survey was to approach the challenges facing literary translation into English from a
broad global perspective, making as few assumptions as possible. The past ten years inparticular have seen an increase in the visibility of the translation community and thecreation of a number of ambitious studies and advocacy projects on behalf of translated
literature in English-language countries. (See Appendix 1 for a partial list of relevant
studies and organizations.) For the most part, these are highly focused efforts, specificeither to a geographic region or to a particular sector of the translation community, orboth. Rather than attempt to summarize previous studies, statistics, and views, this reportis intended to provide a broad international context through which the terms of that
dialogue can be better understood.
With this in mind, the “Research into Barriers” survey aimed to:a) gather information from a broad range of industries relevant to literary translation(including translators, publishers, academics, booksellers, and media) on current
practices within their respective fields;b) gather logistical information on the comparative development of the translation
communities within each target country;c) identify the barriers to translation, discerning between those that are unique to aparticular country and those that are common to all English-speaking countries;d) identify examples of “best practices” in support of translation.
In addition to presenting the survey findings, this report makes a set of preliminary
recommendations to improve current practices within the various sectors of the Englishlanguage translation community, with the goal of creating more opportunities within eachsector for the creation and promotion of translated works.

9Methodology
From June to July 2009, Dalkey Archive Press conducted an online survey through thedata collection service SurveyMonkey with key sectors in the translation community (themedia, translators and translators’ associations, publishers, booksellers, and universities
that have translation programs or are currently developing one) across the Anglophone
world (the United Kingdom, Ireland, the United States, Canada, Australia and New
Zealand). A different survey was sent to each sector. (See Appendix 2 for the full text of
all five surveys.)
250 email invitations were sent (54 members of the media, 53 translators, 64 publishers,
55 universities, and 40 booksellers). Targeted groups included both key individuals andorganizations that are already involved with and committed to translations and thosecurrently developing programs and strategies to facilitate the access to translated
literature. A third targeted group was that of organizations which do not have ademonstrated interest or particular stake in translation but who occupy a position of
influence in the translation community, such as chain booksellers. A total of 144
responses were initially collected across the various sectors (22 media, 39 translators, 36
publishers, 31 universities, and 16 booksellers), with an overall response rate of 60%.
Seven reminders were sent over a one-month collection period, with valuable help fromthe partner arts councils.
The chart below outlines the initial respondents from each country and from each sector:
US
UK IRELAND CANADA AUSTRALIA
Translators
13
7
5
4
8
Publishers
9
16
2
3
2
Booksellers
7
4
2
1
2
Universities
8
10
2
3
4
Media
Totals bycountryNEW
Totals by
ZEALAND sector
2
39
4
36
0
16
4
31

7

8

3

2

1

1

44

45

14

13

17

11

22

Although the number of surveys disseminated was approximately the same for eachcountry, this chart makes clear that the response rate varied widely from sector to sector
and country to country. Two preliminary conclusions might be drawn from these results,
the latter perhaps more speculative: 1) that some countries—those that create the fewest
translation publications—are less developed in relation to having an infrastructure for thetranslation community; and 2) that the immediacy of the translation crisis is more readily
felt (and thus an online survey more pressingly responded to) in countries with developed
translation communities.

10Follow-up emails, phone calls, and in person consultations sought to address some of thedata shortfalls of the online survey and to elaborate upon and enhance initial findings (asdescribed in “Secondary data-collection” below).
Taking limitations of the data into account, the pool of respondents is nonetheless arelevant and productive one, with responses from key cultural institutions, including
media sources such as the The Guardian, New York Times, and the Times Literary
Supplement; universities such as the University of East Anglia and Trinity College
Dublin; both large and small publishing houses, including Random House, Farrar, Straus
and Giroux, Carcanet, and Arcadia; booksellers such as Waterstone’s, Amazon, and arange of independents; and well regarded translators from around the globe.
Reporting Stages
1. Selection process
Partner Arts Councils and other organizations in the Anglophone world (Academi, Arts
Council Ireland, Australia Council for the Arts, Canada Council for the Arts, Creative
New Zealand, National Endowment for the Arts, Scottish Arts Council, and Welsh Books
Council) were contacted to help identify potential survey recipients for each sector in
their country, with the goal of identifying between five and ten respondents in each sector(publishers, media, booksellers, translators and their associations, and universities) for
each country.
2. Preparation phase
Five detailed questionnaires—one for each sector, comprising 17 to 35 questions—werecreated in collaboration with ACE (Arts Council England) and its partners see Appendix
2.)
3. Survey phase
Each survey was sent via the online data collection service SurveyMonkey in June 2009
and the collection process was concluded in August 2009. Seven reminders were sent
during that period to ensure the highest possible response rate. Data from the surveys wascollected by SurveyMonkey and was analyzed in collaboration with ACE and its
partners.
4. Secondary data-collection
Follow-ups (in-person meetings, phone calls, and emails) took place over two periods:
first, following the initial analysis of raw survey data, a new series of data-collection
efforts were made in order to fill gaps that were immediately apparent; and second, after
the first draft of this report was completed, a series of individual consultations were madein order to obtain specific feedback on points of particular relevance to the final report.

11

5. Report design
The format for the report was decided in relation to both the survey’s objectives and thenature of the data collected, with the key concern being that the report present a vision of
the international English-language translation community that is both broad in scope andaccurate in content. Discrepancies between resources for translation in different countries
dictated that the report should emphasize first-hand feedback over statistics, and should
treat these discrepancies as in themselves valuable indicators of the state of the art oftranslation.
6. Report drafting and publication
Three drafts were produced, revised at each stage in consultation with ACE, other GTI
partners, and outside consultants, in order to identify follow-up areas and to provide
context for the collected responses. The final draft was created in July-August 2010, forrelease to the public in the first quarter of 2011.

12

3. COUNTRY PROFILES
The country profiles below were compiled from a range of sources and in consultation
with experts in each country. They are intended to provide contextualizing information
about the market size for translations in each country, the number of publishers
publishing translations, the number of universities offering translation programs, thenumber of literary translators, and other relevant descriptive information to establish ageneral context within which the survey result can be viewed. Because the book industry
is undergoing rapid change, some of the information in these profiles may already havechanged; nonetheless, the overall relationship between countries and sectors describedhere provide a context for what follows.
Australia
With over 21 million citizens, Australia is the fourth largest country included in thissurvey.2 The literacy rate is 99%, with 17.4% of adults reading and writing at a “highlevel,”3 including most types of literary reading. Its book production over the past decade
has held steady at approximately 8,600 new titles per year, or approximately 1.4% of thetotal books annually published in the English-speaking world.4
Australia’s publishing industry is largely composed of US- and UK-owned
corporations, such as Pearson Australia (Pearson Education/Penguin UK), Reed
International Books (Harcourt), Thomson, and Random House, which control the great
majority of the market share. In fact, though 230 publishers exist in Australia, the top 20
control 91% of the sales market. The education sector represents the most profitable andmost exportable segment of Australia’s publishing industry, comprising 65-70% of total
book market sales.
Recent sales figures show a decline in Australian-originated literature. Of the A$189.7
million in fiction sales in 2008, only A$73.1 million came from sales of Australianoriginated fiction while A$116.6 million came from sales of imported fiction.5 Nearly allof this can be attributed to the import of global bestsellers. Within the Australianpublishing industry the number cited for new literary translations is fewer than 20 per
year, and maintained that the number could be as low as six. A series of recent articles in
the The Sydney Morning Herald suggested that the importation of high-quality
international literature to Australia is not a serious priority within the industry, due inlarge part to a lack of funding options for publishers, leading literary presses to focus
instead on projects that bring Australian-originated “literary” fiction to prominence
within the marketplace.
The bookselling industry is largely composed of major chain bookstores, such as
Borders (US), Collins, Dymocks, and Angus & Robertson, in addition to around 100
small and independent booksellers, several of which maintain strong online presences and2

As of June 2010. CIA World Fact Book.
Organization for Economic Co-operation and Development.
4
Fisher, Jeremy. “The Professional Author: Researching creativity and reality.”
Australian Society of Authors.
5
Ibid.
3

13

sales numbers.
The academic infrastructure for translation in Australia is not highly developed
relative to the US and UK, but there are organizations taking steps to improve thesituation. The major institution for translation studies is located at Monash University,
which also houses the Australian Association for Literary Translation, which recently
launched an online review that publishes short translations, reviews, and critical articles.
The Australian Institute of Translators and Interpreters has over 750 members and works
with small publishers to raise the profile and working conditions of Australia’s literarytranslators.
In 2009, Australia Council for the Arts provided support for 151 literary publishingprojects, 20 of which covered the translation costs of 22 literary titles into otherlanguages. No grants were awarded for translations into English.6
There is a variety of book reviewing media in Australia, including the Australian Book
Review, the country’s oldest literary magazine and remains Australia’s leading criticaloutlet. The Melbourne Age regularly prints book reviews, while The Australian publishes
the weekly pullout book section, Australian Literary Review.
CanadaCanada is the third largest country in this study, with almost 34 million citizens.7 Canada
has the highest literacy rate of all countries surveyed at over 99%, with 25.1% of adultcitizens reading and writing at a “high level.”8 Over the past decade, book production has
held steady at around 20,000 new titles per year, or approximately 3.3% of the total
books published in English-speaking countries.
There is an English-language publishing industry and a French-language
publishing industry. The first is composed of about 200 independent (Canadian-owned)
companies which work alongside the Canadian offices of the large multinationals. The
two associations – the Association of Canadian Publishers and the Literary Press Group –represent the independent publishers, and the Canadian Publishers Council mainly
represents the interests of the multinationals. In the French-language sector there are
more than 150 book publishers of whom the vast majority are based in Quebec, and asmall number in Ontario, Manitoba and New Brunswick. French-language books from
France and Belgian enter the market through distributors.
The major bookselling chain, Chapters-Indigo, has taken over much of the
English-language market. In Quebec, as a result of government legislation and support,
independent booksellers have continued to thrive across the province. Amazon andChapters both compete for online sales of books. The situation for independentbooksellers outside of Quebec has become very precarious in recent years with closuresin cities and towns of some of long established businesses that have not been able tocompete with the aforementioned companies.
An academic infrastructure for literary translation is beginning to take shape in
Canada, with nine universities offering full degree programs in literary translation, in
6Australia Council for the Arts Funded Projects database
As of June 2010. CIA World Fact Book.
8
Organisation for Economic Co-operation and Development
714

