Smaller literary and university presses (City Lights, New Directions, Welcome Rain, University of Nebraska Press, Northwestern University Press, Catbird, Columbia University Press, my own Green Integer and others) also published outstanding translations by such authors as Balthasar Porcel (Catalan), Daniela Fischerova (Czech), Jachym Topol (Czech), Brigette Aubert (Belgian), Eric Chevillard (French), Raymond Queneau (French), Maryse Conde (Guadeloupean), W.G. Sebald (German), Ingo Schulze (German), Robert Walser (Swiss), S.Y. Agnon (Israeli), Massimo Bontempelli (Italian), Shusaku Endo (Japanese), Jens Bjrneboe (Norwegian), Julio Cortazar (Argentinian), Javier Marias (Spanish), Antonio Jose Ponte (Cuban) and Jaiyer Masud (Indian, writing in Urdu). And this list represents only a portion of such publications.
Were such a wide diversity of brilliant work written in English, we would certainly be forced to recognize that British and American fiction is undergoing a literary revolution and we would be shocked to have anyone suggest there was trouble in the publishing industry.
Moreover, smaller and university presses have often become very clever in their publishing strategies, taking advantage of the very weaknesses in the commercial portion of the industry. For example, my own Green Integer press has bought the rights and published a number of works that larger houses could not afford to keep in print, and these same titles--such as Robert Bresson's "Notes on the Cinematograher," Henri Bergson's "Laughter" and Jose Donoso's "Hell Has No Limits"--represent some of our very best sellers. Younger presses such as Exact Change and Dalkey Archive Press, while publishing some original titles, have survived by reprinting titles that in previous decades were simply lost to readers. One could say that we have never been in a better time to rediscover our literary heritage.