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Minh Trails). We both had a moment of epiphany
when we realized that fact, as if we were seeing
the human beings we could not see in the war,
when she was target and terror for me on the
ground, and I was death and terror for her in the
air. Since we are both writers, we came to see that
moment as an exemplar of what each of us
thought literature, stories and poems, could do, in
general, and, because of our particular case, crossculturally;
that is, reveal the complex humanity of
people who otherwise are dehumanized by
convenient myth — whether demonized or
idealized. We both felt, indeed, that
dehumanization was the very process which made
wars inevitable and that literature was the
antithesis of that process, and so we became
determined to have translated and publish works
from Vietnam in America and vice
versa.”
Karlin and Khue brought their
project idea to Holt, Karlin’s
publisher at the time, who turned the
idea down because it “wasn’t
commercial enough.” This was
repeated by several publishers until
the poet Martín Espada introduced
Karlin to Sandy Taylor. “Sandy
immediately saw the power and
potential of such an anthology. It fit
very well with Curbstone’s mission,
which focuses on ‘publishing creative
writers whose work promotes human
rights and intercultural understanding.’”
Curbstone published two anthologies: The Other
Side of Heaven: Post War Fiction by Vietnamese
and American Writers, co-edited by Karlin, Khue,
and Truong Vu; and Love After War:
Contemporary Fiction from Vietnam, co-edited by
Karlin and novelist Ho Anh Thai. To date, the
“Voices from Vietnam” series has published
books by six Vietnamese writers and led to
Karlin’s co-editing the first anthology of
American short fiction published in Vietnam since
the war: Truyen Ngan My Duong Dai
(Contemporary American Short Stories). Karlin
believes that art needs to create surrogate
experiences that allow them to see patterns and
connections in events. He admits, however, “to
44 Translation Review
feeling a certain bleakness and despair, not about
the ability of art to do that, but about the lack of
effect all of the literature that came out of the
Vietnam war had — as evidenced by the new war
in Iraq.” He says that while there is no dearth of
translated works coming from the Middle East,
“(w)hat does frustrate me is that not enough
people are reading those books…. What frustrates
me is the lack of readers.” But it is an ongoing
struggle, and Curbstone will continue to fight:
Sandy’s last acquisition before he died was a
novel by Nora Eisenberg called When You Come
Home, about the lasting effects of war in Iraq.
Karlin, like everyone who worked with Sandy,
emphasizes his vision: “Sandy … was an enabler.
He had the vision to cut through to what was
important and then he gave you the means to do it.
I miss him deeply. I believe what he
created in Curbstone will continue, since
I know his partner, Judy Doyle, and the
other dedicated people there always
shared Sandy’s vision.”
Curbstone’s commitment goes
beyond simply publishing books; they
work to promote a social vision of peace
and equality through the books they
publish, using extensive author tours,
community-based outreach programs,
and educational programs built around
their titles to get the word out. As writer
Marnie Mueller puts it, “Sandy and Judy
cared about each and every book they
published.” Mueller’s fiction takes a firm stand on
political issues, which made many publishers
wary of her work: “Until very recently, American
publishers were skittish about fiction with hardhitting
subjective politics at its core. I think
Curbstone has been a big influence on publishing
in that regard.”
Mueller’s first novel, Green Fires, is set
against the first clashes between indigenous
peoples and international oil companies in the
Ecuadorian rainforest. She took the book to many
publishers, both large and small, but got only
“positive rejections” — they liked the book, but
wouldn’t publish it. Finally, she met Sandy Taylor
and Judy Doyle at a party to benefit the
Sandinistas. They accepted the book, and, says