When did you join SELTA?

About 2014 or so? In 2013 I went to the BCLT summer school to see whether I was any good at translating literature with people who translated literature. Everyone was welcoming and some of the other people there were SELTA members and they said I should join as an associate. It was the first indication I had that the world of literary translation wasn’t an elite club.

What kinds of things was SELTA doing when you joined?

The first event I attended was the children’s literature translation workshop in autumn 2014. I think the events where we get to compare translations with each other (anonymously) and talk about choices made in detail are really valuable when we tend to be working in isolation the rest of the time.

When did you join the committee and what is your role?

Six years ago. I think it was either the first or second meeting I attended. Ian was moving to be treasurer and that left a vacancy for the web manager post. I made the mistake of saying “what content management system is it based on and where is it hosted?” and the meeting promptly concluded that I knew more about websites than anyone else there and should take it over. For the first couple of years I couldn’t do very much as the old website was rather on its last legs but then we had a new one developed and I’ve been involved in getting that functioning, getting everyone using it and updating it. Doing this 40th anniversary project has been great fun and I hope the pieces by members give a picture of the wide variety of things that members translate and the way careers and the industry have changed over SELTA’s history.

Tell us about your career – where did you learn Swedish, how did you become a translator?

I went to UEA to study History with ancillary Swedish in 1986. The course was intended to give historians enough Swedish to read source documents in the original language (which was probably a bit optimistic) but everyone else learning Swedish was doing it for their degree and halfway through the first year I switched to joint honours making it a 4-year course with the second year abroad at a folk high school.  In my final year we had to do a dissertation and I lazily decided that doing a translation would be much less effort than doing a history project. I translated extracts from Torsten Ehrenmark’s Mina osvenska år, funny stories about being a Swede living in the UK, and I absolutely loved it. I knew this was what I wanted to do forever. I just didn’t know how you became a translator or if it was even a job really and no-one at UEA in 1989 mentioned it as a possible career. So I went to teach English in a Finnish hydroelectric power company on the Arctic Circle instead.

I taught English in Finland for four years in the end, one in Rovaniemi and three in Mikkeli, and although it was the early 1990s, in the days before the internet, my experience was very similar to Harry Watson’s in Sweden 20 years earlier. My mother used to send me cassette tapes of The Archers and I used them for listening comprehension because I couldn’t get English materials otherwise. I also had to write an entertaining weekly column about Finland “Through Foreign Eyes” in the local paper. In the summers (they didn’t pay me for the summers) I came back to my parents’ farm and went to the library to look at careers guides to find out how you became a translator. I found that there was a Swedish translation MA at the University of Surrey and that I couldn’t get funding for it so I carried on teaching English to Finns until I had saved enough money to pay my fees and my living expenses.

The Surrey MA was in economic, technical and legal translation from Swedish and Norwegian and was an excellent practical training course that convinced me I shouldn’t go anywhere near translating accounts or technical translation ever again. After that I taught on the same MA, teaching the legal module, had an in-house job for a year and then I went freelance in 1997. In the 2000s I spent 8 years working in partnership with a colleague and I miss having someone around to talk about work with. It also enabled me to give myself maternity leave three times without my business disappearing.

What are some of your most interesting translation projects?

Ebba Witt-Brattström’s Love/War, a divorce novel told entirely in dialogue with loads of quotes to look up. Others that stand out are the biography of Albert Bonnier, which involved a lot of history research and a Finnish YA novel about Basque whalers murdered in Iceland in 1615 which involved a lot of history research. I also enjoy the work I’ve done for museums, including an exhibition about sunken ships that included lost letters from Catherine the Great to Voltaire, diagrams of historic Dutch sailing vessels and diving logs, and auction catalogues filled with Swedish art and design. I enjoy getting the right voice for each varied project. Like being an actor but for introverts. And I have realised that although I veered away from my history degree, I still really like historical research.

How is the world of translation today different to when you started out?

I feel like I bridged the gap between the old world and the new! When I first went freelance I had one client who wanted my translation printed and sent on paper. The MA had taught us word processing and I was thrown by not being able to make any last-minute changes before sending the file because I would have to print the whole thing out again and miss the post. That client did retire shortly afterwards. But at the start most of my work came in as faxes and you put the fax sheets in a document holder and typed the translation in on screen. I remember a whole series of market research forms from Finnish farmers about their tractors that came in in the post bearing ominous stains, having been filled in in pencil in block capitals, looking as if the respondents had been leaning on their tractors at the time. (I know I said no technical but I have a father and a sister to ask expert things about tractors and I feel if Finnish farmers are cross about a part of their tractor that keeps falling off or think the dealer in Oulu is fantastic, the parent company should know about it in their own words).

