Why exactly am I so popular in Germany? I actually wrote about this phenomenon—the literary “big in Japan” effect—in my article about Franco Moretti (forthcoming, as “Abenteuer eines Mannes der Wissenschaft,” in a German-language n+1 anthology by Suhrkamp Verlag). It sometimes happens that works virtually unknown in their country of production become inexplicably popular, or even canonical, in some other national literature.
In my article, I mentioned the example of Michel Zévaco’s Les Pardaillan: a family saga beloved by many Turkish schoolchildren of my parents’ generation, but completely unknown to any of the French people I asked, and also unknown to the former chair of the Stanford French and Italian department, who is not French but has written a well-received book on Proust.
A while after my article came out, I even received an email in Turkish from a student who was preparing for the TOEFL, and wanted me to help her locate an English translation of volume 2 of Les Pardaillan. (She had already read vol. 1 in Turkish.) As far as I could determine, there is no English translation.
In short, Michel Zévaco is truly, by near-unamious international standards, a D-list writer, who has somehow made it onto the Turkish B-list; and I feel a certain affinity with him in that, while I remain totally unheard-of in my native USA, I am slowly but surely working my way onto the German literary C-list. In the continuing saga of the Teutonic demand for my literary services…
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