addition to a dozen others that offer certificate programs or introductory courses. The
Banff International Literary Translation Centre (BILTC) is the nation’s leading nonacademic arts institution and provides year-round workshops and residency programs forstudent and professional literary translators.
Canada Council for the Arts recently extended its program to provide grants for
Canadian-owned publishers to encourage translations between French and English.
Livres Canada Books promotes the exportation of Canadian literature, but does notprovide funding for translations into English or French. In Quebec the Société dedéveloppement des entreprises culturelles (SODEC) offers support for the translation of
Québécois works into English.
Canadian literature regularly receives attention in nationally distributed newspapers,such as The Globe and Mail, National Post, as well as wide coverage through Quill andQuire, Montreal Review of Books, and the comprehensive Canadian Book Review
Annual. In addition to electronic editions of these publications, several online bookresources have been developed in recent years, including Good Reports.net.
The Literary Translators’ Association of Canada currently has around 150 members
working in over 30 languages.
Ireland
Ireland has the second smallest population of the countries included in this study, withapproximately 4.5 million residents.9 It has a literacy rate of 99%, with 11.5% of its adult
population reading and writing at a “high level.”10 Ireland produces the fewest books ofthe countries surveyed, having published around 2,000 new titles in 2008, orapproximately 0.33% of the total books published in English-speaking countries.11
Approximately 85% of books sold in Ireland are published in Britain, which overwhelms
the Irish publishing industry, especially those publishers producing books in the English
language.
Around 70 publishers exist in Ireland, nearly all of which belong to the membershiporganization Publishing Ireland. The leading publishers of Irish literary works andtranslations in English include Dedalus and Lilliput. The largest Irish-language publisher,
An Gúm, was established in 1926 and to date has published over 2,500 titles. Cló larChonnachta produces bilingual editions and facilitates translations between Irish andEnglish.
The bookselling industry is composed of a few modest chains, as well as independent
stores throughout the country. Waterstone’s operates three of the largest bookstores,
including Hodges Figgis. The British chain W.H. Smith has also begun opening airport
shops in Ireland. The country’s main wholesalers are Eason Books and Argosy.
Eason Books estimates that over 200 independent bookstores have opened over the
past decade. However, over the past five years, specialists or niche bookstores have been
marginalized because of the vast catalogs offered by massive online vendors, forcing
many long-standing bookstores to shut down or become solely online operations.
9

As of June 2010. World Bank.
Organisation for Economic Co-operation and Development
11
Nielsen BookData UK, 2009.
10

15

The academic infrastructure for literary translation in Ireland is relatively underdeveloped, with a few universities offering full degree programs in translation studies or
language-specific literary translation, including University College Cork and Dublin City
University. Trinity College Dublin is the only university currently offering graduate-level
degrees in literary translation.
The Irish Arts Council provides support for the arts and literary translations. Culture
Ireland and Ireland Literature Exchange (ILE) also provide funding for translations, aswell as author travel into and out of Ireland. ILE promotes Irish literature in translation
abroad and also facilitates the translation of foreign literature into English or Irish. Since
1994, ILE has funded over 400 translations in 38 languages.
The primary media sources for book coverage are The Irish Independent and The Irish
Times. In addition to a number of smaller magazines, a few online Irish bookstores, such
as Read Ireland, produce regular book review newsletters covering new and forthcoming
literature.
There are an estimated 50-60 active literary translators in Ireland, about 40 of whom
belong to the Irish Translators’ and Interpreters’ Association.12 The most recent Irish
language literary development is the Irish language writers’ collective, Cumann
Scriobhneoiri Úra na Gaeilge (New Irish Writers Association), which was founded in2007 to cultivate new Irish language literature and promote this literature abroad.
New ZealandWith just over four million residents, New Zealand has the smallest population of thecountries included in this study.13 The literacy rate is 99%, with 17.6% of the population
reading at “high level.”14 Its book market is the second smallest, publishing about 2,400
new titles per year, or approximately 0.6% of the total books published in Englishspeaking countries.15
The New Zealand publishing industry is composed of approximately 107 publishers.
The top 28 companies, the majority of which are owned by overseas corporations, such as
HarperCollins and Penguin, focus on the production of textbooks, and account for 92% of
the market share.16 The vast majority of books produced in New Zealand are educational
titles destined for exportation to other English-speaking countries. Some 60% of allbooks published in New Zealand are educational, and 66% of these books are exported.
Of the 2,400 new titles produced each year, around 3% (124 total) are fiction, and 2%(87) are poetry. When imported books are included, however, domestic sales of “literary”
books is gauged at NZ$15 million annually, or 18% of total sales. 17

12

European Council of Literary Translators’ Associations (CEATL, 2008)
As of June 2010. World Bank.
14
Organisation for Economic Co-operation and Development
15
Publishers Association of New Zealand (PANZ)
16
Ibid
17
Fisher, Jeremy. “The Professional Author: Researching creativity and reality.”
Australian Society of Authors.
13

16

Current estimates are that fewer than 20 literary translations have ever been publishedin New Zealand. Creative New Zealand (the Arts Council) offers a host of fellowships,
prizes, and bursary programs for authors; support programs for publishers; and funding
for foreign publishers wishing to translate New Zealand literature into other languages.
The New Zealand Book Council offers funding programs that cover travel costs for New
Zealand authors participating in international literary events. No award program exists forthe translation of literature into English in New Zealand.
The bookselling industry is composed of a few modest chain bookstores (stores with
two or more locations), such as Borders, Dymocks, Paper Plus, and Whitcoulls, as well as
dozens of independent shops, and a few major online marketplaces.
New Zealand has recently begun laying the groundwork for academic programming inliterary translation. In 2008, the New Zealand Centre for Literary Translation at Victoria
University in Wellington was launched. The Centre now receives translation scholars
from around the world to participate in seminars, provides support for postgraduate
research projects on translation, and has published an anthology of international
literature. An M.A. and Ph.D. in Literary Translation Studies were launched in 2010;
staff and students do publish translations, but primarily in overseas publications.
The New Zealand media provides limited coverage of books through New Zealand
Herald and New Zealand Post, as well as the Scoop Review of Books. There are also a
number of well regarded literary blogs, such as Beattie’s Book Blog and The Lumière
Reader.
The majority of literary translation in New Zealand is carried out by academics. There
are some 1,300 members of the New Zealand Society of Authors, which is part of PEN
New Zealand, a handful of whom are active literary translators.
United Kingdom
The United Kingdom is the second largest of the countries included in this study, with anestimated population of over 61 million.18 The literacy rate is over 98%, with 19.1% of
adults reported to read and write at a “high level.”19 Its book market is second largest in
the English-speaking world, having published some 133,224 new titles in 2009,
approximately 22% of the total books published in English-speaking countries.20
Though no concerted effort has been made to isolate an exact number, the generalestimate is that 1.5-2% of all books published in the UK are translations—around 2,500
per year. Far fewer, perhaps 3-6% of total translations, are deemed “literary” in nature.
These books are produced by 30 or so publishers. Longstanding houses, such as Faber &Faber, Harvill Secker, Bloomsbury, and Oxford University Press, have been leaders inthis field for years, and distribute internationally, while a handful of smaller presses, suchas Portobello, Bloodaxe, Carcanet, Arcadia, MacLehose, Serpent’s Tail, and Pushkin
Press regularly produce high quality literary translations, both fiction and poetry.21
According to Nielson, of the 763 million books sold in the UK in 2009, one third were18

As of June 2010. CIA World Fact Book.
Organisation for Economic Co-operation and Development
20
Number excludes electronic-only, self-published, and POD books. Nielsen UK, 2009.
21
Booktrust: Translated fiction survey, 200919