When I started out, the translation was either faxed back or some modern translation agencies had modems which you dialled into via your computer to deliver the file electronically. I still really appreciate no longer having to spend hours checking I have typed in numbers and addresses correctly. When I worked in-house, my boss had the computer with the modem and The Internet and if I wanted to look up anything online, I had to write it down and then use his computer to go online while he was at lunch. For EU documents and anything scientific, I had to walk across town to the university library. It’s not that long ago but it feels like a different world.

Did your career trajectory change? Is it different now compared with what you expected at the start?

Originally (see above) I wanted to be a literary translator. In the 1990s I met a friend who worked in publishing and asked how you got to translate books. The answer was a) “Find a rich husband” and b) “Wait for Joan Tate to die”. This sounded a) depressing and b) callous so I kept going on my non-literary translation career. I definitely got the impression in the 1990s that literary translation was a closed shop that I had no hope of getting into. I concentrated on making my translation work as creative as possible, which included non-fiction books on tourism and architecture and marketing and advertising alongside the paper mills and EU and government reports. I like reports on interesting things. Although I have now translated published fiction, I like the mix of translation career I’ve got and the fact that it is never dull. And my publishing friend had a point in that it would have been impossible to survive as the main/single family breadwinner on literary translation alone. I earn a decent living from the mix I’ve got.

One new and unexpected turn that things have taken in the last couple of years is a sudden demand for English translations of Nordic knitting books, where I seem to be quite niche in knowing both Finnish and how to knit socks.

How has being a SELTA member helped in your career (if it has!)

I have been lucky enough to be mentored by both Ruth Urbom (for Finnish) and Sarah Death (for Swedish). Although these mentorships weren’t run by SELTA itself at the time, both my mentors are SELTA members and I benefitted hugely from their support, encouragement and advice.

Otherwise, it does feel like being part of a community. Of course we are in competition with each other but we also share information, support each other and pass on work that might not suit us but might be perfect for someone else.

Photo: cover of 15 Swedish embassies translated jointly with Stuart Tudball.

When did you join SELTA?

Some time in 2006 my elderly aunt, aged 90+, was admitted to St. Helier’s Hospital to have a pacemaker fitted. Tom Geddes’ mother-in-law was in the next bed and when he visited her, he kindly also talked to my aunt if she didn’t have a visitor.  When he mentioned that he was a Swedish translator, Auntie Helen immediately said that her niece would be interested to talk to him and asked for his details. As soon as she got home, she sat down and wrote me a letter on her trademark Basildon Bond notepaper, using a fountain pen of course, and sent me Tom’s details. So I rang Tom and he was very excited, especially when I mentioned that I had produced some translations of Swedish books that had been published (see below), he said that meant I could become a full member straightaway, which I did. At that stage I was actually a commercial translator, mainly of French and German.  According to my diaries, the first SELTA meeting I attended was on 20^th November 2006 and I was thrilled to find myself in the Swedish Embassy.

What kinds of things was SELTA doing when you joined?

Although I had done a few stints in the translation department of the Council of Europe in 1971-73, and initially worked for the Interlingua translation agency when I first returned to England (from South America), I had never met any literary translators, let alone any translating Swedish, so I spent the first meeting or two trying to understand what people were talking about! I believe that at that time many of the members had started their careers in the British Library and had become full-time free lance translators when the Scandinavian Department of that institution was closed. As far as I recall, everyone had an opportunity to say what they were working on and I think people who had won prizes or commendations were congratulated.

Are there any events or things SELTA did in your time that you would like to highlight?

Over the years it is the ‘one-off’ events that stand out, such as the Lucia celebration at the Residence once or twice, an invitation to the Festival Hall (I think), when it was reopened after a refit and the Gothenburg Symphony Orchestra was invited to try out the new facilities. At one stage, when the Embassy was being refurbished, we had meetings in the University of London buildings, which was a bit of a nightmare to navigate, and unfamiliar territory to me. More recently SELTA has organised various workshops and I have attended one or two and met some interesting authors in the process.

Another memory is that as a member of SELTA I was invited some years ago to a ‘Linnaeus Evening’ celebrating his 300th anniversary I think, at the Royal Geographical Society. On 22nd March 2007 I walked into a room full of people, many talking Swedish, and did a double take when I spotted David Attenborough sitting halfway down the room. He smiled a very welcoming smile and with hindsight I suspect he was surrounded by Swedish conversations and would have appreciated an English speaker as an interpreter but I was so dumbstruck I panicked and turned the other way! I have been kicking myself ever since! The poster is still on my office wall!

