This autumn, the translator and literary agent Olivia Ávila visited Ljubljana. As a participant in the Lit-Quest project, she met with Slovenian publishers, and we took the opportunity to ask her about the intertwining of her two professions and her experience of visiting Slovenia.

How long have you been working as a translator?

I started translating while I was studying in Granada. Together with a few colleagues, I translated poems by the Chinese poet Hai Zi. We also prepared an anthology, although it was never published. Even so, this was my first serious translation experience. In 2017, I organized the Ibn Tibbon summer school in Granada, where I met Andrej Peric. He introduced me to Slovenian literature. I then began translating the poetry of Lucija Stupica and Esad Babačić, and I started to see translation as my primary field.

Could you describe the current situation on the Spanish book market? What literary trends do you notice?

The Spanish book market is very diverse. Large publishing houses are very strong, but at the same time there are many small independent publishers who dare to take risks and introduce new voices. Increasing attention is being paid to diversity, to women authors, and to immigrant writers. Audiobooks and digitization are also becoming more common. I think the most interesting aspect is precisely the balance between the independent scene and more “mainstream” production, because it allows readers to find different kinds of books for themselves.

Are you currently preparing a new project?

At the moment I am not translating anything, but I have just finished the translation of Ostije’s book Na križu ljubezni (On the Cross of Love) and I am looking for a publisher for it. I would very much like to continue translating the works of Evald Flisar, because I believe his work would strongly resonate with a Spanish audience.

How do you collaborate with Spanish publishers?

I try to stay in direct contact with publishers and make an effort to propose different forms of collaboration. At the moment, for example, I am working on projects with Amor de Madre and Descontrol. I have also been in touch with publishers such as Bellaterra, which is open to the international market. For me, this is about building mutual trust and having long-term conversations, never just sending sample translations and waiting to see what happens.

Could you share a challenge you face in your work?

The main challenge is that a translation project is not the work of one person alone. A whole team is needed for a book. Funding, promotion, and public presentations are necessary. If these are missing, the translation is simply published and then forgotten. I believe every book should be accompanied by some form of activity so that it stays alive and reaches a wider audience.

How are the professions of translator and literary agent connected?

These two professions are closely linked. As a translator, I focus on the text and the author’s voice. As an agent, I focus on the market—how to position a title within it and how to find the right contacts. Both roles give me the feeling that I can act as a bridge between cultures, helping books come to life in Spanish.

What is your view on current debates about AI and translation?

I believe artificial intelligence can help with simple translations, but literature is a different story. Literature requires creativity, emotion, and the translator’s cultural references. Machines cannot handle that. For me, artificial intelligence can be a tool, but it will not replace translators, especially when it comes to poetry.

What are some specific features of the work of a literary agent in Spain?

In Spain, agents are very important. Not only as individuals with certain contacts, but as people who guide authors along their path, advise them, and accompany them to international book fairs such as Frankfurt and Guadalajara. Many agents here also act as significant international promoters of our literature.

Are residencies important for the profession of translator? How could translators be further empowered?

Residencies are extremely important, as they provide time and space for uninterrupted work, as well as opportunities to meet writers and other translators. To further support those working in my profession, translators’ fees would need to be increased and our work made more visible. Translators should not be invisible, as they are part of the creative process.

How has participation in Lit-Quest positively influenced your work?

Lit-Quest introduced me to the potential of Slovenian literature and helped me build connections with people from other countries. It enabled new contacts and inspired me in my work. An important aspect was also the opportunity to meet publishers and writers in person. Conversations with editors helped me understand how they select projects and what they are looking for. These exchanges were very valuable, as I could see how translators, editors, and writers can collaborate to increase a book’s visibility.

What did you like most about the project, and would you change anything?

I really appreciated the good organization and felt strong support for the book. From the outside, it was clear that the project was serious and ambitious. I would not change anything; everything seemed very well and professionally organized. In every detail, I sensed care and dedication to the project, which gave me a great deal of confidence as a participant. For me, it was a positive experience from start to finish.

How can we connect through literature? How can we protect and promote the uniqueness of each country and its literary production?

The key lies in translations, but also in residencies, cultural programs, fairs, and other activities—and today, digital platforms as well. In addition, I believe that if we want to present the uniqueness of a literary landscape, we should also promote new and young voices, not only well-known names.