Ann goldstein translator biography for kids

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Later today Issue 3 of Shiny New Books will appear and, with it my ruminations on the first three Neapolitan novels of the phenomenon that is Elena Ferrante. To coincide with that, Ann Goldstein, who works as an editor at The New Yorker and translates Ferrante&#;s novels into English, talks here about her career as a translator, the third and most recently released Neapolitan novel and her desert island books.

How did you become a literary translator?

Somewhat by accident. An Italian manuscript came to The New Yorker, where I am an editor, and at the time I was the only person who could read Italian; the idea was that I would read it and then write a polite rejection. But I decided to translate it, and it was published in the magazine. The manuscript was Chekhovin Sondrio by Aldo Buzzi (September 7, ).

How did you come to be Elena Ferrante&#;s translator?

I was asked by Europa Editions (or rather its parent, the Italian publisher e/o) to submit a sample translation from The Days of Abandonment. The editors liked it, and I went on from there.

Are there any particular challenges in translating her Neapolitan novels? How long does it take you to translate each volume? Are there passages where you need to be creative because the Italian idiom doesn&#;t easily t

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Ann Goldstein (translator)

American editor and translator (born )

Ann Goldstein (born June ) is an American editor and translator from the Italian language. She is best known for her translations of Elena Ferrante's Neapolitan Quartet. She was the panel chair for translated fiction at the US National Book Award in ^[1] She was awarded the PEN Renato Poggioli prize in and was a Guggenheim Fellow in ^[2]

Early life

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Ann Goldstein grew up in Maplewood, New Jersey. She attended Bennington College, in Vermont, where she read Ancient Greek.^[3] She then studied comparative philology at University College, London.^[2]

Career

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After her graduation, in , Goldstein began work at Esquire magazine as a proof-reader. In , she joined the staff of The New Yorker, working in the copy department and becoming its head in the late s.^[3] She retired from The New Yorker in ^[4]

From , Goldstein edited John Updike's literary reviews contributed to The New Yorker.^[5]

During her time at The New Yorker, Goldstein, along with some colleagues, began taking Italian lessons.^[6] Over a period of three years, from , they studied the language and read all of Dante's works. In , Goldstein received