15 July 16 | Chad W. Post | Comments

This video has been out for a couple of months, but just came to my attention recently. It’s of Angélica Freitas reading from Rilke Shake, translated from the Portuguese by Hilary Kaplan and published by Phoneme Media. It also won this year’s Best Translated Book Award. (Speaking of which, it’s about time to start planning and releasing info about next year . . . )


Rilke Shake from David Shook on Vimeo.

4 May 16 | Chad W. Post | Comments

May 4, 2016—The ninth annual Best Translated Book Awards were announced this evening at The Folly in New York City, and at The Millions with Yuri Herrera’s Signs Preceding the End of the World, translated from the Spanish by Lisa Dillman, winning for fiction, and Angélica Freitas’s Rilke Shake, translated from the Portuguese by Hilary Kaplan, winning for poetry.

This is the ninth iteration of the BTBA and the fifth in which the four winning authors and translators will receive $5,000 cash prizes thanks to funding from the Amazon Literary Partnership program.

“As it nears its tenth year, the Best Translated Book Awards has become an annual literary highlight, shining an important spotlight on great international works that deserve to be introduced to U.S. readers,” said Neal Thompson, Amazon’s director of Author and Publishing Relations. “The Amazon Literary Partnership is proud to support international authors and their translators and to have contributed more than $100,000 over the past five years to the Best Translated Book Awards.”



Despite the prevelance of Spanish-language authors published in translation—and who have made the BTBA longlist—Yuri Herrera is the first Spanish-language writer to win the award for fiction. According to BTBA judge Jason Grunebaum, “Translator Lisa Dillman has crafted a dazzling voice in English for Yuri Herrera’s Signs Preceding the End of the World, a transformative tale of a young woman’s trip on foot from Mexico to the U.S. to deliver a package and find a brother. This novel of real pathos and unexpected displacement in self, place, and language achieves a near perfect artistic convergence of translator and author, while giving readers an urgent account from today’s wall-building world.”



Lisa Dillman has translated almost a dozen books over the past few years, including works by Andrés Barba and Eduardo Halfon, and teaches Spanish at Emory College. Her translation of Herrera’s next novel, The Transmigration of Bodies (also published by And Other Stories), comes out in July.



With Rilke Shake taking home the poetry award, Phoneme Media becomes the first press to win for poetry in back-to-back years. (Diorama by Rocío Cerón, translated from the Spanish by Anna Rosenwong, won last year). Hilary Kaplan also received a PEN/Heim Translation Fund grant to work on this collection.



BTBA judge Tess Lewis praised the collection, saying, “[Kaplan] has done the grant and Freitas’s poems justice, capturing the many shifts in tone in and between the lines, from playful to wry to sardonic to pathetic, even sentimental, to deadpan and back to playful, sometimes within a single poem. For all of Freitas’s lyric clowning, it’s clear she takes poetry too seriously not to dismantle it and use it to her own purposes.”

Next Wednesday, May 11th, from 5-6:30pm, 57th Street Books in Chicago will be hosting a BTBA party at the store. The event—which will feature a number of BTBA judges—is free and open to the public.

This year’s fiction jury is made up of: Amanda Bullock (Literary Arts, Portland), Heather Cleary, (translator, co-founder of the Buenos Aires Review), Kevin Elliott (57th Street Books), Kate Garber (192 Books) Jason Grunebaum (translator, writer), Mark Haber (writer, Brazos Bookstore), Stacey Knecht (translator), Amanda Nelson (Book Riot), and P. T. Smith (writer and reader).

And this year’s poetry jury is made up of: Jarrod Annis (Greenlight Bookstore), Katrine Øgaard Jensen (Council for European Studies), Tess Lewis (writer and translator), Becka McKay (writer, translator), and Deborah Smith (writer, translator, founder of Tilted Axis).

For more information, visit the official Best Translated Book Award site and the official BTBA Facebook page, and follow the award on Twitter.

3 May 16 | Chad W. Post |

It took a bit longer than planned, but we did it! There are now “Why This Book Should Win” write-ups for all 35 books that were longlisted for the 2016 Best Translated Book Award. Browse through these, find a few to read, and tune in to The Millions tomorrow at 7pm to find out who won.

To make it easier to catch up on all the entries in this series, listed below are all of the titles, linked to their WTBSW post. (I’ll keep updating this as more of the pieces go up.)

These pieces are a great way to handicap the field, to get a sense of what the particular juries were paying attention to this year, and to find a handful of titles to check out for your own reading pleasure.

Enjoy!

BTBA 2016 Fiction Longlist


A General Theory of Oblivion by José Eduardo Agualusa, translated from the Portuguese by Daniel Hahn (Angola, Archipelago Books)

Arvida by Samuel Archibald, translated from the French by Donald Winkler (Canada, Biblioasis)

Nowhere to Be Found by Bae Suah, translated from the Korean by Sora Kim-Russell (South Korea, AmazonCrossing)

The Meursault Investigation by Kamel Daoud, translated from the French by John Cullen (Algeria, Other Press)

French Perfume by Amir Tag Elsir, translated from the Arabic by William M. Hutchins (Sudan, Antibookclub)

The Story of the Lost Child by Elena Ferrante, translated from the Italian by Ann Goldstein (Italy, Europa Editions)

Sphinx by Anne Garréta, translated from the French by Emma Ramadan (France, Deep Vellum)

The Physics of Sorrow by Georgi Gospodinov, translated from the Bulgarian by Angela Rodel (Bulgaria, Open Letter)

Signs Preceding the End of the World by Yuri Herrera, translated from the Spanish by Lisa Dillman (Mexico, And Other Stories)

The Sleep of the Righteous by Wolfgang Hilbig, translated from the German by Isabel Fargo Cole (Germany, Two Lines Press)

Moods by Yoel Hoffmann, translated from the Hebrew by Peter Cole (Israel, New Directions)

Beauty Is a Wound by Eka Kurniawan, translated from the Indonesian by Annie Tucker (Indonesia, New Directions)

The Complete Stories by Clarice Lispector, translated from the Portuguese by Katrina Dodson (Brazil, New Directions)

The Story of My Teeth by Valeria Luiselli, translated from the Spanish by Christina MacSweeney (Mexico, Coffee House Press)

Tram 83 by Fiston Mwanza Mujila, translated from the French by Roland Glasser (Democratic Republic of the Congo, Deep Vellum)

The Body Where I Was Born by Guadalupe Nettel, translated from the Spanish by J. T. Lichtenstein (Mexico, Seven Stories Press)

The Things We Don’t Do by Andrés Neuman, translated from the Spanish by Nick Caistor and Lorenza Garcia (Argentina, Open Letter)

I Refuse by Per Petterson, translated from the Norwegian by Don Bartlett (Norway, Graywolf Press)

War, So Much War by Mercè Rodoreda, translated from the Catalan by Maruxa Relaño and Martha Tennent (Spain, Open Letter)