Tell us about your career – where did you learn Swedish, how did you become a translator?

My degree is a Joint Honours in Modern Languages (French and German) from Manchester. The nearest I came to Scandinavian was Old Icelandic as my special subject in my final year! At the end of my degree course, I completed a post-graduate diploma in language studies at the University of Bath, which led me to work on an occasional basis at the Council of Europe and the EEC (as it then was) in Brussels, translating and interpreting French and German.

However, I met my first husband, who was Swedish, on a course in Münster, Germany and he was a teacher of English and German in Sweden, which is how I came to live in Sundsvall for about 4 years. I learned my Swedish speaking to my neighbours on Alnön and my husband’s colleagues at the comprehensive school where he taught, plus some entertaining conversations with my 10-year-old stepdaughter, who quickly realised she could tell me non-existent words and pretend they meant something! Her favourite was ‘gölp’, which she assured me meant a light bulb! I used to read her stories too, without a clue as to how to pronounce anything and this caused much merriment.

I’ve never studied Swedish formally, apart from a free introductory course for immigrants and a year with Swedish students at KomVux, Sundsvall, equivalent to the final year of mellanstadiet.  I did a little freelance translating work in Sundsvall and worked as a guide for the local tourist office, among other things.

Some of my most interesting translation projects:

Thanks to SELTA I have been contacted by various publishers for the translation of children’s books (most notably various series by Martin Widmark, published by Bonnier), self-help books, cookery books and ‘coffee table books’, plus lots of samples. However my favourite job was actually pre-SELTA – I was invited to submit a short sample translation taken from the book by Claes Grundsten which was selected as the Panda Book of the Year in 2001 by the WWF and on the strength of that sample I was invited to translate the whole book. It was called ‘Naturens Mästerverk’ and Claes and I wanted to call it ‘Nature’s Masterpieces’ in English but the publisher, Max Ström, insisted on changing it to ‘Our Magnificent Wilderness’. In 2005, Claes won the Panda Prize again, with ‘Äventyrets Stigar’ and Claes asked me to translate it. The publisher decreed should be called ‘Trek’ (which Claes and I didn’t like at all!) It was wonderful to sit here in my little office with all those beautiful scenic photos in front of me, almost like being on holiday.

Did your career trajectory change? Is it different now compared with what you expected at the start?

I never really thought about a career, I just love languages and seemed to have an aptitude, so I followed where fortune took me. Moving to Sweden with my Swedish husband changed my life dramatically, I had no concept of Scandinavia at all prior to that and of course there was much that was strange, living in Norrland was wonderful and I still hanker after the forest!

How has being a SELTA member helped in your career (if it has!)

See above! Being included in the directory has brought me into contact with Swedish publishers and authors, which has been very interesting and not something I had expected from the start.

How is the world of translation today different from when you started out?

The main difference is the use of so many electronic ‘aids’, when I started at the Council of Europe I think we used manual typewriters! Of course I can translate bigger volumes and copy and paste etc. with a computer but I never use translation software. The problem of getting some clients to understand that it isn’t just a matter of replacing each Swedish word with an English one hasn’t gone away entirely but on the whole I would say that people now are more aware of, and exposed to, other languages which makes life easier. I remember in the early days trying to explain what a translator does to people who have never met one before!

When did you join SELTA?

 I joined SELTA as an associate member in 2014.

What kinds of things was SELTA doing when you joined?

 I recall some educational and networking events at UCL, the London Book Fair, and other literary hotspots in London. Beyond that, I barely remember any details because it was all very mysterious to me at the beginning. Members were discussing contracts and publishers while I was fresh out of university and hustling to find any paid work whatsoever.

When did you join the committee and what is your role?

 I replaced Ian Giles as treasurer in 2018. It’s my job to collect membership subscriptions, manage the accounts, apply for funding, produce annual accounts for auditing and present an account summary at the AGM.

Are there any events or things SELTA have done in your time that you would like to highlight?

 I enjoy all the in-person social and CPD events but couldn’t choose between them. It is always refreshing and illuminating to be able to talk shop with fellow translators, especially face to face.

Tell us about your career – where did you learn Swedish, how did you become a translator?

