Asked to name any novel in translation, how many readers would immediately think of ONE HUNDRED YEARS OF SOLITUDE? First published in Spanish in 1967 at the height of the Latin American boom, this seminal work by the Colombian author Gabriel García Márquez was instantly, and phenomenally, successful. A classic of the genre that became known as ‘magical realism’, it’s sold more than 45 million copies worldwide and been translated into 44 languages, making it the best-selling and most-translated Spanish-language book in modern history, after DON QUIXOTE. In a survey of international writers in 2009, ONE HUNDRED YEARS OF SOLITUDE topped the poll of novels that had shaped world literature over the preceding 25 years. García Márquez was awarded the Nobel Prize in Literature for his oeuvre in 1982.

ONE HUNDRED YEARS OF SOLITUDE was translated from the Spanish by the great Gregory Rabassa and published in English in 1970. The author famously praised Rabassa’s translation as ‘better than the original’, calling him ‘the best Latin American writer in the English language’. On the advice of Julio Cortázar, García Márquez waited three years for Rabassa to be free to translate his novel. He later said that both of his eminent translators, Rabassa and Edith Grossman, exemplified what he liked best about translation in that they placed intuitiveness above intellectualism. Rabassa himself commented: ‘When I talk about it, I say the English is hiding behind his Spanish. That’s what a good translation is: you have to think if García Márquez had been born speaking English, that’s how a translation should sound.’

Another bestselling translated book that year was PAPILLON, Henri Charrière’s ostensibly autobiographical account of his incarceration in and subsequent escape from the penal colony of French Guiana. It has been described as ‘the greatest adventure story of all time’ and was later made into a major film starring Steve McQueen and Dustin Hoffman. Two English translations from the original French were published in 1970: Patrick O’Brian’s appeared in the UK, while the US edition was translated by June P. Wilson and Walter B. Michaels.

Finally, two other notable works that first became available to us in English in 1970: THE SOUND OF THE MOUNTAIN by the Japanese Nobel Prize-winner Yasunari Kawabata was translated by Edward Seidensticker; and BABI YAR: A DOCUMENT IN THE FORM OF A NOVEL. Anatoli Kuznetsov’s shocking account bears witness to the massacre of more than 33,700 Jewish civilians over two days in the Babi Yar ravine in Ukraine in 1941. Kuznetsov, who was a teenager during the Nazi occupation of Kyiv, wove together his own and other eye-witness accounts to write this important testimony to one of the largest single mass killings of the Holocaust. It was initially published in a Russian journal in 1966, heavily censored and edited. Three years later Kuznetsov defected from the USSR to the UK, bringing with him the unexpurgated version he described as ‘the authentic text’. This was published in 1970 under the pseudonym ‘A. Anatoli’, in a translation from the Russian by David Lloyd.




For almost 300 years Norway and Denmark were united kingdoms, and Danish was the sole official language. When the two countries separated in 1814 a linguistic struggle ensued in Norway with different versions of written and spoken Norwegian competing for official recognition. The heavily Danish-influenced Norwegian of the 19th century urban and educated classes evolved into what became known and sanctioned as Bokmål, or ‘book language’, while Nynorsk, or ‘new Norwegian’, predominated in the rural west. Nynorsk is based on the ‘people’s language’ (Folkespråk) proposed by the 19th century linguist Ivar Aasen, assembled using Norwegian dialects that had retained their regional character. The Norwegian language conflict is still a politically contentious issue today; variant spellings are allowed, people are encouraged to speak their local dialect, and there is no officially sanctioned spoken language.

The great Norwegian author Tarje Vesaas wrote in Nynorsk, contributing to its acceptance as a medium of world-class literature. Vesaas’ works are characterised by their rural settings, spare, evocative prose, and the sensitive depiction of characters’ psychological trauma. His masterpiece THE ICE PALACE, which takes its name from the caves of a frozen waterfall, tells of an intense friendship between two young girls, one of whom carries a dreadful secret. Doris Lessing described it as ‘unique… unforgettable… extraordinary’. THE ICE PALACE was translated into English by Elizabeth Rokkan in 1966.

Another Nordic novel first published in English in 1966 is THE FISH CAN SING by the Nobel Prize-winning Icelandic author Halldór Laxness. It was translated by Magnus Magnusson. Best known in the UK as the presenter of the long-running television quiz show Mastermind, Magnusson was also a journalist and author, and a prolific translator of Icelandic and Old Norse literature, including other works by Halldór Laxness and several classic Norse sagas.

Julio Cortázar’s ground-breaking novel HOPSCOTCH can be read in different ways. It is divided into 155 chapters and employs a variety of different perspectives and non-linear narrative techniques. The author invited his readers to read the episodes consecutively, or to ‘hopscotch’ through them according to his ‘table of instructions’, which shows the events in a different light. Alternatively, readers may choose their own paths through the book, playing on the idea of the reader as the author’s ‘co-conspirator’. Like Carlos Fuentes (cf. #TA60 1964), the Argentine novelist was part of the huge international success of modernist writers from his region in the 1960s and ‘70s known as the Latin American Boom. HOPSCOTCH is often regarded as the first ‘Boom’ novel. It first became accessible to English readers in 1966 in a translation by the great Gregory Rabassa.