One Out of Two by Daniel Sada, translated from the Spanish by Katherine Silver (Mexico, Graywolf Press)

Berlin by Aleš Šteger, translated from the Slovene by Brian Henry, Forrest Gander, and Aljaž Kovac (Slovenia, Counterpath)

The Big Green Tent by Ludmila Ulitskaya, translated from the Russian by Polly Gannon (Russia, FSG)

Murder Most Serene by Gabrielle Wittkop, translated from the French by Louise Rogers Lalaurie (France, Wakefield Press)

The Four Books by Yan Lianke, translated from the Chinese by Carlos Rojas (China, Grove Press)

Mirages of the Mind by Mushtaq Ahmed Yousufi, translated from the Urdu by Matt Reeck and Aftab Ahmad (India, New Directions)


BTBA 2016 Poetry Longlist


A Science Not for the Earth: Selected Poems and Letters by Yevgeny Baratynsky, translated from the Russian by Rawley Grau (Russia, Ugly Duckling Presse)

Minute-Operas by Frédéric Forte, translated from the French by Daniel Levin Becker, Ian Monk, Michelle Noteboom, and Jean-Jacques Poucel (France, Burning Deck)

Rilke Shake by Angélica Freitas, translated from the Portuguese by Hilary Kaplan (Brazil, Phoneme Media)

Wild Words: Four Tamil Poets, edited and translated from the Tamil by Lakshmi Holmström (India, HarperCollins India)

Empty Chairs: Selected Poems by Liu Xia, translated from the Chinese by Ming Di and Jennifer Stern (China, Graywolf)

Load Poems Like Guns: Women’s Poetry from Herat, Afghanistan, edited and translated from the Persian by Farzana Marie (Afghanistan, Holy Cow! Press)

Silvina Ocampo by Silvina Ocampo, translated from the Spanish by Jason Weiss (Argentina, NYRB)

The Black Flower and Other Zapotec Poems by Natalia Toledo, translated from the Spanish and Isthmus Zapotec by Clare Sullivan (Mexico, Phoneme Media)

The Nomads, My Brothers, Go Out to Drink from the Big Dipper by Abdourahman A. Waberi, translated from the French by Nancy Naomi Carlson (Djibouti, Seagull Books)

Sea Summit by Yi Lu, translated from the Chinese by Fiona Sze-Lorrain (China, Milkweed)

3 May 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series, is by Katrine Øgaard Jensen, BTBA judge, journalist, writer, and translator from the Danish. She previously served as editor-in-chief of Columbia: A Journal of Literature and Art and as blog editor at Asymptote and Words without Borders. She is currently an editor at the Council for European Studies and teaches creative writing at Columbia University. We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



Silvina Ocampo by Silvina Ocampo, translated from the Spanish by Jason Weiss (Argentina, NYRB)

“There is in Silvina a virtue usually attributed to the Ancients or the people of the Orient and not to our contemporaries: that is clairvoyance.” This high praise of Argentinian Silvina Ocampo’s writing came from Jorge Luis Borges, who also made the distinction that it was her condition as a poet which exalted her prose. To the English-speaking world, Ocampo has become known through her short stories as a writer of the surreal, the fantastic, and the grotesque—while Silvina Ocampo, published by New York Review Books and translated by Jason Weiss, is Ocampo’s first collection of poems to appear in English.

Upon reading this collection—and “discovering” Ocampo’s poetry for the very first time—I was struck by the ease with which Ocampo shifts between the quotidian and the dreamlike. These shifts sometimes occur between poems, sometimes within poems—even within lines—guiding the reader through equal amounts of personal desperation and wild mythology. In “The Infinite Life”, for instance, the poem begins in a seemingly realistic present where the speaker ponders the meaning of life as well as life after death—but soon enough, the reader meets Atropos, the Greek goddess of fate and destiny “with her black butterfly face”; a winged horse which “passes like a beam of light through glass”; the distant empire of China and the monks in Tibet; victims of witchcraft, and the “lustrous Mediterranean.” Then, the reader is suddenly pulled back into a familiar reality:

It will not be the same river over the mud,
the burning of trash nor the cart,
the dogs in the suburban nights that
lose their way beside a cruel blond boy.


Yet just as the reader thinks she’s back on solid ground, Ocampo takes her on a new journey in the very next couplet:

There will be no queens of Egypt, nor coins
preserving their likeness, nor will there be silks.


The poems that enchanted me most, however, were Ocampo’s earlier work from 1942—arranged in the first section of this collection under the title “Enumeration of My Country.” This entire section consists of poems describing Argentina’s vast and stunning landscapes in such rich detail—and with such a powerful, almost forceful, voice—that the reader might be led to believe these poems were, in fact, written by some kind of deity. The result? I am left awestruck by both Ocampo’s Dickensonian authority as a poet (I was pleased and not at all surprised to discover in Weiss’s introduction that Ocampo’s final book of poetry was not her own writing but translations of six hundred poems by Emily Dickinson) as well as Weiss’s capacity to render Ocampo’s utterly unique poetic voice.

25 April 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series, is by Becka Mara McKay, BTBA judge, author (A Meteorologist in the Promised Land, Happiness Is the New Bedtime), translator (Laundry, Blue Has No South, Lunar Savings Time), and director of the Creative Writing MFA at Florida Atlantic University. We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



Minute-Operas by Frédéric Forte, translated from the French by Daniel Levin Becker, Ian Monk, Michelle Noteboom, and Jean-Jacques Poucel (France, Burning Deck)

In 2005, shortly after the publication of his innovative, entrancing collection Opéras-minute, the French writer Frédéric Forte was elected a member of the OULIPO—the innovative and entrancing Ouvroir de Litterature Potentielle (Workshop of Potential Literature). Reading Minute-Operas, with its masterful translations (and transformations) by Daniel Levin Becker, Ian Monk, Michelle Noteboom, and Jean-Jacques Poucel, it’s quite easy to see both the necessity and vitality of Forte’s membership in the group, and the difficulty and pleasure that translating this book must have presented.

As the title states, Forte’s poems are miniature performances enacted on every page. With a vertical line running down each poem’s face, Forte creates areas that he terms “stage” and “wings,” and uses an extraordinary variety of typographic techniques—erasure, diagram, blank space, symbols, and much more—to write the poems. Each opera, then, can be read in a number of ways, from a number of directions. For me, these are not so much poems that have moved from French to English—they are boldly original creations in one poem-language that are recreated in a new poem-language. The results are infinitely engaging. Forte’s poem-language takes the form of stage directions, lists of props and other materials, and process notes, among the more recognizable gestures. Yet these gestures and typographic techniques never overwhelm or overshadow the words that Forte (and his translators) choose. The writing remains meticulously original, tightly crafted, yet still ludic and lyrical. While some of my favorite of these poems are difficult to reproduce here, the following excerpt gives a sense of Forte’s mischievous mixture of the playful and the grim:

A wall
erected for tennis
and what if we changed
it to something else
to handball
headball
o sacrificial

Ceaseless games       Interchangeable massacres
Dismal demigod


Minute-Operas is divided into Phase 1 and Phase 2 (each phase consists of five twelve-page sections). Phase 2 draws on dozens of existing poetic forms (listed in a brief appendix—the book’s only paratext) from the very traditional (triolet, villanelle) to much newer forms (including the minute-opera itself), some invented by earlier Oulipians. The work of the translators on this section of the book is most interesting to me, as form is so clearly integral to the text that it, too, must be translated. There is something quite sculptural in these efforts, as though Forte’s text were three-dimensional and the translators needed to find its new language on a number of axes.

