Outranspiens

Une petite présentation portative

Santiago Artozqui, Colombes, France (Spanish, English, French)
Jonathan Baillehache, Athens, GA, USA (Russian, English, French)
Camille Bloomfield, Paris, France (Italian, French, English)
Magdalena Cámpora, Buenos Aires, Argentina  (Spanish, French, English)
Chris Clarke, New York, NY, USA (French, English)
Rachel Galvin, Chicago, IL, USA (Spanish, English, French)
Irène Gayraud, Paris, France (French, Spanish, German, Italian, English)
Ari Lieberman, Athens, GA, USA (English, Hebrew, Spanish)
Jean-Jacques Poucel, Urbana, IL, USA (English, French)
Lily Robert-Foley, Paris/Angers, France (English, French)
Pablo Martín Ruiz, Cambridge, MA, USA (Spanish, English, French, Portuguese)
Hermes Salceda, Vigo, Spain (Spanish, French)
Eliana Vicari, Vicenza, Italy (French, Italian)

Santiago Artozqui writes short stories, essays, poetry, and translates from Spanish and English into French. Former literary critic in La Quinzaine littéraire, he now writes for En attendant Nadeau, a web-based literary review. He teaches creative writing at the university Paris 7 Diderot, and is president of ATLAS, an organization for the promotion of literary translation. He’s also old and not funny, too bad for him.

Jonathan Baillehache teaches French (electronic) literature, video games and translation studies at the University of Georgia, in Athens (home of R.E.M. and Bobby Prince). He, too, is a Tiphainito (a former doctoral student of Tiphaine Samoyault). He defended his dissertation on the translation of Russian “zaum” poetry in 2012. He translates occasionally from French to English, from Russian to French and English, and from English to French, but his hobbyhorse is to think about translation in the framework of philosophy and digital humanities. He dabbles in swing and salsa.

Camille Bloomfield s’attache consciencieusement à faire le maximum de choses en même temps : traduire la poésie qui lui plaît (de l’italien – Patrizia Valduga, Mariangela Gualtieri – et de l’anglais – Lily Robert-Foley, Yuyutsu Sharma, H. D. Thoreau) ; écrire puis monter des petites vidéo-poèmes ou organiser des lectures polyphoniques et multilingues ; faire de la recherche comparatiste en bonne Tiphainita que je suis (sur l’Oulipo, les manifestes, le patrimoine numérisé, ou encore sur la traduction observée d’un point de vue sociologique) ; faire de la musique avec The Very Rich Hours… Quand il lui reste quelques heures à perdre, elle houspille les membres de l’Outranspo, initie d’autres projets qui lui tiennent à coeur et prépare ses cours.

Magdalena Cámpora vive, traduce, investiga y enseña literatura francesa en Buenos Aires. Es doctora en Literatura Comparada por la Universidad Paris-Sorbonne (Paris IV), investigadora del CONICET (Consejo Nacional de Investigaciones Científicas y Técnicas) y profesora de Literatura Francesa en la Universidad Católica Argentina y en la Universidad del Salvador. Cumpliendo con la secreta ley que une los temas de investigación con las urgencias internas, actualmente investiga las transformaciones editoriales y los usos ideológicos de la literatura francesa (s. XVIII y XIX) en la Argentina del siglo XX. También prepara una traducción de la Correspondencia entre los poetas René Char y Raúl Gustavo Aguirre, así como una traducción de Rojo y Negro de Stendhal.

Magdalena Cámpora lives, translates, does researches and teaches French literature in Buenos Aires. She holds a PhD in Comparative Literature from the University Paris-Sorbonne (Paris IV ), is a researcher at the CONICET (National Council of Scientific and Technical Research) and a professor of French literature at the Catholic University Argentina and the University of Salvador. Complying with the secret law linking research topics with internal urges, she is currently investigating the editorial transformations and ideological uses of French literature (seventeenth to nineteenth centuries) in twentieth century Argentina. She is also preparing a translation of the correspondence between poets René Char and Raul Gustavo Aguirre, as well as a translation of Stendhal’s Red and Black.

Chris Clarke was raised in Western Canada, and currently lives in Princeton, NJ.  His translations include work by Raymond Queneau (New Directions), Patrick Modiano (NYRB Classics), and Pierre Mac Orlan (Wakefield Press, forthcoming), among others. His recent Outranspo-related projects include formulating and participating in “The 39 Petals of Queneau’s Blue Flowers,” a many-handed translation of an excerpt from Queneau’s “Les Fleurs Bleues” that passes from Italo Calvino’s Italian translation through those of 37 other translators via 6 languages to end in a slightly-looping text in English, as well as a collaborative translation of a simultaneous 5-act play by Olivier Salon & Jacques Jouet (w/Emma Ramadan), and several short (but devilishly tricky) pieces by the likes of Olivier Salon and J.-A. Soubira. He was awarded a PEN/Heim Translation Fund grant in 2016 for his translation of Marcel Schwob’s “Imaginary Lives” (forthcoming, Wakefield Press).

