Here it is, the first of the two announcements about this year’s Best Translated Book Award finalists! Listed below are the six poetry titles that are in the running for this year’s award.
The two winning books (for poetry and fiction) will be announced at BookExpo America at 2:30pm on Wednesday, May 27th, at the Eastside Stage in the Jacob Javitz Center.
Following that, we will be gathering at 5pm at The Folly on 92 West Houston St. Anyone interested in celebrating the BTBA and all the authors and translators who published books last year should definitely come out for this.
OK, here are the six poetry collections still in the running for the $10,000 in cash prizes (half to the author, half to the translator):
Diorama by Rocío Cerón, translated from the Spanish by Anna Rosenwong (Mexico, Phoeneme)
Lazy Suzie by Suzanne Doppelt, translated from the French by Cole Swensen (France, Litmus Press)
Where Are the Trees Going? by Vénus Khoury-Ghata, translated from the French by Marilyn Hacker (Lebanon, Curbstone)
Diana’s Tree by Alejandra Pizarnik, translated from the Spanish by Yvette Siegert (Argentina, Ugly Duckling)
Compleat Catalogue of Comedic Novelties by Lev Rubinstein, translated from the Russian by Philip Metres and Tatiana Tulchinsky (Russia, Ugly Duckling)
End of the City Map by Farhad Showghi, translated from the German by Rosmarie Waldrop (Germany, Burning Deck)
Check back at 10:30 to find out which titles make the fiction shortlist!
Over the course of this week, we will be highlighting all 6 BTBA Poetry Finalists one by one, building up to next Friday’s announcement of the winners. All of these are written by the BTBA poetry judges under the rubric of “Why This Book Should Win.” You can find the whole series by clicking here. Stay tuned for more information about the May 3rd ceremony.
The Invention of Glass by Emmanuel Hocquard, translated from the French by Cole Swenson and Rod Smith, and published by Canarium Books.
Brandon Holmquest is a poet, translator, and the editor of CALQUE.
1. Because it manages the difficult trick of being intellectual without being academic, of being lyrical without being Romantic, of being poetic without being precious.
2. Because it is skillfully, by which I mean subtly, modeled on glass itself. There is a transparent quality to the poems, they are faintly traced through with colors at times, they tend to slightly warp the images and people one glimpses through them.
3. Because it contains lines like:
. . . Between Deleuze and Wittgenstein
there is Reznikoff and there is also
a wall . . .
4. Because after an 84-page section called “Poem” comes a 24-page one called “Story” which appears to explain the references and anecdotes in the poems, and does to some extent, but which also contains a further crop of anecdotes, more prosaic but no less charming than any that come before.
5. Because in it there is an openly-declared influence of American poets, which somehow does not result in the translation simply sounding like the specific poets quoted or winked at. This “somehow,” in my experience, is almost always explained by the skill of the translators, and such is the case here.
6. Because it is a book of poems from France that is about the difficulties of being a real person, as opposed to the more frequently seen subject of recent French poetry, the difficulties of being a person with money.
7. Because in reading it one is reminded of those French poets of the last forty or fifty years that really matter, especially Ponge and Char, without feeling like what one is reading is derivative of those writers. It seems rather to be the case that Hocquard is himself part of something they are part of as well, and he therefore merits wider readership so that this larger whole may be better understood, if for no other reason.
7.5 Because there are many other reasons.
A couple weeks ago, the National Book Critics Circle hosted a panel at Prairie Lights Books in Iowa City entitled “Why Translation Matters?” and featuring Sarah Fay, Christopher Merrill, Cole Swenson, Russell Valentino, (incorrectly identified as Rudolph Valentino on the NBCC info page, which isn’t necessarily the worst person to be mistaken for) and Robin Hemley. (More on all of them below.)
I remember hearing about this panel and hoping that it would be recorded and made available at some point, and thankfully, it now is.
Here’s a bit from the NBCC on all the participants:
Sarah Fay is an advisory editor at The Paris Review. Her work appears regularly in the New York Times Book Review, The Paris Review, Bookforum, and The American Scholar, among others. She is currently a Ph.D. candidate in English Literature at the University of Iowa.
Christopher Merrill has published four collections of poetry, including Brilliant Water and Watch Fire, for which he received the Peter I. B. Lavan Younger Poets Award from the Academy of American Poets. His work has been translated into twenty-five languages, his journalism appears in many publications, and he is the book critic for the daily radio news program, The World. He now directs the International Writing Program at The University of Iowa.
Cole Swensen is the author of twelve books of poetry, most recently Ours (University of California Press, 2008). Her work has been short-listed for the Los Angeles Times Book Award and the National Book Award and won the Iowa Prize, the San Francisco State Poetry Center Book Award, and the National Poetry Series. A 2007 Guggenheim Fellow, she is the co-editor of the Norton Anthology American Hybrid and a professor at the Iowa Writers Workshop.
Russell Scott Valentino is a translator and scholar based in Iowa City, Iowa. He has published eight books and numerous essays and short translations of fiction, nonfiction, and poetry from Italian, Croatian, and Russian. He is the publisher of Autumn Hill Books and Editor of The Iowa Review.He teaches in Iowa’s Translation Workshop.
Robin Hemley is the author of eight books of fiction and nonfiction, most recently Do-Over (Little, Brown). His work has been anthologized widely and he is the recipient of numerous awards including a 2008 Guggenheim, The Nelson Algren Award for Fiction, an Editor’s Choice Book Award for Nonfiction from The American Library Association, and two Pushcart Prizes. He currently directs UI’s Nonfiction Writing Program.
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
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. . .
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. . .
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!. . .
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. . .