I have spent hours combing through the layers of this book, reading the poems in order, reading them at random, reading them aloud, and I have yet to grow tired of what Forte and his translators have achieved. Minute-Operas is meant to resound loudly in the readers’ heads and then force us to grapple with the uncomfortable, uncomforted silence that follows.

25 April 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series, is by Becka Mara McKay, BTBA judge, author (A Meteorologist in the Promised Land, Happiness Is the New Bedtime), translator (Laundry, Blue Has No South, Lunar Savings Time), and director of the Creative Writing MFA at Florida Atlantic University. We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



Sea Summit by Yi Lu, translated from the Chinese by Fiona Sze-Lorrain (China, Milkweed)

In his excellent essay on translation “Anonymous Sources,” Eliot Weinberger posits “There is a cliché in the U.S. that the purpose of a poetry translation is to create an excellent new poem in English. This is empirically false: nearly all the great translations in English would be ludicrous as poems written in English, even poems written in the voice of a persona.” I have always only half-agreed with Weinberger on this point, or perhaps I only agree with half of his point: yes, it is a cliché (and a danger) to believe that the purpose of translating poetry is to simply create a new poem in English; yes, to measure an English translation of a poem against a poem written in English is a useless and fruitless exercise. But I nonetheless object to the appearance of the word ludicrous among the rest of Weinberger’s sensible assessment. And in the case of the poems of Sea Summit, which are vibrant and crystalline in Fiona Sze-Lorain’s remarkable translation, I would replace ludicrous with luminous. No, these do not sound like poems written in English, nor should they. They represent a carefully crafted intersection between the original Chinese and the English, a prismatic lens through which the original Chinese sparkles, transforms, and insistently sings. These are nature poems that defiantly employ an urban vocabulary—or perhaps they are urban poems seeking the solace of nature through the only language they know. In either case they are utterly original and absorbing, forcing us to rethink how we perceive objects and moments we might otherwise deem mundane. The ending of the poem “A Bouquet of Cauliflower” is a meditation on many things—the vegetable in question is only the beginning of a disquisition on the requirements of patience, the passing of the seasons, and the mystery of the world beneath our feet:

a string of buds awaits the bloom
like a thousand Buddha hands with palms closed
only a cauliflower with a thin stem
places a huge spring on its body


Many of Yi Lu’s poems examine the natural world with this mixture of serenity and compassion, sorrow and sly humor. Here is the beginning of “By the Maple Woods”:

Here are the millionaires of autumn
balding elders
yellow leaves scattered like torn pieces of manuscript
only silver gray branches
can hold the sky palace


Fiona Sze-Lorain is, according to her biography on the book’s cover, “an acclaimed zheng harpist,” and her ear for the music of poetry is evident throughout the book. The rattles, roars, and hums of the natural world are deftly reproduced in exquisite moments of internal rhyme and alliteration—techniques which never call attention to themselves but simply serve as elegant vehicles for these equally elegant poems.

19 April 16 | Chad W. Post | Comments

Ten works of fiction and six poetry collections remain in the running for this year’s Best Translated Book Awards following the announcement of the two shortlists at The Millions website this morning.

These sixteen finalists represent an incredible array of writing styles and reputation, and include the likes of Clarice Lispector, Elena Ferrante, Georgi Gospodinov, Gabrielle Wittkop, Liu Xia, Abdourahman Waberi, and more. These titles were selected from the nearly 570 works of fiction and poetry published in English translation in 2015.

The sixteen titles on these two shortlists are translated from nine different languages (French, Portuguese, and Spanish having the most finalists, with three a piece) and thirteen different countries (Brazil, China, and Mexico have two authors each). Ten of the shortlisted titles are by women, including Load Poems Like Guns, which features the work of eight Afghani women poets. Fourteen different presses, with only New Directions and Open Letter Books being responsible for more than one shortlisted title, published the finalists.

As in recent years, the Best Translated Book Awards are underwritten by the Amazon Literary Partnership program, which allow both winning authors and winning translators to receive $5,000 cash prizes. Thanks to this gift, Three Percent at the University of Rochester will have awarded $100,000 in cash prizes to international authors and translators since 2011.

The finalists for both the fiction and poetry awards will be announced on The Millions (www.themillions.com) on Tuesday, April 19th, and the winners will be announced on Wednesday, May 4th at 7 p.m., simultaneously on The Millions and at a live event at The Folly in New York City. There will also be a celebration during BookExpo America at 5 p.m. on May 11th at 57th St. Books in Chicago.

This year’s fiction jury is made up of: Amanda Bullock (Literary Arts, Portland), Heather Cleary, translator from the Spanish, co-founder of the Buenos Aires Review), Kevin Elliott (57th Street Books), Kate Garber (192 Books), Jason Grunebaum (translator, writer), Mark Haber (writer, Brazos Bookstore), Stacey Knecht (translator), Amanda Nelson (Book Riot), and P.T. Smith (writer and reader).

The poetry jury includes: Jarrod Annis (Greenlight Bookstore), Katrine Øgaard Jensen (Council for European Studies), Tess Lewis (writer and translator), Becka McKay (writer and translator), and Deborah Smith (writer, translator, founder of Tilted Axis).

For more information, visit the official Best Translated Book Award site and the official BTBA Facebook page, and follow the award on Twitter.

19 April 16 | Chad W. Post | Comments

As announced “earlier this morning at The Millions,”: these are the six poetry finalists for this year’s Best Translated Book Award:



Rilke Shake by Angélica Freitas, translated from the Portuguese by Hilary Kaplan (Brazil, Phoneme Media)

Empty Chairs: Selected Poems by Liu Xia, translated from the Chinese by Ming Di and Jennifer Stern (China, Graywolf)



Load Poems Like Guns: Women’s Poetry from Herat, Afghanistan, edited and translated from the Persian by Farzana Marie (Afghanistan, Holy Cow! Press)

Silvina Ocampo by Silvina Ocampo, translated from the Spanish by Jason Weiss (Argentina, NYRB)



The Nomads, My Brothers, Go Out to Drink from the Big Dipper by Abdourahman A. Waberi, translated from the French by Nancy Naomi Carlson (Djibouti, Seagull Books)

Sea Summit by Yi Lu, translated from the Chinese by Fiona Sze-Lorrain (China, Milkweed)

As in years past, each of the winning authors and translators (for poetry and fiction), will receive $5,000 cash prizes thanks to the support of Amazon’s Literary Partnership program. Actually, after these are awarded, the BTBA will have given out $100,000 in prizes to international authors and their translators—not a bad accomplishment!