Irène Gayraud écrit, traduit, enseigne, fait de la recherche et, quand elle a le temps, de la musique.

Écrit : essentiellement de la poésie, mais aussi des micro-récits. Commence un projet de roman assez outranspien (avec des pages de prototraduction et d’autotraduction). A publié à distance de souffle, l’air (poésie) en décembre 2014 aux Éditions du Petit Pois.

Traduit : des poètes contemporains pour les revues À verse et La Traductière. Fait partie du comité de direction de La Traductière (notamment pour l’organisation d’un festival de musique-poésie contemporaine). Traduit (en collaboration avec Christophe Mileschi) les oeuvres complètes de Dino Campana, poète Italien sans lequel elle ne peut pas vivre. Traduit en général de l’espagnol, de l’italien, de l’allemand.

Enseigne : la littérature comparée à l’Université d’Amiens.

Fait de la recherche : notamment sur la poésie (thèse soutenue en 2013 sur la poésie orphique dans le premier quart du XXe siècle en Europe), mais aussi sur les rapports musique-littérature.

Fait de la musique : joue de la flûte traversière, chante.


Rachel Galvin has published a poetry collection, Pulleys & Locomotion, a chapbook, Zoetrope, and a translation of Raymond Queneau’s Hitting the Streets, which won the Scott Moncrieff Prize. Her poems appear in Boston Review, Colorado Review, Gulf Coast, New Yorker, and Poetry. Galvin is assistant professor at the University of Chicago.


Ari Lieberman teaches comparative literature at the University of Georgia. He is the author of אלופי התמימות (Out of the Blue) and editor of uprightdown.com, where, disguised as Lee Berman, he has published a number of homophonic translations  (example).

Lily Robert-Foley is the author of m (Corrupt Press), a book of poetry-critique-collage based on readings of Beckett’s L’Innommable/The Unnamable; “graphemachines” a chapbook of visual poetry from Xexoxial’s Xerolage series, and The North Georgia Gazette, a work of transcription and annotation on a ship stuck in Arctic circle in the winter of 1821 (Green Lantern Press, 2009). Her prose poem novel, Jiji, is forthcoming from Omnia Vanitas Press. She holds a doctorate from Paris 8 University. She teaches at Douzement, a children’s music conservatory in Paris.


Pablo Martín Ruiz studied literature and linguistics at the University of Buenos Aires, Argentina, and completed a PhD in comparative literature at Princeton University. He is associate professor of Latin American literature at Tufts University. In addition to academic articles, he has published travel pieces, translations, and palindromes. He wrote a book of literary criticism called Four Cold Chapters on the Possibility of Literature Leading Mostly to Borges and Oulipo, published by Dalkey Archive in 2014. He is a founding member of the Outranspo. He enjoys writing texts as different from each other as possible.


Hermes Salceda (Université de Vigo) s’occupe essentiellement des textes de Raymond Roussel et de Georges Perec en tant que traducteur et en tant que critique. Il s’efforce comme traducteur de transposer en espagnol la complexité textuelle des écrits de ces auteurs en respectant leurs contraintes d’écriture souvent difficiles. Il l’a fait, en collaboration, pour le grand lipogramme de Perec qu’est La Disparition, pour les “Textes-genèse” de Roussel et pour Quel petit vélo à guidon chromé au fond de la cour de Perec.  Il co-dirirge la revue Formules avec C. Reggiani et C. Reig et dirige la Série Raymond Roussel de La Revue des Lettres modernes.

Eliana Vicari ha insegnato version per alcuni anni a Ca’ Foscari, tenuto corsi di traduzione letteraria in master a Torino, Napoli e al Collège international des traducteurs littéraires di Arles (“La Fabrique des traducteurs”).

Per varie case editrici – fra cui Einaudi, Feltrinelli e soprattutto Adelphi – ha tradotto e a volte curato l’edizione di opere di autori contemporanei non oulipiani (Maryse Condé, Emmanuel Carrère, Agnès Desarthe, Georges Simenon, ecc.) e oulipiani (La bella Ortensia di Roubaud, Brevi note sull’arte e il modo di riordinare i propri libri di Perec e 7 sardinosauri di Roubaud e Salon).

Ha inoltre collaborato alla stesura di antologie letterarie per Valmartina, scritto articoli, note linguistiche, prefazioni o postfazioni che riguardano la traduzione o la letteratura, pubblicati in Italia e in Francia.

Ha svolto un’attività piuttosto intensa di animatrice culturale organizzando tavole rotonde o incontri con autori rivolti essenzialmente a un pubblico di studenti di licei e università.

Dal 2012 fa parte dell’Oplepo. Il 19 dicembre 2013, ha conseguito un dottorato di ricerca en Lettres et Sciences Humaines all’Université Paris Ouest Nanterre La Défense, con una tesi intitolata: C’est en traduisant qu’on devient traduiseron.