4.2 Light and Sound: Boubacar Boris Diop with Sarah Quesada (AV)

Boubacar Boris Diop is the author of Murambi: The Book of Bones, an unforgettable novel of the Rwandan genocide that blends journalistic research with finely drawn characterizations of perpetrators, victims, and bystanders. In this episode, Mr. Diop reads from Murambi, translated from French by Fiona McLaughlin, and speaks to Duke professor Sarah Quesada and host Aarthi Vadde about how his work on the novel spurred him to rethink his language of composition. Mr. Diop wrote his first five novels in French, but after Murambi, shifted to Wolof, the most widely spoken language in his home country of Senegal. Asked to describe the difference between writing in French and writing in Wolof, Mr. Diop sums it up memorably: “When I start writing in French, I shut the door; I shut the window…I don’t hear the words I’m writing. When I write in Wolof, I hear every word.”

Sarah and Mr. Diop discuss whether translation can be an ally to a Wolof worldview or whether the sounds that Mr. Diop hears through his window will inevitably be lost to readers who encounter his Wolof novels in English or French. Their dialogue suggests that, while Wolof represents a form of linguistic emancipation from the legacy of a French colonial education, there is also discovery and freedom in raising the literary profile of Wolof for an international audience. Mr. Diop’s Doomi Golo: The Hidden Notebooksis the first Wolof novel to be translated into English and an excerpt from his second Wolof novel Bàmmeelu Kocc Barma is available in translation here.

In response to our signature question of the season, Mr. Diop proposes that the Wolof word “keroog” is very difficult to translate but not impossible. And it spurs an impromptu comparison to the Spanish word “ahorita,” which like “keroog,” blurs the distinctions between present, past, and future. In an episode about personal and political memory, nothing could be more fitting!

Mentioned in this episode:

Aimé Césair e
Toni Morrison
Gabriel Garcia Marquez
Mario Vargas Llosa
Ernesto Sábato
Léopold Sédar Senghor
Doomi Golo: The Hidden Notebooks
Les Petits de la guenon (French Translation of Doomi Golo)
Bàmmeelu Kocc Barma – literally translated as Kocc Barma’s Grave (Diop’s second Wolof novel)
Malaanum Lëndëm – Diop’s third Wolof novel
Alice Chaudemanche (French translator of Malaanum Lëndëm)
Pierre Nora – French historian
Marianne Hirsch
“Sites mémoriaux du génocide” – memorial sites of genocide (term used by UNESCO that qualify as heritage sites.)
Rwandan term – “ejo” (similar to keroog) from the language: Kinyarwanda

Listen and Read:

Audio: Light and Sound

Transcript: 4.2 Light and Sound

11.1 Indie Presses and the Literary Ecosystem: Meg Reid and Will Evans – Novel Dialogue

Meg Reid and Will Evans join Mesha Maren to consider what makes up a literary ecosystem. As leaders of two nonprofit independent presses,Hub City Writers Project and Deep Vellum Press, Meg and Will describe their roles as publishers, booksellers, community builders, and advocates working with the many interconnected players in publishing: writers, readers, translators, critics, librarians, distributors, and funders. They discuss how independent presses create literary infrastructure by staying rooted in their communities, building relationships with readers, and making space for voices and stories that might otherwise be overlooked.The conversation turns to the impact of consolidation across the publishing industry and the effects of a marketplace increasingly shaped by scale. Will explains how Deep Vellum’s origins were tied to a concern that conglomeration was narrowing access to translated literature—and how that same narrowing affects writers and readers in local communities. Meg reflects on Hub City’s intentionally small publishing model and the ways independent presses can offer an alternative built around people rather than volume. Together, they explore the possibilities of a more diverse literary landscape, one where readers are invited to discover books beyond the dominant channels.From bookstores to distribution networks, Meg and Will unpack the systems that determine how books reach readers. They discuss why independent presses have increasingly opened their own bookstores, how distribution consolidation affects which books appear on shelves, and why availability in a warehouse does not necessarily mean availability in a bookstore. They also examine the difficult economics behind publishing: inventory costs, shipping, print runs, pricing, and the challenge of keeping books accessible while sustaining small presses.Closing with the announcement of the Literary Arts Fund’s first round of grants, Meg and Will reflect on what sustained philanthropic investment could mean for literary nonprofits. They describe the importance of long-term support that allows presses to take risks, deepen community work, and collaborate across the literary field. For both publishers, the future of books depends on strengthening the connections among all parts of the ecosystem—and finding ways to invite more people into it.Mentioned in this episode:Meg Reid, Hub City Writers ProjectWill Evans, Deep Vellum PressDan Sinykin, scholar and author of Big Fiction: How Conglomeration Changed the Publishing Industry and American Literature and American Literature & the Long DownturnIngramConsortium Book Sales & DistributionTwo Dollar RadioMilkweed EditionsCenter for the Art of TranslationTwo Lines PressThe Literary Arts FundMellon FoundationNational Endowment for the Arts (NEA) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

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11.1 Indie Presses and the Literary Ecosystem: Meg Reid and Will Evans – Novel Dialogue

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