To celebrate this year’s Best Translated Book Awards, we will be hosting two separate events.

First up, on May 4th from 6:30-8:00pm, the official awards ceremony will take place at The Folly (92 W. Houston St., New York). The two winning titles will be revealed at 7pm sharp—both live in person AND at The Millions.

Then, one week later during BookExpo America, there will be a special celebration at 57th Street Books (1301 E. 57th St., Chicago) from 5:00-6:30pm. There will be some drinks and refreshments on hand, along with several BTBA judges. (Worth noting that this event will be immediately followed by Family History of Fear: Agata Tuszynska, Ron Balson, and Greg Archer. This is part of the Polish programming that’s going on during BEA, and something a lot of BTBA fans will likely be interested in.)

This year’s poetry jury consisted of Jarrod Annis (Greenlight Bookstore), Katrine Øgaard Jensen (Words Without Borders), Tess Lewis (writer and translator), Becka McKay (writer and translator), and Deborah Smith (writer, translator, founder of Tilted Axis).

19 April 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series, is by Katrine Øgaard Jensen, BTBA judge, journalist, writer, and translator from the Danish. She previously served as editor-in-chief of Columbia: A Journal of Literature and Art and as blog editor at Asymptote and Words without Borders. She is currently an editor at the Council for European Studies and teaches creative writing at Columbia University. We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



The Black Flower and Other Zapotec Poems by Natalia Toledo, translated from the Spanish and Isthmus Zapotec by Clare Sullivan (Mexico, Phoneme Media)

Though Zapotec has existed as a written language for more than 2,000 years, Natalia Toledo was the first woman to write and publish poetry in her native language. In 2004 she won the Nezhualcóyotl Prize—Mexico’s most prestigious prize for indigenous-language literature—for The Black Flower and Other Zapotec Poems, a collection of poetry which describes contemporary Isthmus Zapotec life in rich detail. Or rather: in vivid imagery, in Clare Sullivan’s gorgeous translation, published by Phoneme Media.

In the opening poem, an overflowing river turns the world’s population into fish while God appears on a peeling wall, observed by the speaker of the poem “from behind a black leafed tree.” Leaves and flowers, sometimes black, form a recurring motif in this hauntingly stunning collection. These plants appear to be inevitable extensions of the humans inhabiting Toledo’s poems, for better and for worse. For instance, in “Loving”, a water lily is “born on the river’s surface / as you break forth / from the dream between my legs” in a tender yet slightly violent moment; in “Huipil”, flowers are involved in yet another violence, this time of the skin: “Facing the sky like a lizard / I settle you in a trunk that smells of pine. / My skin bursts with the flowers etched upon my dress. / Men and hummingbirds can come and pinch me / tonight, / my happiness is nectar that flows.”

The hummingbird motif reminded me of another Zapotec poet whose work I greatly admire: Irma Pineda. Upon finishing The Black Flower, I was thrilled to discover in Clare Sullivan’s translator’s note—located at the end of the book—that Pineda actually assisted Sullivan during the challenging translation process: “Toledo herself translated all the poems [. . .] from Zapotec to Spanish and Pineda helped me compare the original to Toledo’s translation verse by verse. Sometimes the poet deliberately changes a poem when rendering it from Zapotec into its Spanish incarnation, perhaps to clarify an image for a wider Mexican audience or to enrich the sound in Spanish.”

Sullivan goes on to explain that these translations into Spanish are always “poetry in their own right: This requires a tremendous effort on the part of Toledo and other indigenous language poets: they must not only be poets who know another language but poets in two different languages.” All the more reason why The Black Flower should win the Best Translated Book Award—this collection is clearly the result of intense and masterful poet/translator collaboration, and it is a collection which I will surely revisit for years to come.

18 April 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series, is by Tess Lewis, BTBA judge, writer, translator from the French and German, and an advisory editor of the Hudson Review. We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



The Nomads, My Brothers, Go Out to Drink from the Big Dipper by Abdourahman A. Waberi, translated from the French by Nancy Naomi Carlson (Djibouti, Seagull Books)

for miniature republic
parsimonious poems
          Engravings


The Djibouti writer Abdourahman Waberi’s name will be familiar to BTBA followers for his novel Transit, short-listed in 2013. The Nomads, My Brothers, Go Out to Drink from the Big Dipper is Waberi’s first collection of poetry and there is a palpable sense of urgency to these lean poems. Size, of course, is not a reliable indicator of impact or import. Waberi sees his small native land as part of the cradle of mankind, of homo erectus, to be exact. Here, humans first stood, first put one foot in front of the other, joining gesture, movement and breath into a kind of freedom. And it is that instant, that conjunction, that inspires Waberi to imagine man making “that first gesture in the bed of [his] pages.”

Writing poems, for Waberi, is “a matter of strictest necessity.” He sows these “modest pebbles” in readers’ paths, not to guide them—Waberi is suggestive, not prescriptive—but as markers to use in charting their own way to a meaningful life free from the tides of economic, financial, ecological, and spiritual excess that are washing over the world. “Another path of life is possible, apparent in the creases and folds of this collection.”

These spare poems are laconic but evocative, conjuring up desert landscapes, a nomadic tribe, or his small country’s struggles with civil war and extremism. He sees the wind as a calligrapher, covering the dunes with words.

brush in hand the wind sketches
landscapes of words
sculpted mountain slopes
shadow plains
horizon enclaves


This is a landscape that has witnessed much suffering, great and small. The Somali bullet,

. . . bloom of a new genus
that bans
all transports of joy
all shedding of tears in the name of love
drawn from the bittersweet milk of peace


is countered by a lame herdsman who laments

with my skinny legs
I’ve crossed vast desert sands
with my short strides
I’ve kept up with my camels’ pace
so why should I care
if my shrew of a wife slanders my name!


Unsparing in their frankness, Waberi’s poems are also finely attuned to the beauties and joys in a harsh landscape of “tortured geology” and happy simplicity. Waberi enjoins us to “let nomadic words live” for they, as much as any others, can open up new worlds and lead us to “the tree of knowledge [which] has wings to surpass the horizon.”