I got a smattering of Swedish for free, as it were, from my Swedish mother and the extended family we visited sometimes in summer. I found it very frustrating, however, to not be able to fully participate in conversations with my grandparents and cousins, so I decided to study it under my own steam as a teenager.

As an avid scholastic linguist, I did a BA in Modern Languages at Manchester University, but seeing as Swedish wasn’t available I focused instead on French, Russian and Spanish. When I came to study a Masters in Translation at UCL, Swedish was offered and I finally got the chance to study the language formally at the age of 25. The experience of solidifying a partially native language after many years of informal practice was satisfying indeed.

For my final MA project, I chose to translate and annotate an extract from the Finland-Swedish YA fantasy novel Arra by Maria Turtschaninoff. On completion, I proudly presented said translation to the author and her agent and was promptly offered a job translating a sample of her next novel. That novel, Maresi, managed to land me a three-book translation deal with British publisher Pushkin Press. I felt rather jammy about getting my foot in the door so early on; I guess I was in the right place at the right time! I have been working as a full-time literary translator ever since.

What would you say you specialise in?

 I specialise in young adult literature and children’s books. Though I do translate other things, and I have no intention of staying shackled within limits, I do find this work very enjoyable. Young adult fiction rivals adult fiction in artistry and intrigue, and often includes a sprinkle of magic, fantasy and/or humour, which adds some sparkle to my working day.

What are some of your most interesting translation projects?

 They are all so interesting!

I have worked on the modern reworked Moomin titles, which was a dream come true. And other children’s picture books which often require rhyme and wordplay. The Secret Life of Farts by Malin Klingenberg really tested my rhyming skills (and general comedic skills).

My translation of Maresi Red Mantle by Maria Turtschaninoff won the GLLI Translated Young Adult Book of 2020, which was wonderful. And more recently I have been working with award-winning Swedish titles, such as Rhubarb Lemonade by Oskar Kroon and The Night Raven by Johan Rundberg, winners of the children’s Augustpriset in 2019 and 2021, respectively.

Did your career trajectory change? Is it different now compared with what you expected at the start?

No, I am actually doing exactly what I set out to do, which seems a bit too good to be true. The only difference is I am getting more and better work now than when I started out eight years ago.

How has being a SELTA member helped in your career (if it has!)

More than I can say, in more ways than I can count.

Other members have been endlessly generous with their practical advice and moral support at every stage of my career. A lot of the work I got early on was thanks to recommendations from other translators. SELTA members have boosted my confidence and encouraged me to charge appropriately, to demand certain contractual terms. On top of that, there have been so many invaluable networking opportunities…

There is strength in numbers. I honestly don’t know where I would have got in my career without SELTA. Though we are technically competitors, members support each other and lift each other up. It makes me proud of our association and our profession.

When did you join SELTA?

More than ten years ago now. A commission to do a literal translation of Strindberg’s Dance of Death for a theatre dropped into my lap thanks to Peter Graves during early 2012. Subsequently, Sarah Death wrote to me out of the blue to tap me up as a potential contributor/reviewer for Swedish Book Review, and to draw my attention to SELTA. She hinted that my commission might qualify me for associate membership. I sent off my application, and paid my fee at some point in the spring of 2012.

What were SELTA’s aims when you joined?

Looking back the minutes, my first meeting was the 2013 spring meeting – held on May 8^th. It may have given me a rather disproportionate impression of the catering arrangements at these things since the former cultural attaché Carl-Otto Werkelid was marking his final meeting with SELTA and had laid on smörgåstårta. But the minutes seem to describe an organisation grappling with many of the same issues that we do today: a discussion on how best to communicate with members and engage them; how to manage the website; trying to tweak meeting content; wondering whether SELTA might meet virtually. There was the assertion that SELTA provided the benefit of ‘real people’. And a suggestion that we hold a rates’ survey. Plus ça change.

My own memories of the early days are that there was a fresh enthusiasm to transform SELTA from its past guise as a register of translators and exchange of news into something that offered a network and CPD opportunities to its members. The mention (shock horror) of winding up the organisation in the minutes of that meeting in 2013 were (surely?) a rhetorical device to bring out the positives. I’m very relieved that there’s been no subsequent mention in my years of winding up SELTA. Indeed, I’d like to think that many of the issues discussed at my first meeting have been addressed – membership is up; we do better at communications; and with our multiple events and workshops since then, we’ve even managed some adequate catering.

When did you join the committee and what was/is your role?