17

sold through the major chain stores Waterstone’s, Blackwell’s, and W.H. Smith. These
three companies remain the UK’s predominant booksellers, despite an increase in online
sales over the past five years. Internet sales have, however, overtaken sales fromindependent bookstores, a shift that has contributed to the substantial rise in print-ondemand and electronic publishing.
There are nearly 20 universities in the United Kingdom that now offer full degree
programs in literary translation, with numerous others offering certificate-level or below
course options. The most well-known of these is the British Centre for Literary
Translation (BCLT) which operates out of the University of East Anglia and provides
courses for student translators, as well as developmental and promotional support for
publishers and professional translators. Major funding for the BCLT and other arts
projects and organizations in the UK comes from Arts Council England, the Scottish Arts
Council, and Arts Council of Wales.
A number of foundations have in recent years provided funding in support of literarytranslation activities, perhaps most notably Arts Council England, but also Bloomberg,
the Gulbenkian Foundation, foreign government organizations, and EU Culture. The UK
also boasts the largest literary prize dedicated to works in English translation, theIndependent Foreign Fiction Prize.
Longstanding newspapers such as TLS, The Times, The Independent, London Review
of Books, The Telegraph, and The Guardian dedicate daily or weekly space to the review
of literature, though the length of these sections and the depth of their coverage varies
considerably. A gradual shift to digital reviewing has taken place, but is not nearly soprominent as in other countries surveyed.
There are 465 active literary translators in the UK belonging to either the Institute forTranslation and Interpreting (ITI) or the Translators’ Association (TA). 22
United States
The United States is the largest of the countries included in this study, with an estimatedpopulation of 310 million.23 The literacy rate in the US is over 98%, with an estimated
19% of adults at “high level” reading and writing competency.24 Its book market is by far
the largest in the English-speaking world, publishing 275,232 new titles and editions in
2009, or approximately 45% of the total books published in English-speaking countries.25
Bowker estimates some 285,394 print-on-demand books were also published in the same
year, a 132% increase on 2008 figures.26
It is a widely accepted estimate that 2-3% of all books published in the US aretranslations, with only a small percentage of those, perhaps 2%, being “literary” works.
One informal survey tallied 356 “literary” books in translation in 2009, with 46 differentpresses having produced at least one such title.27
22

European Council of Literary Translators’ Associations (CEATL)As of June 2010. CIA World Fact Book.
24
Organisation for Economic Co-operation and Development.
25
Number excludes electronic-only, self-published, and POD titles. Bowker, 2009.
26
Ibid.
27
Three Percent blog. Excludes new translations of “classic” titles and reprints.
23

18

The publishing and bookselling industries in the US are currently undergoingsignificant changes due to economic instability and the advent of electronic publishingtechnologies; however, the primary infrastructure remains much as it has been for the
past several decades. The US publishing industry is composed of a small number ofcorporate publishers, most of which house many smaller imprints, as well as a wide
variety of medium-sized and small independent and nonprofit publishers. Literarytranslations are published in all of these sectors, although over the past decade there has
been significant growth in the number of smaller publishers featuring translated literature,including Melville House, Ugly Duckling, Archipelago, Open Letter, and Europa
Editions. A handful of presses, such as New Directions, Grove, Green Integer, andDalkey Archive have been leading publishers of literary translations for more than aquarter century.
The US bookselling industry is composed of two large chain retailers, Barnes & Noble
and Borders, and the major online retailer Amazon, as well as numerous smaller chainsand over one thousand independent booksellers, whose membership organization is theAmerican Booksellers Association.
The academic infrastructure for translation in the US has been a recent topic of debate:
the 2009 conference of the Modern Languages Association (MLA) chose translation as
its focus, with the goal of addressing the low status given to translation studies andpractice within academia. Approximately 30 programs currently offer full degrees (B.A.;
M.A.; or Ph.D.) in literary translation, many established within the past 10 years. In
addition, certificate track courses are offered at over 70 institutions.
The US media has been perhaps more impacted than any other sector represented inthis study by economic and technological changes, with nearly every major newspaper
reducing or eliminating its book review coverage within the past five years. During thissame period, the US has seen a dramatic increase in online review sources, and asignificant shift toward other types of book coverage, including blogs and blog-stylemass-market web magazines.
There are hundreds of active literary translators in the US belonging to several
membership organizations, including the American Literary Translators Association(ALTA), which has 13 regional chapters around the country, the American Translators
Association (ATA), and the PEN American Center.
There are a variety of small foundations in the US that support translation activities,
whether it be through translator grants, or publishing support. The National Endowment
for the Arts is the most stable source of funding for American nonprofit publishers. It alsooffers individual grants to translators, and facilitates much of the nation’s arts culture.

19

4. Key Survey Findings
4.1 Findings of bookseller survey
As part of the survey process, the bookseller survey was sent to 40 organizations acrossthe Anglophone world, although the majority of respondents were from the US and UK
The survey included 17 questions, ranging from general data on the organization tobarriers and incentives, to stocking translated works, to differences of practices between
translations and works in English. The following table shows the geographic distributionof responses per country:

Booksellers

US7

UK IRELAND CANADA AUSTRALIA
4
2
1
2

NEW
ZEALAND
0

It is worth noting that survey results were not weighed in terms of market share; that is, a
respondent from Amazon did not “count” more than a respondent from an independentbookstore, even though Amazon in the US sells a higher volume of books than the
combined independent bookstore community. The emphasis here is on diversity of
responses.
Respondents were asked whether, in selecting books to stock, they pay attention towhether a book is translated or written in English. The table on the next page shows thatpractices vary according to the genre, with 73.3% and 80% of organizations thatdifferentiate between translated fiction and fiction written in English; and about two
thirds of organizations differentiating between translated and non-translated literary
criticism and creative nonfiction.

20

Total
16

Differences in stocking translations of various literary genres

In the comment box, three respondents added that they seek out literature in translationfrom particular translators and imprints, and pay great attention to the book’s editor, as
well as to other criteria such as bilingual editions for poetry.
Respondents were asked if they have a special section in their store dedicated tocontemporary works of fiction in translation. 37.5% of respondents said that they do,while 62.5% said that they do not. In the comment box, two of the respondents who
answered “No” to the question indicated that they have temporary promotions dedicatedto fiction in translation.
Respondents were asked whether there were any particular reasons why their own store
may choose not to stock contemporary works in translation, and what these reasons were.
69.2% of respondents said that there are no reasons why they would not stocktranslations. Three of them indicated that their customers are interested in different
cultures, and that they love stocking translations. Of the respondents who indicatedseveral barriers to stocking translations, these included: their sales potential, their price(particularly if published by a university press, or imported), their necessity (in the caseof new translations of classics), and how much work has gone into building-up the author
on the part of the publisher.

21

Respondents were also asked if, in their opinions, there were any particular reasons why
other stores in their country may choose not to stock contemporary works in translation,
and what these reasons were. Reasons cited ranged from the perceived lack of customer
interest; to the lack of bookstore staff interest in discovering new writers; to the lack ofunderstanding of the market or the cultural isolationism of some Anglophone countries,
most prominently the US.
Asked whether translated works from some non-English-speaking countries sell better
than works from others, two thirds of respondents said yes: four respondents mentionedthat there are clear trends in customer practices (such as the current Scandinavian crime
fiction trend), while three others indicated that Italian, French, Japanese and Chinese
fiction are popular. Two respondents explained these tendencies by saying that customers
decide to buy a particular book based on the genre(s) they like, rather than on thelanguage.
Perceptions of reader interest are clearly positive, with 86.7% saying that they feel as
though their customers are as open to purchasing translations as works written in English.
Asked what would cause or encourage them to place larger orders for a contemporary
work in translation, respondents had to rate various options by order of importance. Their
responses can be divided into two main groups: “Not important” ( “Not important at all”
and “Not very important”) and “Important” ( “Important,” “Very important,” and“Extremely important”). 100% of respondents indicated that the “literary quality of thework” is “Important,” in various degrees as indicated in the table below (sevenrespondents said that it was “Extremely important”) while 73.3% rated the “theme or
topical relevance of the work” as “Important.”
80% of respondents said that “staff interest” is “Important,” while 66% rated the “belief
or assurance that there will be review coverage” as “Important” as well. Approximately
half the respondents rated “paid co-op marketing support for your store or website fromthe publisher” as “Not important.”

22

Incentives to placing larger orders for translations

Opinions on what would cause a contemporary work in translation to sell better vary
greatly. 71.4% rated “blogs” as “Not very important,” while 86.6% rated “paidadvertising in print media” as “Not important.” Respondents rated only one choice as“Extremely important,” with 80% saying that “enthusiasm on the part of staff torecommend books to customers and Staff Picks” are “Important.”

23

What might cause a translation to sell better

The percentages of local, national and international author readings vary inapproximately the same proportions in all countries, with a majority of local and national
readings. Local readings average at 57.58 per year, while national readings average at
46.31 and international ones at 14.67.
Respondents identified various barriers to inviting international authors. No options were
presented to them, as this question was open-ended.
Cost
Distance
Availability
Sales potential
Additional work
Lack of reader interest
Language barrier
Decision made by others (publishers)
There are no barriers

6 (responses)
2
1
1
1
1
1
1
2

24

Opinions regarding the impact of author readings on sales figures vary greatly for avariety of reasons. Respondents who said “Yes” indicated that the impact is positive, but
limited, although in some cases the cumulative effect is important. One respondent
pointed out that high profile book signings have much more impact on sales figures thanreadings do. Two respondents explained that a combination of author readings withpromotional efforts and staff recommendations can have significant impact.
Almost all respondents said the name of a publisher influences whether they will order abook and how many copies they may order.
80% of respondents asked to rate the importance of literary awards in terms of sellthrough and reordering (from “Not important” to “Important” to “Very important”)
placed it in the “Important” category. 53.3% said their store does not run promotions
focusing on translations, while 46.7% said their store does. Promotions include regular“staff picks” and display tables or windows dedicated to “Literature in Translation,” ornationwide promotions called “Lost in Translation” and “Reading the World,” and annual
festivals.
93.3% declared that the means by which they promote translations in their store does notdiffer from their promotions of non-translated works.
Respondents were asked why stores might order contemporary works in translation inlower numbers than they might order books originally written in English. The response
choices were: 1) “Because they are translations” (33.3%), and 2) “There is less and lessinterest in literary books generally” (66.7%).