14 April 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series is by Deborah Smith, BTBA judge, translator from the Korean, and founder of Tilted Axis Press. We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



Load Poems Like Guns: Women’s Poetry from Herat, Afghanistan, edited and translated from the Persian by Farzana Marie (Afghanistan, Holy Cow! Press)

This collection, subtitled “Women’s Poetry from Herat Afghanistan,” bears moving witness to the extraordinary impact both poetry and translation—usually seen as minor, or marginal pursuits—is able to have on both our intellectual and emotional lives. In her introduction, powerhouse translator Farzana Marie explains that “poetry holds an exceedingly revered place in the consciousness of the people of Afghanistan,” its orality lending it endurance in a country where so much else has been repeatedly destroyed. Her tight editorial focus makes this anthology as effective as a single-poet collection; poems by eight young women from Herat, an ancient city near the border with Iran, all written post-2001 (in other words, post Taliban). The feeling is one of an intimate circle, especially as the latter seven are in some sense disciples of Nadia Anjuman, the poet whose work opens the collection and who was widely seen as the city’s leading literary light until her untimely death, a victim of domestic violence.

Two things about this book blew me away—one was the strength of the writing itself, and another was the astonishing work of its translator, whose time in Afghanistan has been spent volunteering at orphanages, on active duty in the US Air Force, and as a scholar of Persian literature. Crucially, though, Farzana Marie is also a poet in her own right, and an extremely gifted one, with the literary sensibility needed to carry off the tricky task of making poetry which relies heavily on strict forms like the ghazal and end rhymes come alive in English, substituting internal and slant rhymes to retain the music of the original (these translations beg to be read aloud). Here, in one of Nadia Anjuman’s most famous poems, rhythm, line-breaks and vowel sounds combine to produce an effect both heady and heavy, the long “u” at the end dulling the poem into a soporific stupor, similar to the way that earlier repeated “full” hung alone like a weight or a stopper, bringing any hint of exuberance up short.

Smoke-bloom

I’m full of the feeling of emptiness,
full.
An abundant famine
boils me in my soul’s fevered fields,
and this strange waterless boiling
startles the image in my poem
to life.
I watch the new-living picture,
a peerless rose
blush across the page!
But barely has she first breathed
when streaks of smoke begin
to obscure her face and fumes
consume her perfumed skin.


Sadly, I wasn’t able to interview Farzana herself as she’s currently recuperating from a stroke (and fundraising to pay for treatment), but her publisher Jim Perlman, at the wonderfully-named Holy Cow! Press, found time to answer a couple of questions.

How did you come to publish the book?

a.) We first became aware of Farzana Marie (her birth name is Felisa Hervey) in 2012 when we accepted her poem “Be-long-ing” for an anthology we were putting together called The Heart of All That Is: Reflections on Home. In her bio notes, Farzana wrote that she was currently studying for a Ph.D. in Persian Literature at the University of Arizona. In the winter of 13/14, wanting to escape the frozen tundra of northern Minnesota, I planned a two-week visit to Tucson where I have extended family. I decided to contact Farzana and set up a meeting. We met for lunch, and during our conversation, she mentioned that she’d translated a collection of contemporary poetry by Afghan women and was looking for a publisher. Soon after returning to Minnesota, I received a copy of that same manuscript. Although Holy Cow! are known primarily for writing by midwest regional American authors, I felt that Load Poems was a powerfully unique and historically important book. So, we went for it.

How does it feel to be longlisted?

b.) We’re overjoyed that Load Poems has been selected for the BTBA—the nomination confirms for us the wisdom of taking this bold step in publishing Farzana’s ground breaking collection, and it will definitely encourage us to seek out other translations to add to our list.

For those who are interested, here’s a clip from the reading tour for this collection:



8 April 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series is by Jarrod Annis, BTBA judge and bookseller at Greenlight Books, We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



Empty Chairs: Selected Poems by Liu Xia, translated from the Chinese by Ming Di and Jennifer Stern (China, Graywolf)

Spanning some thirty years of work, Empty Chairs presents readers with the first bilingual edition of Liu Xia’s poetry, augmented by a selection of her work as a photographer. It’s a stark volume, but illuminated by an indomitable interior light that refuses to be extinguished. Living under strict house arrest since 2009—when her husband, poet and activist Liu Xiabo, was imprisoned by the Chinese government—Liu Xia’s poems are hermetic meditations on a larger world at work, both interior and exterior, where the push and pull between absence and presence is a daily conflict. When Xia writes

I must guard these
small fragile things
as if guarding our life


she could very well be referencing her poetic output, while is under the continual threat of an imposed silence.

While political constraints do play a role in much of the work, it is never at the cost of the Xia’s emotional core. If anything, it lends an urgency to the work, the feeling of reading these smuggled words, these poems of disconnect. In their chronicling of Xia’s daily life and feelings, the poems feel traced though the ages to more ancient Chinese poets of the Tang and Sung dynasties. When taken with the original Chinese characters en face, the process of translation is never far from the reader’s mind, the active function of language as it makes a vital voice available.

7 April 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series is by Jarrod Annis, BTBA judge and bookseller at Greenlight Books, We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



A Science Not for the Earth: Selected Poems and Letters by Yevgeny Baratynsky, translated from the Russian by Rawley Grau (Russia, Ugly Duckling Presse)

This book is a beast—it is a hefty, beautiful bulk that constitutes one of Ugly Duckling Presse’s biggest translation endeavors to date. The stately volume is justified by the work it contains—the most substantial selection of Yevgeny Baratynsky’s poetry to be available in English. Readers are also treated to a selection of letters and detailed notes, all compounding into a detailed portrait of a unique poet who was lauded by Pushkin, his great contemporary, and had a key influence on Russian modernists such as Akhmatovah and Mandelstam.

Reading A Science Not For the Earth, it’s hard not to feel a sense of disbelief at not having encountered the work before—how could it have slipped through the cracks? This surprise is perhaps due to Rawley Grau’s crisp translations, which render these nineteenth century gems in a language that feels contemporary and lively, despite beyond their nearly two-hundred years, while still honoring Baratynsky’s original forms. This is poetry that transcends ages, poetry which is not through speaking. As Baratynsky writes,

But why talk now of ancient times?
The poem is ready. Very likely,
as a register of who I am
you’ll soon find it will come in handy.


Don’t be put off by the size of this collection—we have Rawley Grau and Ugly Duckling Press to thank for a volume of poetry as fresh and elegant as the work it contains.

6 April 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series, is by Tess Lewis, BTBA judge, writer, translator from the French and German, and an advisory editor of the Hudson Review. We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



Rilke Shake by Angélica Freitas, translated from the Portuguese by Hilary Kaplan (Brazil, Phoneme Media)

ma’am, do you have a mallarmé in your house?
do you know how many pessoas die every year
in accidents with mallarmé?
               statute of mallarmamento


In Rilke Shake, the Brazilian poet, Angélica Freitas, whips up a powerful tonic for even the most stubborn case of anxiety of influence: one cup Rilke, a pinch Gertrude Stein (farting in the tub), two tablespoons Poundian cadences, a dash of Marianne Moore, and toasted Blake, with five hundred hollygolightlies thrown in for good measure, the whole lot shaken not stirred.


