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This is an edited transcript of the book club discussion.

Every month The Rumpus Book Club hosts a discussion online with the book club members and the author, and we post an edited version online as an interview.

Even though the village today doesn’t really know about her, the “We” of the narration does.

Also I like the tense atmosphere in the nights before feasts.

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The first and most important task for me was creating a mosaic of a village now and throughout the times, and then I kind of wanted the mosaic to have a voice itself which had to be stronger than its singular pieces. I tried to imagine how it would sound if all the people who ever lived in this place merged into one.

Jordan K: Also, did you ever think of doing your own translation?

I’ve never had to deal with that, but don’t expect it’s commonplace. I would have needed help because of all the mistakes I’d make, but on the other hand—when you have someone like Anthea Bell to do it, you don’t do it yourself. Brian S: I took some classes on translation theory when I was in graduate school, so I’m always looking for the ways in which a translator handles issues like older language or regional accents, and especially jokes, because they’re so hard to get across. I had a meeting with the other translators and all of them had the most difficulties recreating the old languages of their countries.

🙂 I think in some parts of southern Germany and Austria there is a small following of St.

Anna, but in the mostly “Protestant” north, she doesn’t play any role. It provides a sense of unity and agreement for the speaker, and at the same time it divides ‘us’ (the villagers) from ‘them’ (the outside world), thus creating a strong group “togetherness” which always seem to have more credibility and deliver more trust than one single voice.

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