25

4.2 Findings of media survey
The media survey was sent to 54 organizations across the Anglophone world, and twentytwo responses were collected. The following table shows the geographic distribution of
responses per country:
Media

US
7

UK IRELAND CANADA
8
3
2

AUSTRALIA

N.ZEALAND

1

1

The survey included 22 questions, ranging from general data about their organization to
the state of the reviewing of translations in their country.
55% of respondents stated that book reviews are the primary purpose of their publication.
86.4% declared that they review books in translation. Out of three respondents who said
they do not, one declared they were never asked to review a book in translation.
The selection process of translations for review varies from reviewer to reviewer, andincludes: browsing of online magazines or blogs, assessment of reader interest,
knowledge and/or reputation of the author, reading galleys, personal interests, selectionof the right reviewer for a book through a panel of reviewers, interest in the original
based on its perceived newsworthiness, browsing publishers’ catalogs.
However, 85% said that they do not distinguish in the way they select translations andbooks in English for review. Two respondents indicated that they must evaluate reader
interest before deciding to review a translation; two others declared that the primary
purpose of their publication is to review their own country’s literature.
90.9% said that they perceive a bias against translated literature in the review media ingeneral in their country.
When asked, in an open-ended question, what they believed to be the source of this bias,
30% referred to the perception that translations are either too demanding, dull, ordifficult; 25% mentioned the lack of familiarity of readers and reviewers with othercultures, languages and literatures; 15% said that readers prefer to read literature in theirown language. Other responses included the cultural isolationism of Anglophonecountries, philistinism, and the belief that originals are best. One respondent described
this bias as a vicious circle: there is an assumption among publishers that translations do
not sell, which means that they get less marketing and publicity than books in English,
which means in turn that they get less coverage in newspapers.
Respondents were asked why, in their opinions, translations are less often reviewed thanbooks in English, if indeed they are. They were asked to rate three reasons by order ofimportance, as shown in the table below. While 50% of respondents said that the “lack ofreader interest” is “Not very important” at all, 95.2% rated the “assumption that the book

26

Total
22

will not have an appeal to a wide-enough audience” from “Important” to “Extremely
important.” Only one respondent rated it as “Not very important.”
Why are translations less often reviewed?

When asked if the reviewing of translations has gone the way of the reviewing of poetry(that is, as a "specialty area" that only occasionally gets covered in the mainstream
media) in their country, 54.5% of respondents answered “Yes” and 45.5% “No.” Three
respondents indicated that translations get less coverage than poetry in their country.
71.4% think that the shrinkage of review space in newspapers and magazines affects all
literary books generally, while 28.6% think that it particularly affects translations. In thecomment box, five respondents explained that in the context of generalized shrinkage ofreview space, translations are seen as the lowest priority and are thus the first to go.
77.3% declared that they personally feel responsibility to review contemporary works ofliterature in translation. In the comment box, respondents related this sense of
responsibility to their personal interest.
Respondents were asked what would allow or encourage them to give more review spaceor coverage to contemporary works in translation. They were requested to rate a panel ofchoices, as shown in the following table:

27Incentives to review more translations

72.8% rated the need for “greater interest in translations expressed by readers or
listeners” from “Important” to “Extremely important,” while 63.6% rated the fact that “abook won a major prize in country of origin” from “Important” to “Extremely important.”
However, 50% rated “philanthropic support to sponsor a program on television or radio”
and “philanthropic support to sponsor space in print media” as “Not important at all,” and“paid advertising from the publisher” was rated nearly identically by 47.6%.
In the comment box, one respondent indicated that getting writer interviews is more vitalto promote a book than paid advertising in a magazine’s books pages.
63.6% said that the country of origin does not influence whether a book will beconsidered for review, while 36.4% said it does.
Respondents were equally divided (50%) when asked whether there were foreigncountries they were more likely to review than others. Those who responded yes to thequestion indicated in the comment box that they tend to review books that correspond totheir personal interest. Countries that were cited as being of interest included: France,
Germany, Spain, Italy, Portugal, Russia, Latin America, Asia and China- Taiwan andHong Kong in particular- and Poland.
Respondents were asked whether translations of literary fiction or poetry are more or lesslikely to be reviewed than translations of nonfiction works such as history, philosophy,
28

biographies, memoirs, etc. 71.4% said translations of literary fiction or poetry are more
likely to be reviewed. Two respondents indicated they would have preferred one of the
choices to be “It makes no difference.”
90.5% said that their publication does not require that the reviewer be familiar with theoriginal language of a book in order to write a review.
90% declared that they do not track in any way the number of books in translation thatthey review per year.
When asked whether they perceive a difference in the way publishers promote
contemporary works in translation and works originally written in English, 52.4% said
they do. In the comment box, 58.3% said that publishers under-promote translations
because they think they will not sell.
Respondents were asked what are the most effective ways that a publisher can work withthem in order to gain review coverage for contemporary works in translation - responses
included: send books and as much information as possible about the books, build a strong
relationship with book review editors and convince them of the merit and newsworthinessof the books, make authors and translators available for interviews.

29

4.3 Findings of publisher survey
As part of the survey process, the publisher survey was sent to 64 organizations acrossthe Anglophone world, and thirty-six responses were collected. The table below shows
the geographic distribution of responses per country:
Publishers

US
9

UK
16

CANADA
2
3

IRELAND

AUSTRALIA

N.ZEALAND

2

4

The survey included 35 questions, ranging from the selection process for translations, tobackground information about the publishing of translations in their country and in their
publishing house, to the barriers to publishing translations, including funding issues.
Respondents were first asked to rate various options that might cause them to decide to
publish a contemporary work in translation. The “quality of the work itself” was rated as“Extremely important” by 85%. The “general commitment to bringing foreign literature
to [their] country” was rated as “Extremely important” by 35.9%, as “Very important” by
28.2% and as “Important” by 20.5%.
57.5% said that the “Number of countries that rights have already been sold to by theoriginal publisher” is “Not important at all” (27.5%) and “Not very important” (30%).
Generally, the ratings in the “Important” categories are much higher than in the “Notimportant” categories. On average, 85.14% of respondents rated all the choices below
between “Important” and “Extremely important,” with the exception of the previous
figures above.

30

Total
36

Incentives to publish translations

Respondents were asked how they find works to translate. They could choose as many
options as were applicable, as presented here:3187.2% selected “foreign publishers and agents contacting you,” and 74.4% selected“book fairs and conventions,” which are the most prominent responses to this question.
When asked how easy it is to find readers of foreign languages whose opinions they trust
and who can recommend books for translation to them, only three respondents selected“Very easy,” while 72% then said that they would like to have more readers advise themon books to translate.
Publishers rely on a variety of means to find readers who can advise them. These include:
networks of professional relationships (foreign publishers, agents, foreign funding bodies
and literature institutes, scholars, translators and critics), former employees, and talking
to university translation programs and booksellers. Moreover, 68.4% said that translators
often recommend books to translate for them.
Respondents were then asked whether the number of literary translations has increased or
decreased in their publishing house over the past 10 years. 51.4% said this number has
increased. Seven respondents who said the number had decreased indicated, in thecomment box, that this was mostly due the current economic climate, to cuts intranslation grants from foreign or domestic agencies, and to poor sales.
On average, respondents declared having published 4.74 translations in 2006, 5.71 in2007 and 5.77 in 2008.
On average, translations represent one third of the responding publishers’ publication
lists.
Respondents were asked to rate a variety of options according to their importance inachieving success with a contemporary work in translation:

32

Factors that contribute to achieving success with a translation

100% of respondents rated the “media/review attention paid to the book” from
“Important” (13.9%) to “Very important” (30.6%) to “Extremely important” (55.6%).
Only 9.75% of respondents rated all these choices as either “Not important at all” or “Notvery important,” while 36% of respondents (on average) rated these choices as“Important.”
Respondents were then asked to what are the greatest market barriers to publishingtranslations, and to rank several possibilities (with “one” being the lowest market barrier,and “seven” the highest). While their companies’ overall commercial goals do not seemto be a challenge for 61.3% of respondents, expected low sales and the perceived lack ofinterest on the part of bookstores in stocking translations are prominent issues.

33Market barriers to publishing translations

52.8% declared that their marketing department is “Confident” about promotinginternational literature in translation, while 16.7% said they are “Very confident,” and30.6% said they are “Not confident at all.”
The cost of paying translators and the overall cost of translations is deemed to be thegreatest editorial barrier to publishing translations, as shown below. Respondents could
select as many choices as were applicable. No respondent selected the option “lack ofinteresting books to have translated.”34

Editorial barriers to publishing translations

75% said that the current financial climate makes them less likely to invest in atranslation.
When asked to rate various forms of financial support that would cause them to publish
more translations (with “one” being the least important and “five” being the mostimportant), 46.4% indicated that operational support was “Not very important” (ranktwo), while 41.4% said that subsidies for translation costs were “Very important,”similarly to a combination of all forms of support (39.3%).