Freitas’ antic irreverence and exuberant poetic license are contagious but don’t come at the expense of depth. Even as she “smooth[es] the rough edges of farce,” life’s sharper blades intrude in her poems as heartbreak, poverty, loneliness, depression. In family sells it all, a litany of loss, sacrifice, and shady survival strategies ends as expected. “family sells it all / for next to nothing / . . . you know how it goes.” Even the luxury of perfect teeth are no match for market forces: “perfect teeth, listen up: / you’re not going to get anywhere.” Gathering rosebuds or reading great literature is fine as far as it goes, but an empty stomach will have its way.

ah, yes, shakespeare is very nice, but beets, chicory, and watercress?
and rice and beans, and collard greens?
. . .
life’s tough, perfect teeth.
but eat, eat all you can,
and forget this chat,
and dig in.


Tragedy and heartbreak can strike at any time, even lunchtime, say, as in boa constrictor.

the creak crack
     of bones breaking
     a single tear escaping
     it was like love
the lack of air
     blood rising to the head

where history begins.


Translator Hilary Kaplan won a PEN/Heim Translation Fund Grant to translate these poems. She has done the grant and Freitas’ poems justice, capturing the many shifts in tone in and between the lines, from playful to wry to sardonic to pathetic, even sentimental, to deadpan and back to playful, sometimes within a single poem. For all of Freitas’ lyric clowning, it’s clear she takes poetry too seriously not to dismantle it and use it to her own purposes.

you need
to live in the ellipses
need to dissect
the frog of poetry—
don’t abolish the pond.
leaper, leap in
to the great leap.


Yes, reader, leap in with both feet, leap in often. But don’t take just my advice, listen to the statute of dismallarmament—“be a patriot, surrender your mallarmé. olé”—and order a Rilke Shake today.

4 April 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series, is by Deborah Smith, BTBA judge, translator from the Korean, and founder of Tilted Axis Press. We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



Wild Words: Four Tamil Poets, edited and translated from the Tamil by Lakshmi Holmström (India, HarperCollins India)

This has been my first year as a co-judge for the BTBA, and it’s been an enormous privilege. We’re all incredibly proud of our longlist; the quality is top class, but the breadth of languages (Tamil! Zapotec! Dari!) and the fact that 7/10 of the books are by women is also exciting and important. I’m a passionate believer in the inseparability of aesthetics and representation, and in Calvino’s concept of translation as stylistic evolution; rather than a worthy box-ticking exercise, actively seeking work from literatures as yet little-known in English is one of the most effective ways of sourcing writing which feels genuinely new—a seemingly impossible feat these days.

The incredibly violent reaction to the four female Tamil poets whose work is collected in Wild Words gives alarming confirmation to Malayali translator and scholar J. Devika’s assertion that “translating women authors from regional languages is an important escape route from the overbearing and overwhelming patriarchies that have shaped and continue to shape regional literary publics.” We should be doubly grateful, then, to translator Lakshmi Holmström, for bringing these brave, wild words to a wider audience, and for producing translations of such arresting imagery and tonal variety.

Paths by Salma

Upon the almirah
against the room’s walls
between the swirling fan’s blades
a bat clashes,
falls, scatters.

But birds, thousands of miles away
flying across the blue of the sky
and the massing of mountains
and have never, so far,
lost their way.


Equal gratitude goes to the book’s publisher, HarperCollins India—their commissioning editor and rights manager Manasi Subramaniam first brought the book my attention when she contacted me to suggest some potential authors for Tilted Axis Press (we’re publishing two novels by Sangeeta Bandyopadhyay, both translated from the Bengali by Arunava Sinha). She’s a passionate advocate for translating India’s regional literatures, which, as you’ll see in this interview I did with her, is not the easiest job in the world.

How do you feel about the longlisting?

Hearing about the longlisting of Wild Words for such a prestigious award gives us immense joy. I’m so glad and grateful that awards like this one even exist.

How did you come to publish the book? What made it stand out for you, and what has the reception been like?

The reception has been absolutely fantastic. The reviews have been unanimously positive and admiring. I just wish poetry would sell more!

This is an unusual book for many reasons: it’s poetry, it’s translation, it’s an anthology, and it’s all women. All four of these things excite me for very different reasons, and I love that there exists a collection such as Wild Words that manages to bring them together. I actually chanced upon this book in its earlier edition, which was published as a bilingual Tamil-English book by Kalachuvadu Publications and Sangam House. I’m a Tamilian myself, so I was very taken with the book, as well as with the reasons for putting together these 4 poets in particular.

In 2003, a group of men and women, setting themselves up as guardians of Tamil culture, objected publicly to the language of a new generation of women poets—particularly in the work of Malathi Maithri, Salma (an activist and political who is also the subject of a brilliant documentary—Ed), Kutti Revathi and Sukirtharani—charging the women with obscenity and immodesty. The response of the Tamil literary world was markedly violent. A lot has changed since then—but a lot remains unchanged still.

What’s the status of India’s regional literatures, as opposed to work written originally in English?

Indian fiction in languages other than English represents the richness and diversity of our tongues in ways that only multiplicity can. There’s so much wonderful work happening in the Indian languages (English is an Indian language too!) and it seems only fair that the languages all translate into and out of each other. If we don’t keep doing that, these voices will never be heard outside of their languages. Intercultural understanding seems increasingly important in a country like India that’s both global and multilingual. While critics and reviewers are incredibly receptive to translated literature, it does seem harder and harder to get the reading public as excited about translation as we ourselves are. So—while we are able to do high-quality translations and work with other publishers and translators—it remains a problem of numbers. We also have to depend on scouts when it comes to languages we are not familiar with.

What’s it like trying to get publishers outside the subcontinent interested in these translations?

I haven’t had a great deal of luck getting publishers internationally to pay attention to our translations. I do want them to have a wider market and be published in the U.S. and the UK, but I think perhaps that the English-speaking world’s interest in translations is still restricted mostly to the European languages. There’s the odd success story here and there, but it isn’t as yet easy for me to pitch translations to the U.S. and UK publishers that we work with.

*


Here’s the trailer for the documentary of Salma mentioned above:



29 March 16 | Chad W. Post | Comments

And here are the ten longlist books for the 2016 Best Translated Book Award for Poetry, which is being judged by Jarrod Annis (Greenlight Bookstore), Katrine Øgaard Jensen (Words Without Borders), Tess Lewis (writer and translator), Becka McKay (writer and translator), and Deborah Smith (writer, translator, founder of Tilted Axis).