On 12 September 2014, Kevin Halliwell wrote to me: ‘As you may know, several Committee members will be standing down this year. I was wondering if you might like to step up to the plate, as it were, and help to run SELTA for a couple of years or so. I’m sure your input would be very useful.’ After a brief exchange of emails to find out what that would entail, I agreed to be nominated – and I was elected to the committee at the 2014 AGM. Little did I know that the ‘couple of years or so’ would extend to rather longer.

For my first two years on the committee, I oversaw SELTA’s website – but alongside that I was exploring ways to streamline what we did together with Treasurer Janet Cole. At the 2016 AGM, I remained on the committee, but moved to the role of Treasurer. I spent two years with my hands on the SELTA finances – with the main task I undertook being to switch banks and oversee our adoption of electronic banking. Until mid-2017, we had done everything by cheque.

In 2018, I was fortunately elected SELTA Chair unopposed (as part of the organisation’s long heritage of democracy) and I have been in that position ever since. SELTA Chair is very much what the holder makes of it, and while the Chair takes much of the glory when things go well, they also handle much of the grunt work that keeps the wheels turning. In the first four years as Chair, I’ve overseen a 2-day translation workshop in Edinburgh, the formation of a new website and branding strategy, the transition of Swedish Book Review to a digital-led publication, and the general fall-out of switching to being a hybrid organisation amidst the pandemic. Much like my predecessor Ruth Urbom, my aim is to leave SELTA better than I found it when I assumed the Chairship, so that successors will have the room to further improve the organisation while being assured that the basics work well.

Are there any events or things SELTA did in your time that you would like to highlight?

I think SELTA has arranged a number of great events for its members in my time on the committee – both in person and virtually. I particularly enjoyed our workshop held in Edinburgh in 2019, which was the first time in many years that SELTA gathered outside of London.

I spent around two years lobbying the Society of Authors to update the Bernard Shaw Prize from triennial to biennial, alongside tweaks to prize money and other criteria. This might sound trivial, but past SELTA committees have attempted to do likewise without success. This is a much-needed change that reflects the glut of great Swedish books being translated each year and honours the hard work of SELTA’s committees in the early 1990s who lobbied for the original establishment of the prize.

More generally, I’m thrilled that SELTA now has a Danish cousin in the form of DELT (the Association of Danish-English Literary Translators) and that we’ve been able to work together to offer various events that more broadly serve translators of Scandinavian languages as a whole.

Tell us about your career – where did you learn Swedish, how did you become a translator?

My anglophile Swedish mother came to the UK 40 years ago and has never left. Fortunately, we spoke Swedish at home when I was a child and most of it stuck. At university, I found German made me very unhappy, but that happily I was able to change my degree to Scandinavian Studies. This was followed by a master’s in Translation Studies focusing on Swedish, and then a PhD looking at the import of Scandinavian books to the UK. Alongside this, I was freelancing as a jack-of-all-trades translator of the Scandinavian languages to English. I was originally inspired to take up translation by my teacher Kari Dickson, and later Peter Graves, and it seemed like a good idea at the time. Since finishing my PhD, I’ve made my full-time living from translation, so it hasn’t failed me yet…

What would you say you specialise in?

As a commercial translator, I do my fair share of annual reports and stuff for higher education, but one of my favourite niches is railway and aviation related texts. On the literary front, I particularly enjoy working with fiction that is gripping (it doesn’t need to be crime or a thriller, but it must encourage the page to be turned) and narrative non-fiction.

What are some of your most interesting translation projects?

I’ve worked on several things that I can’t describe on grounds of confidentiality, but which provided a fascinating insight into what goes on behind the scenes in the global literary rights market. The big deals don’t ‘just happen’ – there are people involved at every step of the way and translators are intrinsically important. The most fun I’ve had on a literary translation project was actually a Danish translation – the autobiography of a footballer and enfant terrible. I don’t think I’ve laughed so much on a job before. In the realm of Swedish, I have a soft spot for Ingrid Carlberg’s biography of Alfred Nobel – which is a great read and offers a variety of perspectives and voices that make for a particularly challenging job for the translator.

Did your career trajectory change? Is it different now compared with what you expected at the start?

I always assumed that as a grown up I would have to wear a suit and go to an office. I really dislike wearing a collar and tie, so I’m delighted at how things have turned out. The job is not what I expected at the start, but later elements of my career are what I’ve wanted and worked towards. I like being my own boss, and I like fixing people’s problems.

How has being a SELTA member helped in your career (if it has!)