35

Useful forms of support

100% of respondents said they receive support from government agencies, while support
from private foundations (34.3%) and from individual philanthropists (20%) was much
lower.
Respondents offered examples of good and bad practice on the part of funders.
Examples of good practice included: support for marketing translations, block grants for
multiple translations, understanding the particularities of each publisher and each national
market, willingness to invest in new genres, high editorial freedom left to the publisher,support for production, and support for touring authors, clear forms and flexible approach
to applications, speed of decision making.
Examples of bad practice included: only funding translations by translators from theirown country, tying the grant subsidy to the amount paid to the translator, the impositionof a quota on the number of translations per publisher supported annually by theagencies, indecision due to limited resources available to agency, only fundingtranslations from English into other languages.
Respondents were asked to rate other forms of support by order of importance. Support
for the promotion of translations and for the touring of international writers were rated as
being the most important forms of support by, respectively, 58.8% and 52.9%:36

Importance of other forms of support

61.1% declared that translations are a high priority at their publishing house, and 63.6%
said that they plan, under current conditions, to publish more translations.
Respondents said that, on average, it costs $22,400 (£13,300) to publish a translation (a250-page novel with a 3,000 print run), taking all costs into account, from editing toprinting to marketing to distribution, etc.
A subsidy of $10,000 on average was deemed necessary to cause respondents toundertake a typical translation (see above criteria), while respondents said that a subsidy
of $5,000 would allow them to arrange proper marketing for a translation.
67.6% said that they expect to lose money when publishing a translation. 32.4% said they
do not. Seven respondents did not answer the question.
87.9% declared that publishing translations (from discovering to acquiring to translating)cost their company more than books written in English.
96.6% said that it is more difficult to gain review and publicity attention for a translation
than for a book written in English; however, 66.7% said that they do not find it necessary
to make a larger investment in advertising and promotion for a translation than for a book
written in English.
3756% also said that there is no difference in how they secure review coverage for atranslation to a book written in English.
81.8% said that they believe there is a potential market for translations in their country
that has not been tapped.
97.1% declared that reader development and audience building is important forcontemporary works in translations.
85.3% said that they sometimes or often publish translations more out of a sense ofsocial/cultural/aesthetic responsibility than for commercial considerations.
Finally, respondents were asked what other factors would cause them to publish moretranslations. The two most prominent responses were: increased funding, and a lessinsular intellectual climate on the part of readers, funders and the media.

38

4.4. Findings of translator survey
The translator survey was sent to 54 translators across the Anglophone world, and 39
responses were collected.
The following table shows the geographic distribution of responses per country:
Translators

US
13

UK
7

IRELAND

5CANADA
4

AUSTRALIA

N.ZEALAND

8

2

The survey included 28 questions, ranging from their status as translators, to the trainingof young translators, to the funding of translations and its issues.
Respondents translate from the Catalan (3), Chinese (3), Danish (1), French (18), German(3), Irish (2), Indonesian (1), Italian (5), Malay (1), Polish (2), Portuguese (5), Romanian(1), Russian (1), Spanish (9). The number of languages of each translator ranges from 1
to 7.
Their average rate per thousand words varies from country to country:
US$: 115
GBP£: 74.28
A$: 126
EUR€: 115
CAN$: 146
Comparison (in US$) at the time of this survey:
US: $115
UK: $122
AUSTRALIA: $103
IRELAND: $163
CANADA: $132
81.3% declared they supplement their income from translations by other work, including
non-literary translations, commercial translations, teaching, literary representation,
editing, writing, journalism, filmmaking, and reviewing. In the comment box,
respondents declared that they rather supplement their academic or other income bytranslation work, translation income being far from enough to live on.
5% of respondents said they have no contact with editors when suggesting books fortranslation or when translating a book for a publisher. 50% said that the amount ofcontact they have with editors varies a lot from editor to editor, while 45% said they havea considerable amount of contact with editors at all stages of the translation process.

39

Total
39

62% said they found the editorial process with the publishers they work with to be“Supportive” of their translation work. 34% said this process was “Extremely
supportive.” Only one respondent declared that this process is “Not supportive at all.”
41.4% said they are usually able to find a publisher for a work they think should betranslated, while 58.6% indicated they are not.
The way in which respondents find a publisher for a work they think should be translated
varies from relying upon a network of contacts to being found directly by the publisher,
to identifying the right publisher by looking at their list and trying to match the book witha publisher, to sending a cover letter with a report, a sample translation, sales figures andpress reviews (often without remuneration).
Although 68.4% of publishers said that translators often recommend books to translate tothem, 78.1% of translators said that publishers do not often commission them to find new
books for translation.
Respondents were equally divided when asked whether they attend book fairs,
conventions and other trade events, with 50% saying they do and 50% saying they don’t.
30% said they “Do not find them useful,” while 40% find them “Useful” and 20% findthem “Very useful.”
When asked whether the situation for translators has significantly changed over the pastten years, 62.1% said that compensation has stayed the same while 41.4% said that theavailability of work has increased.
84.8% declared that they do not work closely with any foreign funding agency, while
75.8% said they do not work closely with any domestic funding agency.
Better financial compensation was rated as being “Very important” and “Extremely
important” by an equal 35.3% of respondents, as shown in the table below. The highest
percentages of respondents rated the offered choices as “Important.” However, thequestion was skipped by four respondents.

40

What translators need

63.3% said that translators’ associations provide them with the necessary support andinformation to aid their work. 30 responses were collected, and eight respondents skipped
this question. In the comment box, respondents explained that although translators’
associations provide useful legal support and are a good forum where translators interact
with each other, they generally do not have enough professional connections with the restof the field, especially with publishers, to help negotiate better pay for translators or
better work conditions.
73.5% declared that they did not receive any formal training as a translator or study
translation as students. Four respondents skipped this question.
When asked what experience would have been most helpful to them as young translators
upon completion of their degree, respondents cited the following:
Mentoring by experienced translators
Residencies abroad
More time to translate
Opportunities to meet publishers for
guidance in how the publishing world works
Residency as an in-house translator

31.25%
28.1%
12.5%
9.3%
6.25%

41

More funding
Attending creative writing workshops

6.25%
3.1%

34.4% said that working at a publishing house in order to learn about the process of
publishing a translation (copy-editing, marketing, sales, etc.) would have been
“Valuable” to them, while 25% said it would have been “Extremely valuable,” and 21.9%“Not very valuable” and “Not valuable at all.”In relation to this, 72.4% of respondents said they do not think that young translators are
currently properly educated to do translation work, nor that universities provide proper
training for them.
Respondents were then asked how they think universities could better train and educate
translators. Eight respondents skipped this question. Responses included the following:
Combine a translation program with an apprenticeshipat a publishing house
Hire teaching staff with a track record of translating
Mentorship program with experienced translators
More graduate courses in literary translation taught bytranslators on translation theory and on the "practical"
aspects of literary publishingWell-designed translation programs, established inconsultation with everyone in the field
More exchange programs for young translators
Integration of translation as a part of language learning

23.3%
13.3%
10%
10%
6.6%
6.6%
3.3%

Respondents were divided over what the greatest challenge facing young translators inestablishing themselves is:Lack of work opportunities
Getting the first book contract
Lack of publisher interest in translating foreign
literature into English
Lack of connection with publishers and editors
Cultural isolationism of English-speaking countries

33.3%
27.2%
12.1%
6.06%
6.06%

However, 66.7 % said they would encourage young people to become literary translators.
Making a living as a translator was identified as the greatest challenge that respondents
are facing, by 23.3%. Other respondents identified the lack of time (16.6%), the difficultyof finding interested publishers (16.6%), the continuity of work (10%), the lack ofreadership (10%), and the lack of academic, financial and social support (6.6%), as
additional challenges.
42Respondents were also asked to rate various rewards for their translation work by orderof importance. 38.2% said that the “prominent display of their name on the book cover”
is “Extremely important,” while “high profile translation prizes” are deemed “Veryimportant” by 32.4%. 73.6% rated “media interviews with translators” from “Important”
to “Extremely important.”
Respondents were asked what would make a difference to their life as translators, andwere asked to provide examples of good practice in support for translators:
Better, more steady pay
Exchanges with other translators in workshops
Residencies and in-house work with publishers
More support from publishers, and increased
awareness of the challenges of translation
More translation grants
More readers for translations
More work
More residencies abroad
More time to translate
Getting royalties
Health insurance for translators
Create a monthly devoted to the best in literature in translation

21.4%
14.28%
10.71%
10.71%
10.71%
10.71%
3.57%
3.57%
3.57%
3.57%
3.57%
3.57%

43

4.5. Findings of university translation program survey
The university translation program survey was sent to 55 universities across theAnglophone world. 35 responses were collected. The following table shows thegeographic distribution of responses per country:
Universities

US
8

UK
10

CANADA
2
3

IRELAND

AUSTRALIA

N.ZEALAND

4

4The survey included 34 questions, ranging from their current activity to the context fortraining translators to the solutions for training translators better.
Respondents were asked for how many years their translation program has been in place.
Responses range from 1 to 40 years, with an average of 9.24 years in the Anglophone
world. Three programs are not yet in place but will be in a few years’ time. Six
respondents declared that they do not have a translation program, but do teach translation
courses (among which four UK and one US respondents).
68.6% said they do not offer a degree in literary translation. Those who do (31.4%) offer
degrees ranging from the undergraduate to doctoral level.
The languages for which translation programs are offered at these universities wereidentified as Ancient Greek, Arabic, Bosnian, Bulgarian, Catalan, Chinese, Croatian,Czech, Danish, Dutch, French, German, Hindi, Indonesian, Italian, Japanese, Korean,
Latin, Modern Hebrew, Norwegian, Polish, Portuguese, Russian, Scottish, Serbian,
Spanish, Swedish, Turkish, Ukrainian, Yiddish, Welsh Gaelic.
On average, there are 3.175 professional translators on staff in these programs in the
Anglophone world, with numbers ranging from zero to 10 at each university, as shown
here:
Country
AverageUSA
3.4

UK Canada
1.6 3.3

Ireland2

Australia
3.25

New Zealand
5.5

The averages given above must be read in the context of some respondents (particularly
those from New Zealand) having given answers although they do not have a translation
program. They represent an average of 54% of their staff in the translation programs,with responses varying from 0% to 100%.
67.9% do not offer professional development opportunities for translators who are notstudents. Those who do (32.1%) offer opportunities that range from residencies for nondegree students to mentoring, editing and networking for publication, to translation
events and participation in campus publications.