A Science Not for the Earth: Selected Poems and Letters by Yevgeny Baratynsky, translated from the Russian by Rawley Grau (Russia, Ugly Duckling Presse)

Minute-Operas by Frédéric Forte, translated from the French by Daniel Levin Becker, Ian Monk, Michelle Noteboom, and Jean-Jacques Poucel (France, Burning Deck)



Rilke Shake by Angélica Freitas, translated from the Portuguese by Hilary Kaplan (Brazil, Phoneme Media)

Wild Words: Four Tamil Poets, edited and translated from the Tamil by Lakshmi Holmström (India, HarperCollins India)



Empty Chairs: Selected Poems by Liu Xia, translated from the Chinese by Ming Di and Jennifer Stern (China, Graywolf)

Load Poems Like Guns: Women’s Poetry from Herat, Afghanistan, edited and translated from the Persian by Farzana Marie (Afghanistan, Holy Cow! Press)



Silvina Ocampo by Silvina Ocampo, translated from the Spanish by Jason Weiss (Argentina, NYRB)

The Black Flower and Other Zapotec Poems by Natalia Toledo, translated from the Spanish and Isthmus Zapotec by Clare Sullivan (Mexico, Phoneme Media)



The Nomads, My Brothers, Go Out to Drink from the Big Dipper by Abdourahman A. Waberi, translated from the French by Nancy Naomi Carlson (Djibouti, Seagull Books)

Sea Summit by Yi Lu, translated from the Chinese by Fiona Sze-Lorrain (China, Milkweed)

We’ll start featuring each of these titles on the blog in the very near future, and the finalists will be unveiled on Tuesday, April 19th!

29 March 16 | Chad W. Post | Comments

This entry is the general press release about this year’s awards. If you want to skip ahead, you can find the poetry list here, and the fiction one here. Check back in later today—we’ll be kicking off the “Why This Book Should Win” series in the afternoon.



March 29, 2016—Clarice Lispector, Elena Ferrante, Valeria Luiselli, and Abdourahman Waberi are a few of the authors included in this year’s remarkably diverse Best Translated Book Award longlist for fiction and poetry.

Announced this morning on the Three Percent website, these longlists represent the results of months of reading by fourteen judges tasked with deciding which were the “best” works of fiction and poetry in translation to be published in 2015. Over 560 eligible titles were published last year, written by authors from more than eighty countries and published by 160 different publishers.

This diversity is reflected in this year’s longlists, which include books written in nineteen different languages—from Arabic to Urdu—from authors born in twenty-three different countries, including Angola, Afghanistan, and Indonesia, among others.

“Not only has it been a pleasure to read such a strong field of poetry submissions this year—it’s also been incredible to see such diversity in countries and languages being published by presses of all sizes,” said poetry judge Katrine Øgaard Jensen. “I’m thrilled that our poetry longlist actually manages to capture this diversity to a certain extent with titles from China, Djibouti, Brazil, Argentina, Afghanistan, France, Mexico, India, and Russia—China being the only country that’s represented twice.”

As in years past, there is a healthy mix of established authors—like the aforementioned Ferrante and Lispector—with those who made their English-language debut in 2015, such as Eka Kurniawan and Yuri Herrera. Twenty-six presses have books on this year’s lists, with New Directions having the most titles (four), followed by Graywolf and Open Letter (three each).

“Even as someone who regularly tries his best to read diversely and wide in world literature, being a jury member this year exposed me to presses I’ve never heard of and regions I’ve never read from before,” said fiction judge Kevin Elliott. “Though we all still have work ahead of us in promoting and alerting the public to the unique voices being translated and published in English, there are more and more small publishers and tireless translators working endlessly to bring all that world literature has to offer to a larger audience. Regardless of who wins from this list, the submitted works this year prove that the art and craft of letters and translation is no longer simply an academic endeavor, but a necessary and (thankfully) increasingly accessible reality in the world of books.”

As in recent years, the Best Translated Book Awards are underwritten by Amazon.com’s giving programs, which allow both winning authors and winning translators to receive $5,000 cash prizes.

The finalists for both the fiction and poetry awards will be announced on The Millions on Tuesday, April 19th, and the winners will be announced on Wednesday, May 4th at 7 p.m., simultaneously on The Millions and at a live event at The Folly in New York City. There will also be a celebration during BookExpo America at 5 p.m. on May 11th at 57th St. Books in Chicago.

Past winners of the fiction award include: The Last Lover by Can Xue, translated from the Chinese by Annelise Finegan Wasmoen; Seiobo There Below and Satantango, both by László Krasznahorkai, and translated from the Hungarian by Ottilie Mulzet and George Szirtes respectively; Stone Upon Stone by Wiesław Myśliwski, translated from the Polish by Bill Johnston; and, The True Deceiver& by Tove Jansson, translated from the Swedish by Thomas Teal.

In terms of the poetry award, past winners include: Diorama by Rocío Cerón, translated from the Spanish by Anna Rosenwong; The Guest in the Wood by Elisa Biagini, translated from the Italian by Diana Thow, Sarah Stickney, and Eugene Ostashevsky; Wheel with a Single Spoke by Nichita Stănescu, translated from the Romanian by Sean Cotter; and Spectacle & Pigsty by Kiwao Nomura, translated from the Japanese by Kyoko Yoshida and Forrest Gander.

This year’s fiction jury is made up of: Amanda Bullock (Literary Arts, Portland), Heather Cleary, translator from the Spanish, co-founder of the Buenos Aires Review), Kevin Elliott (57th Street Books), Kate Garber (192 Books), Jason Grunebaum (translator from the Hindi, writer), Mark Haber (writer, Brazos Bookstore), Stacey Knecht (translator from Czech and Dutch), Amanda Nelson (Book Riot), and P.T. Smith (writer and reader).

The poetry jury includes: Jarrod Annis (Greenlight Bookstore), Katrine Øgaard Jensen (Words Without Borders), Tess Lewis (writer and translator), Becka McKay (writer and translator), and Deborah Smith (writer, translator, founder of Tilted Axis).

*

For more information, visit the official Best Translated Book Award site and the official BTBA Facebook page, and follow the award on Twitter.

Additionally, over the next month, leading up to the announcement of the shortlists, Three Percent will be featuring a different title each day as part of the “Why This Book Should Win” series.

24 September 15 | Chad W. Post | Comments

It’s taken longer than it should to announce this—blame my disorganization, all the other events that have been going on, etc.—but we’re finally ready to unveil this year’s jury for the Best Translated Book Award prize for poetry.

Before listing the judges, I just want to remind you to check this page for weekly updates related to the Best Translated Book Award, and to like us on Facebook and follow us on Twitter. Thank you very much.

Now, here are your five judges:

Jarrod Annis is a writer and bookseller living in Brooklyn, NY. He works as manger and small press buyer at Greenlight Bookstore, and previously served as an associate editor at Ugly Duckling Presse. His work has appeared in Coldfront, Greetings, and Poems By Sunday.

Katrine Øgaard Jensen is a journalist, writer, and translator from the Danish. A former editor-in-chief of Columbia: A Journal of Literature and Art, she is now blog editor at the international literary journal Asymptote. Her translation of Ursula Andkjær Olsen’s award-winning poetry collection Third-Millennium Heart is forthcoming from Broken Dimanche Press in 2016.