Being a member of SELTA has helped me get a grounding in what is and is not normal among literary translators, and specifically for those working with Swedish. It’s provided me with access to great resources like Swedish Book Review and the human network and interaction it facilitates have been invaluable over the years. The occasional job also comes my way via SELTA’s website – enough to have covered the decade of subscription fees I’ve paid!

Being on the committee has made me more organised as an individual and has been a very useful way to meet a wide variety of people beyond the translation sphere, which leads to work and interesting opportunities.

How is the world of translation today different to when you started out?

When I started out, I had owned a computer for many years, the internet was well-established, I’d been on Facebook for years, and Swedish was already enjoying a golden age in English translation. In some respects, what we’re accustomed to now. On the literary front, I’d say the practical/technical changes are visible in the rise of agents, book streaming and audiobook platforms, shorter deadlines… In terms of what surprises me – I’m pleasantly surprised that Swedish remains a strong source language for English-language publishing. I increasingly hope that this is a trend that here is to stay rather than a flash in the pan. Another change that has somewhat surprised me is the rise of the public profile of The Translator via campaigns such as #namethetranslator and translators on the cover, as well as the emergence of emerging translators. I love the bigger and more diversified pool of people working as translators, although it also calls into question the sustainability of literary translation as a profession. In very general terms, I think publishing (and by extension literary translators) has never been under as much pressure from rising costs and inflation as it is today.

When did you join SELTA? What kinds of things were going on when you joined? 

I joined SELTA a few years after its inception. Those were pre-Internet times and it was much harder to get hold of relevant information. Meetings made me feel like a tongue-tied newbie, but I appreciated the updates and visiting speakers, as well as the sense of community. The bi-annual newsletters were full of useful tips and briefings and the occasional embassy invitation to cultural and literary events felt like the icing on the cake. Established members would offer advice and occasionally pass on small jobs they could not fit into their schedules.  Taken as a whole, these things helped to keep me ‘in the fold’ and gave me the impetus to go on translating even when getting a proper foot in the professional door continued to seem a distant prospect.

The support of the Swedish Arts Council and before them the Swedish Institute were very much valued, opening exciting doors such as visits to the Gothenburg Book Fair or even – a particular highlight for me – the chance to attend a workshop with a Swedish author and other translators of their work from around the world. In my case the author was Kerstin Ekman and the workshop had several iterations over a number of years.

Did your career trajectory change? Is it different now compared with what you expected at the start?

My career trajectory within SELTA felt to me like a slightly odd one. After a number of years as an inexperienced emerging translator, I was somehow suddenly deemed to be an experienced one; it felt as though there was no time in the middle for any kind of consolidation. This was mainly because of the relatively small number of active members in the association, I assume, but it was rather disorientating nonetheless.

What roles have you had within SELTA?

I enjoyed my time as the reviews editor, deputy editor and later main editor of Swedish Book Review. Those were gigs that only very rarely brought in extra translation commissions for me personally, but they offered the chance to be at the hub of a network and be good touch with a range of translator colleagues and other contributors. Learning to be a good listener was at the heart of it. too; when you work with volunteers, keeping them on side is a vital part of the role.  I felt rather like a cross between an agony aunt and a spider in the middle of an international web.

In the core period of my editorship, 2003 to 2012, the SBR website was developing but the paper magazine still ruled supreme. The Swedish Arts Council handed out free copies from its stands at the Frankfurt and London book fairs. It was always a last-minute scramble to get the paper copies to Olympia or Earl’s Court on the eve of the LBF each spring.

How is the world of translation today different to when you started out? How has SELTA changed?

The world of translation today is a rather different one from the one when I first joined. A frankly rather niche translator group like SELTA is always going to be a slightly uneasy mix of mutual support and subterranean competitiveness. In those earlier days there was comparatively little work to be had but there is a great deal more work around now, for various reasons including the ubiquity of translation samples, the establishment and fast growth of the agent culture in the Nordic countries, and the explosion of interest in Scandi crime fiction and Nordic Noir.

Hand-in-hand with this there has been a very welcome expansion of options to help and inspire emerging translators, be they informal online forums and social media groups, formal mentorships, or anything in between. Among crucial drivers I would include the Translators’ Association’s widening professional development programme and the birth of the Emerging Translators’ Network. ‘Literary’ translators in many genres have come to enjoy greater visibility in the world of books and publishing and the general mood is noticeably more collegial.

SELTA has continued to grow and has put effort into developing an attractive, website which members themselves can help to keep topical. The recent step of admitting members resident in North America has also brought in new energy and new voices.

Photo credits: portrait and Sarah at work, John Death; photo with goose, Linda Schenck