44

Total
31

64.3% said that they feel their program is primarily focused on developing students tobecome professional literary translators, while 35.7% said that their program is focusedon preparing them for a career in academia.
Ways of evaluating the effectiveness of their translation programs vary among
universities and include the following:- Internal review- External review- Peer review- Survey of graduate satisfaction and employment- Survey of employers- Student evaluation forms- Student-staff meetings- Exit interviews- Quality of dissertation/portfolio
Respondents were asked to provide examples of future improvements to their program.
Examples included the following:- Degrees in translation studies at all levels (undergraduate, MFA, Ph.D.)- Introduction of specialization streams, including literary translation)- Online components and degrees- Joint hires with key departments such as Creative Writing- Offer degrees in translation technology- Use of new media and training for students in a variety of publishingformats/technologies- Better financial support from administration and better funding for graduate students- Higher entrance standards
Academic staff interest and recognition of the need for more and/or better trainedtranslators were ranked by respectively 43.5% and 45.8% of respondents as the mostimportant reasons why they offer degrees, certificate or coursework in translation, on ascale of one to three, 68% ranked student interest as “two” on the same scale:45

Why do universities offer degrees in translation?

66.7% said that they think there is sufficient student interest in literary translation.
In relation to this, 53.6% said that interest in literary translation has grown among
academic staff and students in the past few years.
Although this question was skipped by seven respondents, the country-by-country
comparison is interesting:
Country
USA
UK
CanadaAustralia
Ireland
New Zealand
TOTALS

Grown
5
3
1
3
0
2
14

Diminished
0
1
1
1
1
1
5

Stayed the same
3
2
1
0
1
1
8

Respondents were asked where they find most of their students for translation degrees.
They were free to select as many choices as were applicable, with the results below:

46

Students already enrolled inlanguages at their schools
Students coming to them after
finishing work at other schools
Vigorous recruitment
Domestically
Overseas

44.4%

12

55.6%

15

14.8%
81.5%
48.1%

4
22
13

When asked whether their program has a mechanism in place for judging whether theirstudents are prepared to do professional literary translations upon completion of theirdegree, 44% of respondents declared that they do not measure the success of theirprogram in the proposed ways, without suggesting other ways of measuring success:Published thesis
Successful completion of coursework
Published translations while enrolled
as students

28%
40%
28%

7
10
7

53.6% said they do not work closely with publishers of translations, while 46.4% said
they do. Those who currently work with publishers provide sample translations done by
students to publishers, or have their students work for the campus magazine. However,
64.3% said there is not a publisher of translations attached to their school or university on
campus.
70.4% said they do not work with other institutions that offer degrees or certificates intranslation. Some indicated that they do so informally, however.
Respondents identified the benefits of these relationships as invaluable for peer
networking, student recruitment, lobbying for important issues regarding translation,
setting standards for the production and assessment of translation work, study abroad
opportunities for students, awareness of developments in the field and exchange of
information, joint research projects, and inspiration.
35.7% declared being very aware of the number of literary works in translation that are
published in their country every year. The country-by-country comparison suggests
discrepancies between countries:
Country
US
UK
CanadaAustralia
IrelandNew

Not aware at
all
0
0
1
0
0
0

Not very
aware
0
2
1
0
1
2

Quite aware

Very aware

0
3
0
4
0
1

5
2
1
0
1
1

Extremely
aware
3
0
0
0
0
0
47

Zealand63.2% said that this number of translations published per year is increasing in theircountry, while 36.8% said that it is decreasing. One respondent from New Zealand
indicated that to the best of her knowledge there have been half a dozen works intranslation published in New Zealand in the last four years. Other countries were divided
on this issue:
Country
US
UK
CanadaAustralia
Ireland
New Zealand

Increasing
4
4
0
2
0
3

Decreasing
3
1
1
1
1
0

Staying the same
0
0
1
1
0
0

However, 57.1% said that their program’s mission does not include an objective to help
increase this number in their country.
Respondents were then asked what the most important issues regarding the development
and training of literary translators are, according to them. They were asked to rate every
possibility offered. “Financial restraints of their institutions to support such programs andtraining” was deemed to be “Extremely important” by 34.6% of respondents. “Lack ofinterest among students” was ranked as “Not important at all” and “Important” by anequal 25%.

48

Issues concerning the development and training of young translators

Among the factors that would encourage them to provide better and more comprehensive
training of literary translators, “increased financial support” was selected by 74.1% of
respondents:
Academic staff interest
Student interest
A change in the mission of their program
Increased financial support

33.3%
37%
29.6%
74.1%

9
10
8
20

On the other hand, among the factors that would most help their students to become
professional translators, “working more closely with professional translators while
enrolled in their program” was rated as “Important,” “Very important” and “Extremely
important” by approximately the same number of respondents (28%, 28% and 24%
respectively), while opportunities to work at a publishing house upon completion of adegree was rated as “Important” by 57.7% of respondents:

49

What would help students become professional translators?

When offered various ways in which students could work with editors and publishers,
responses were as follows:50

Respondents were then asked the same question in relation to working with professionaltranslators:

51

Respondents have received various kinds of support from funders for their programs:
support for guest speakers; for conferences; international university exchanges; visiting
scholars and publishers; student tuition fees; various fellowships. Some respondents
indicated that their program has not been launched yet because they have not received
any funding so far.
Respondents offered examples of best practice in terms of support for their program, suchas support for student fellowships and long-term commitment to their program.
Other forms of support were suggested by respondents as examples of best practice:- corporate support for internships and fellowships- willingness of corporate world to serve on advisory board- mentorships with professional translators- work experience for young translators- funding for guest lectures and workshops
Particular areas for which funder support was deemed valuable were as follows:

52

53

5. Overall Findings•

Very few publishers publish literature in translation outside the UK and the US,
other Anglophone countries relying upon importations of translations in their own
countries, particularly in Australia, New Zealand and Ireland.

•

Respondents in each sector identified perceptions as a major obstacle to thefurther development of literary translation; that is, that literary translations sufferfrom the perception that they are more difficult or hold less potential for
popularity than other books, even when such perceptions re based upon noavailable evidence.

•

Further, responses suggest that the bias against translated literature in thecommunity at large is perceived by each field as coming from other fields.
Translators perceive a bias against translations on the part of publishers;
publishers perceive a bias against translations on the part of the media; the media
perceives a bias on the part of readers. Perceptions that readers are not interested
in translated literature has created a circular reasoning that has impacted the entire
field of literary translation.

•

There is insufficient financial support available for translation into English inmost Anglophone countries, and when such support is available, as in England for
instance, funds are often oversubscribed.

•

While many European countries provide services and funds to translators andpublishers through national agencies that are responsible for the promotion of
their national literature, most Anglophone countries do not have such agencies.
Regular grants awarded to publishers or directly to translators in support of thedevelopment and increase in the amount of foreign literature translated into
English have not yet been made a priority in most Anglophone countries.

•

Although translators are the primary creative artists in the production oftranslations, support for the training of literary translators is limited, and literarytranslation is still fighting to establish its status as an accepted academic
discipline.

•

While numerous universities offer courses in translation studies, few focus on thepractice of translation, with strong interactions with professional translators andpublishers.

•

Translators have pointed out the lack of work opportunities as one of theirgreatest challenges and have explained it as follows: according to them, foreign
literature is not read enough, nor is it marketed on a large enough scale, which inturn diminishes the market, which thus makes it even harder to publish anytranslations.

54

•Overall, collected responses have suggested a lack of dialogue and consultation
between sectors of the translation community in general, each sector tending to
act according to its needs only—be they commercial, nonprofit, educational,
etc.—despite the interdependence of their work. This lack of communication andof exchange of information has led to disjointed actions, notably in the academic
field.

6. Summary of Recommendations•

Information about each sector should be disseminated to the field in order tocounter the misperceptions between sectors. This is one of the ambitions of thisreport.

•

The initiatives that translators would most like to see implemented in relation to
the training of young translators are mentoring of young translators withexperienced professional literary translators, experience and contact with the
publishing world to learn how translations are published, the creation oftranslation programs that combine the theory and practice of translation, and more
professional translators as teaching staff in universities.

•

The initiatives that universities would most like to see implemented are theintroduction of graduate degrees in literary translation (MFAs, Ph.D.s), and of
online components to certificate and degree programs in translation, moreinteraction between translation programs and other creative programs such as
creative writing, more funding for their translation programs, and more support
from their administration to develop such programs.

•

The initiatives that publishers would most like to see implemented are morediversity in the nature and type of grants that are offered in support of translated
literature, especially an increase in support for promotions and the touring ofinternational authors, more understanding of the nature of the publishing world on
the part of funders, adaptability of funding models to these demands, more focus
on reader development and audience building, and a more open intellectual
climate in the field in general.

•

The sector that is most conspicuously absent from this report is both the least
quantifiable and the most essential: readers. As numerous respondents to thissurvey from various sectors have indicated, speculation about the “interests ofreaders” has rarely been to the advantage of literary translation. Yet responses
from booksellers, who have the most direct contact with readers, suggest that theactual reader bias against literary translation is minimal, and that lack ofawareness, rather than active bias, is a more accurate description of therelationship of readers to translated works.