Tess Lewis is a writer and translator from French and German. Her translations include works by Peter Handke, Alois Hotschnig, Melinda Nadj Abonji, Pascal Bruckner, Anselm Kiefer, and Jean-Luc Benoziglio. She has been awarded translation grants from PEN USA and PEN UK, an NEA Translation Fellowship, a Max Geilinger Translation Grant for her translation of the Swiss poet Philippe Jaccottet, the ACFNY Translation Prize for her translation of the Austrian poet and writer Maja Haderlap, and most recently a Guggenheim Fellowship to translate the Swiss writer, Ludwig Hohl. Her essays and reviews have appeared a number of journals and newspapers including The New Criterion, The Hudson Review, World Literature Today, The Wall Street Journal, The American Scholar, and Bookforum.

Becka Mara McKay earned an MFA in creative writing from the University of Washington and an MFA in literary translation from the University of Iowa, where she also received a PhD in comparative literature. Her first book of poems, A Meteorologist in the Promised Land, was published by Shearsman Books in 2010. She has published three translations of fiction from the Hebrew: Laundry (Autumn Hill Books, 2008), Blue Has No South (Clockroot, 2010), and Lunar Savings Time (Clockroot, 2011). Her poems and translations have appeared in American Letters & Commentary, ACM, Third Coast, The Iowa Review, Hotel Amerika, Rhino, Natural Bridge, Rattapallax, and elsewhere.

Deborah Smith is publisher and editor at TILTED AXIS, a not-for-profit UK press focusing on diverse, contemporary world literature. She translates from Korean, including Han Kang’s The Vegetarian and Human Acts (both Portobello UK, Crown US), is perilously close to finishing a PhD at SOAS, and tweets as @londonkoreanist.

So, if you’re a publisher of poetry in translation and want to submit your work for consideration for this years award, all you have to do is mail a copy to everyone on this handy address label. (Or, if you want to submit them electronically, use this one which has everyone’s email address.) Please submit these books ASAP, or before December 31st. Any work of poetry published in translation for the first time ever between January 1, 2015 and December 31, 2015 is eligible. If you have any questions, contact me at chad.post[at]rochester [dot] edu.

The longlist for the poetry (and fiction) awards will be announced on March 29, 2016, with the longlist coming on April 26, 2016, and the winners at BEA on May 11, 2016.

For the past few years, Amazon Literary Partnerships has been sponsoring the award, providing $20,000 in cash prizes for both fiction and poetry, $5,000 of which goes to the winning poet and $5,000 to the winning poetry translator. (And the same goes for the winning fiction author and translator.)

24 October 13 | Chad W. Post |

OK, I’ve been promising this for a long time, but I’ve finally got my stuff together and have information on the five judges for this year’s BTBA in Poetry.

Bios for all five can be found below, and for publishers looking to submit their books, here is a PDF of mailing list label that you can use, and here’s one with everyone’s email addresses if you’d rather submit electronically.

As with the BTBA in Fiction, any book published for the first time ever in translation between January 1, 2013 and December 31, 2013, AND available for sale in the United States is eligible. To enter a book in the contest, all you have to do is (e)mail a copy to all of the judges. (And one to me for record-keeping.)

In terms of timeframes, all poetry books should be sent to the judges by January 31st, 2014.

The finalists for this year’s Poetry award will be announced on Tuesday, April 15th at the same time as the Fiction finalists.

OK, now onto this year’s judges:

Stefania Heim is author of the collection of poems, A Table that Goes on for Miles (forthcoming January 2014 Switchback Books). Her poems, translations, and works of criticism have appeared widely, in publications including A Public Space, Aufgabe, Harper’s, Jacket2, The Literary Review, and The Paris Review. She is a founding editor of CIRCUMFERENCE: Poetry in Translation and will soon be joining the Boston Review as a new Poetry Editor.

Bill Martin is a translator, critic, and educator, and co-organizer of The Bridge reading series for literary translation.

Rebecca McKay is a poet and translator based at Florida Atlantic University. Her poems and translations have appeared in American Letters & Commentary, ACM, Third Coast, The Iowa Review, Hotel Amerika, Rhino, Natural Bridge, Rattapallax, and elsewhere.

Daniele Pantano is a Swiss poet, translator, editor, critic, and Reader in Poetry and Literary Translation at Edge Hill University, England. For more information, please visit his website..

Anna Rosenwong is a translator, poet, and higher educator. She holds an MFA from the University of Iowa and a PhD in Comparative Literature from the University of California, Irvine. She is the author of By Way of Explanation (Dancing Girl Press) and the translator of José Eugenio Sánchez’s Suite Prelude a/H1N1 (Toad Press) and Rocío Cerón’s Diorama (Phoneme Press). Her work has appeared in World Literature Today, Translation Studies, Pool, Jacket 2, Anomalous Press, The Kenyon Review, Painted Bride Quarterly, The St. Petersburg Review, Eleven Eleven, Hayden’s Ferry Review, Words Without Borders, and elsewhere.

So start sending in your submissions . . . now!

9 January 13 | Chad W. Post | Comments

This is a long time in coming, but here’s the list of the poetry judges for this year’s Best Translated Book Award:

  • Brandon Holmquest, poet, translator, editor of CALQUE
  • Jennifer Kronovet, poet and translator
  • Erica Mena-Landry, poet and translator
  • Idra Novey, poet, translator
  • Kevin Prufer, poet, academic, essayist, and co-editor of New European Poets

To have a book considered for this year’s award, the first ever translation of this work must have come out between January 1, 2012 and December 31, 2012. No new translations are eligible. (For example, a new Duino Elegies isn’t eligible because English readers had access to a translation of this in the past. Hopefully this makes sense . . .)

Click here for a PDF with the names and mailing addresses of all the Poetry judges (and me, since it’s good for us to have a copy of everything on hand, just in case).

Finally, the “Due Date” for submissions is JANUARY 31, 2013. Not that far away, but time enough to get these out to everyone.

Also, if you would rather submit books as PDFs, just email me at chad.post [at] rochester.edu and I can send you the email addresses for the poetry judges.

Thanks! And good luck!

....
Bye Bye Blondie
Bye Bye Blondie by Virginie Despentes
Reviewed by Emma Ramadan

Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .

Read More >

La Superba
La Superba by Ilja Leonard Pfeijffer
Reviewed by Anna Alden

Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .

Read More >

Intervenir/Intervene
Intervenir/Intervene by Dolores Dorantes; Rodrigo Flores Sánchez
Reviewed by Vincent Francone

It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .

Read More >

All Days Are Night
All Days Are Night by Peter Stamm
Reviewed by Lori Feathers

As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .

Read More >

The Seven Good Years
The Seven Good Years by Etgar Keret
Reviewed by Vincent Francone

It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .

Read More >

Human Acts
Human Acts by Han Kang
Reviewed by J.C. Sutcliffe

Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .

Read More >

Nowhere to Be Found
Nowhere to Be Found by Bae Suah
Reviewed by Pierce Alquist

It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .

Read More >