55

7. Appendix 1: Related Studies and Resources
Australia Council for the Arts Funded Projects Database(www.australiacouncil.gov.au/grants)
Booktrust: Translated fiction survey (2009 - www.booktrust.org.uk)
Bowker (www.bowker.com)
CIA World Factbook (www.cia.gov/library/publications/the-world-factbook/index.html)
European Council of Literary Translators’ Associations (CEATL - www.ceatl.eu)
Fisher, Jeremy. "The Professional Author: Researching creativity and reality,” Text, 10,
1, April 2006 (This paper was delivered on 25 November 2005 as a Plenary Address at
Alchemy: Blending Research and Creativity, the Tenth Annual Conference of theAustralian Association of Writing Programs, Curtin University of Technology, Perth, 2527 November 2005)
Literature Across Frontiers’s “Making Literature Travel: support for literary exchange
and translation in Europe” (2010)(www.lit-across-frontiers.org/files/Translation_trends_1990_2005.pdf)
Organisation for Economic Co-operation and Development (www.oecd.org)
Nielsen BookData UK (www.nielsenbookdata.co.uk)
Publishers Association of New Zealand (PANZ - www.bpanz.org.nz)
The World Bank Data Catalog (http://data.worldbank.org/data-catalog)

56

Appendix 2: Survey Questions
8. Bookseller Survey
8.1. In selecting books to stock, do you pay attention to whether a book is translated or
written in English? Yes / No
Literary fiction
PoetryDrama
Literary criticism
Creative nonfiction
8.2. Do you have a special section in your store dedicated to contemporary works offiction in translation? Yes / No
8.3. Are there particular reasons why your store may choose not to stock contemporary
works in translation? What are they?
8.4. In your opinion, are there particular reasons why other stores in your country may
choose not to stock contemporary works in translation? What are they?
8.5. Do translated works from some non-English-speaking countries sell better thanworks from others? Yes / No8.6. Do you feel as though your customers are as open to purchasing translations andworks written in English? Yes / No8.7. Of the following, which would cause or encourage you to place larger orders for acontemporary work in translation? Please rate (Not important at all / Not very important /Important / Very important / Extremely important):
Author readings in your store
Belief or assurance that there will be review attention
Paid co-op marketing support for your store or website from the publisher
Literary quality of the work
Prizes awarded to the work
Theme or topical relevance of the work
Staff interest
8.8. What do you think causes a contemporary work in translation to sell better? Please
rate (Not important at all / Not very important / Important / Very important / Extremely
important):
Local print review coverage or features
Radio coverage
Blogs
National review coverage on television or in print media

57

Enthusiasm on the part of your staff to recommend books to customers and Staff Picks
Paid advertising in print media
PrizesContent and quality of the work
8.9. How many author readings do you host in your store per year on average?
8.10. What is the percentage of local, national, and international authors reading in yourstore each year on average? Please give specific figures for each category:
Local
National
International
8.11. Are there any barriers to inviting international authors? If so, what are they?
8.12. Do author readings have an impact on sales figures? If so, how big an impact?
8.13. In terms of advance orders for a book, does the name of a publisher influence
whether you will order the book and how many copies you may order? Yes / No8.14. How important are literary awards in terms of sell-through and your reordering (Not
important / Important / Very important)?
8.15. Does your store sometimes run promotions focusing on translations? Yes / No
8.16. Does the means by which you promote translations in your store differ from yourpromotions of non-translated works? Yes / No
8.17. If stores order contemporary works in translation in lower numbers than they mightorder books originally written in English, is it because:
They are translations
There is less and less interest in literary books generally
9. Media Survey
9.1. Are book reviews the primary purpose of your magazine or newspaper? Yes / No9.2. How much space is dedicated to book reviews in your magazine or newspaper?
9.3. Do you review books in translation? Yes / No9.4. How do you select the translations you review?
9.5. Is there a difference in the way you select translations and books in English forreview? Yes / No58

9.6. Do you perceive any particular bias against translated literature in the review media
in general in your country? Yes / No9.7. If so, what do you believe to be the source of this bias?
9.8. If fewer translations are indeed reviewed, why is this? Please rate (Not important at
all / Not very important / Important / Very important / Extremely important):
Lack of interest on the part of readers
Lack of interest on the part of reviewers and book-review editors
An assumption that the book will not have an appeal to a wide-enough audience
9.9. In your country, has the reviewing of translations gone the way of the reviewing of
poetry (that is, as a "specialty area" that only occasionally gets covered in the mainstream
media)? Yes / No9.10. In your country, does the shrinkage of review space in newspapers and magazinesparticularly affect literary translations or do they affect all literary books generally?
9.11. Do you personally feel any particular responsibility to review contemporary worksof literature in translation? Yes / No9.12. Which of the following would allow or encourage you to give more review space or
coverage to contemporary works in translation? Please rate (Not important at all / Notvery important / Important / Very important / Extremely important):
Paid advertising from the publisher
Philanthropic support to sponsor space in print media
Philanthropic support to sponsor a program on television or radio
Availability of writers for interviews
Greater interest in translations expressed by readers or listeners
Book won a translation prize
Book won a major prize in country of origin
9.13. Does the country of origin influence whether a book will be considered for review?
Yes / No9.14. Are there foreign countries you are more likely to review than others? Yes / No9.15. Are translations of literary fiction or poetry more or less likely to be reviewed thantranslations of nonfiction works such as history, philosophy, biographies, memoirs, etc.?
9.16. Does your newspaper (or other) require that the reviewer be familiar with theoriginal language of a book in order to write a review?
9.17. Do you track in any way the number of books in translation that you review per
year?

59

9.18. If so, how many translations do you review per year on average?
9.19. What percentage of the total number of books you review per year do translations
represent?
9.20. Has this percentage increased or decreased in recent years? Yes / No9.21. Do you perceive a difference in the way publishers promote contemporary works intranslation and works originally written in English? Yes / No
9.22. What is the most effective way that a publisher can work with you in order to gain
review coverage for contemporary works in translation?
10. Publisher Survey
10.1. What causes you to decide to publish a contemporary work in translation? Please
rate (Not important at all / Not very important / Important / Very important / Extremely
important):
The quality of the work itself
Potential sales
General commitment to bringing foreign literature to your country
Prize(s) a book may have received in original country
Number of countries that rights have already been sold to by the original publisher
Financial support made available by foreign agencies and governments
Financial support made available by other outside sources (foundations, individuals)
10.2. How do you find works to translate? Please select as many as are applicable.
Reviews in foreign publications
Authors contacting you
Translators contacting you
Foreign publishers and agents contacting you
Websites
Government-organized visits to foreign countries
Individual editorial visits to foreign countries
Through an established network of advisors (e.g. scholars, critics)
Book fairs and conventions
10.3. How easy is it to find readers of foreign languages whose opinions you trust andwho can recommend books for translation to you (Not easy at all / Easy / Very easy)?
10.4. Would you like to have more readers advise you on books to translate? Yes / No
10.5. How do you go about finding readers who can recommend books to translate toyou?
10.6. Do translators often recommend books to translate to you? Yes / No60

10.7. Has the number of literary translations increased, decreased or stayed the same inyour publishing house over the past 10 years?
10.8. By approximately what percentage of increase or decrease?
10.9. What are the factors that have contributed to this change?
10.10. How many contemporary works in translation did you publish in 2006, 2007 and2008? Please give separate figures for each year.
10.11. What percentage of your list does that represent?
10.12. How important are the following for achieving success with a contemporary workin translation? Please rate (Not important at all / Not very important / Important / Very
important / Extremely important):
Name recognition of the author
Media/review attention paid to the book
Having the author come to your country to do readings
Advertising
Introductions/blurbs from recognizable authors
Joint marketing with other publishers
Internet marketing
Reviews on blogs
Prizes awarded to the book10.13. What do you think are the greatest market barriers to publishing translations?
Please rank, with seven being the greatest barrier.
Expected low sales
Does not fit your company’s overall commercial goals
Lack of outside funding to support translations
Lack of media coverage in all media sectors (print/online)
Lack of national media attention (radio or television programs devoted to coveringtranslations)
Lack of interest on the part of readers
Not enough interest on the part of bookstores in stocking and supporting translations
10.14. How confident is your marketing department about promoting international
literature in translation (Not confident at all / Confident / Very confident)?
10.15. What do you think are the greatest editorial barriers to publishing moretranslations? Please select as many as are applicable.
Cost of paying translators
Amount of time to edit a translation
Difficulty of finding reliable or experienced translators
Difficulty of finding translators from particular languages

61

Lack of sample translations made available to you
Lack of information available concerning books from other countries
Lack of interesting books to translate
Lack of in-house language skills
Cost of using outside readers
Cost of translations
10.16. Does the current financial climate make you more or less likely to invest in atranslation?
10.17. What forms of financial support would cause you to publish more translations?
Please rate the following by order of importance, with one being the least important andfive being the most important.
Subsidies for translation costs
Subsidies for production and printing costs
Subsidies for promotion and marketing costs
Operational support (e.g. editorial and other staff time)
Combination of all of the above
10.18. What type of funders do you regularly receive support from? Please select as many
as are applicable.
Government agencies
Private foundations
Individual philanthropists
10.19. Can you offer examples of good practice or bad practice on the part of funding
agencies? Please list a maximum of three.
10.20. What funding agencies have been most helpful and supportive in your translation
efforts? Please list five and explain why they've been helpful.
10.21. How useful would other forms of support be? Please rate (Not useful at all / Notvery useful / Useful / Very useful / Extremely useful):
Help with identifying writers to translate
Publishers' trips to countries to meet other publishers, agents, and writers
Help identifying readers
Help identifying translators
Support for the promotion of translations (tours, events, etc.)
Support for touring of international writers
Better contact with festivals and venues
More collaboration with bookstores10.22. Are translations a high priority at your publishing house? Yes / No
10.23. Do you plan, under current conditions, to publish more translations? Yes / No62

10.24. In your currency, how much—taking all expenses into account—does it cost you
to publish a typical translation (for example a 250-page novel with a 3,000 print run)?
10.25. How much of a subsidy in your currency would be required to cause you toundertake a typical translation?
10.26. In your currency, how much would be required to arrange proper marketing andpublicity for a typical translation?
10.27. Do you expect to lose money when publishing a typical translation? Yes / No
10.28. Do translations (from discovering to acquiring to translating) cost your company
more or less than a book written in English?
10.29. Is it easier or more difficult to gain review and publicity attention for translations
than it is for a book written in English?
10.30. Do you find it necessary to make a larger investment in advertising and promotion
for a literary translation than for a book written in English in order to achieve success?
Yes / No
10.31. Is there a difference in the ways you secure review coverage for translations andbooks written in English? If so, please explain.
10.32. Do translations have a potential market in your country that has not been tapped?
Yes /No
10.33. How important is reader development and building an audience for translated
literature (Not important at all / Not very important / Important / Very important /Extremely important)?
10.34. Do you sometimes or often publish translations more out of a sense ofsocial/cultural/aesthetic responsibility than for commercial considerations? Yes / No
10.35. What other factors would cause you to publish more translations than those thathave been asked about here? Please be as specific as possible.
11. Translator Survey
11.1. What language(s) do you translate from?
11.2. How much are you paid on average (in your currency) for a contemporary work intranslation? Please indicate the scale used (per thousand words, per 1500 characters on apage, etc.).

63

11.3. How does that compare to official recommendations for the remuneration oftranslators in your country? Please be as specific as possible.
11.4. How much do you feel you should be paid on average (in your currency) for acontemporary work in translation? Please indicate the scale used (per thousand words,
per 1500 characters on a page, etc.).
11.5. Do you supplement your income from translations by other work? Yes/No
11.6. How much contact do you have with editors when pitching books for translation orwhen translating a book for a publisher?
11.7. How supportive do you find the editorial process with the publishers you workwith? Select one of the following: Not supportive at all / Supportive / Very supportive
11.8. Are you usually able to find a publisher for a work that you think should betranslated? Yes / No11.9. How do you go about finding a publisher for a work that you think should betranslated?
11.10. Do publishers often commission you to find new books for translation? Yes / No11.11. Do you attend book fairs, conventions, or other trade events? Yes / No11.12. If so, how helpful is it?
11.13. Has the situation for translators significantly changed over the past 10 years(Improved / Deteriorated / Stayed the same)?
Compensation
Availability of work
Relations with publishers and editors
Recognition
11.14. Do you work closely with any foreign funding agencies? Yes / No1115. Do you work with domestic funding agencies? Yes / No
11.16. Please rate the following choices, using the criteria of what would be of most help
to you (Not important at all / Not very important / Important / Very important / Extremely
important):
Better financial compensation for your work (translation grants and publisher subsidies)
More control over the final version of the translation in the editing process
Better service through translation associations
Better training as a young translator
Travel opportunities

64Residency programs
Attending conferences on literary translation
Better relationships with publishers and editors
Better and more frequent relations with the authors you translate
Ongoing professional development support
11.17. Do translators' associations provide you with the necessary support andinformation to aid your work? Yes / No. Please explain.
11.18. Did you study translation as a student or receive formal training as a translator?
Yes / No
11.19. After completing your university degree, what experience would have been mosthelpful to you as a young translator?
11.20. How valuable would it have been to you, as a young translator, to work at a
publishing house in order to learn about the process of publishing a translation (copyediting, marketing, sales, etc.)? Not valuable at all / Not very valuable / Valuable / Veryvaluable / Extremely valuable.
1121. Do you think that young translators are properly educated to do translation workand do universities provide proper training for young translators? Yes / No
11.22. How could universities better train/educate translators? Please be as specific as
possible.
11.23. In your opinion, what is the single greatest challenge facing young translators inestablishing themselves?
11.24. Would you encourage young people to become literary translators? Yes / No
11.25. What is the single greatest problem that you face as a translator?
11.26. How important a reward for your translation work are the following? Please rate
(Not important at all / Not very important /Important / Very important / Extremely
important):
High profile translation prizes
Prominent display of translator’s name on book coverMedia interviews with translators
11.27. In your opinion, is it necessary to establish more high profile translation prizes?
Yes / No
11.28. What would make a difference to your life as a translator? Do you have in mind
any examples of good practice in support for translators?

6512. University Translation Program Survey
12.1. For how many years has your translation program been in place?
12.2. Do you offer a degree in literary translation? Yes / No12.3. What is the highest degree you offer and for how many years has this degree beenoffered?
12.4. How many students are currently enrolled in your degree or certificate program?
Please give figures for each level (undergraduate, postgraduate, etc.).
12.5. How many languages are offered for which you provide translation courses? Pleaselist the languages.
12.6. How many members of your staff in the translation program also work
professionally as translators of contemporary works in translation?
12.7. What percentage of your staff in the translation program does that number
represent?
12.8. Do you offer professional development opportunities for translators who are notstudents? Yes / No. If so, please provide more information about the program.
12.9. If given the following choices, do you feel that your program is primarily focusedon:
Developing students to become professional literary translators
Preparing them for a career in academia
12.10. How do you assess the quality and effectiveness of your program?
12.11. What future improvements on your program would you like to see? Please be as
specific as possible.
12.12. Why do you offer a degree or certificate or coursework in translation? Please rank
(1, 2, 3):
Academic staff interest
Student interest
Recognition of the need for more and/or better trained translators
12.13. Is there sufficient student interest in literary translation? Yes / No12.14. Has interest in literary translation among academic staff and students grown,
diminished or stayed the same in the past few years?

6612.15. Where do you find most of your students for translation degrees? Please select as
many as are applicable:
Students already enrolled in language degrees at your schoolStudents coming to you after finishing work at other schools
Vigorous recruitment
Domestically
Overseas12.16. Does your program have a mechanism in place for judging whether your students,
upon completion of their degree, are prepared to do professional literary translations?
Please select as many as are applicable.
Published thesis
Successful completion of coursework
Published translations while enrolled as a student
You do not measure the success of your program in such ways
12.17. Do you work closely with publishers of translations? Yes / No
12.18. If so, what is the greatest benefit of these relationships?
12.19. Is there a publisher of translations attached to your school or university on
campus? Yes / No
12.20. Do you have a relationship with this publisher? Yes / No12.21. Do you work with other institutions that offer degrees or certificates in translation?
Yes / No12.22. What is the greatest benefit of these relationships?
12.23. How aware are you of the number of literary works in translation that are
published in your country (Not aware at all / Not very aware / Quite aware / Very aware /Extremely aware)?
12.24. Is that number increasing or decreasing?
12.25. Does your program’s mission include an objective to help increase the number ofliterary translations being published in your country? Yes / No
12.26. What do you think are the most important issues regarding thedevelopment/training of literary translators? Please rate (Not important at all / Not very
important / Important / Very important / Extremely important):
Lack of interest among academic staff in the training of translators to be professionaltranslators
Lack of interest among students

67

Poor career prospects for students
Lack of contact with publishers of translations
Financial restraints of your institution to support such programs and training
12.27. What would encourage your institution to provide better or more training ofliterary translators? Please select as many as are applicable.
Academic staff interest
Student interest
A change in the mission of your program
Increased financial support
12.28. What would most help your students to become professional translators? Please
rate (Not important at all / Not very important / Important / Very important / Extremely
important):
Working more closely with editors and publishers of translation while enrolled in yourprogramWorking more closely with professional translators while enrolled in your program
Opportunities to publish translations while enrolled in your program
Opportunities to work at a publishing house upon completion of a degree
12.29. In what ways would you like your students to work with editors/publishers? Please
rate (Not important at all / Not very important / Important / Very important / Extremely
important):
Internships with a publisher
Guest lectures in your course by publishers and editors
Postgraduate, full-time experience with a publishing house
Opportunities to publish translations while students
Opportunities to write readers' reports and do sample translations for publishers
12.30. In what ways would you like your students to work with professional translators?
Please rate (Not important at all / Not very important / Important / Very important /Extremely important):
Doing a thesis under the supervision of a professional translator
Working under an in-house translator at a publishing house
Attending monthly seminars focused on the practice of translation with a series ofprofessional translators
Hosting visiting translators-in-residence who can interact with your students
12.31. What financial or other support have you received from funders for your program?
Please list the funders and the type of support.
12.32. What kind of funding or other support have you found to be most effective? And
what is least effective? Can you offer examples of good practice?
12.33. What other support do you think funders should offer for translation programs?

6812.34. If support were available from funders, which of the following would most benefit
students who seek careers as professional translators? Please rate (Not important at all /Not very important / Important / Very important / Extremely important):
Hiring of professional translators as academic staff
Support available for translators after graduation
Opportunities to work with publishers to understand how publishers select and edit
translations
Establish contacts with publishing houses while students, as well as with potential
funders
Help establish a translation program at your institution

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