As we announced last week, both here and at the American Literary Translators Association annual conference, Amazon.com is underwriting the 2011 Best Translated Book Awards to the tune of $25,000, allowing each winning translator and author receive a $5,000 cash prize. (And the leftover $5K will allow all of our 14 judges to attend the awards ceremony.)
Having started this award one morning when I was drunk on coffee and ambition, I was really proud and excited to be able to announce this. All I ever wanted to accomplish with this prize was to bring more recognition to excellent works of literature translated by excellent translators. And yes, I’ll take full credit and responsibility for getting and accepting the $25K from Amazon. Obviously I talked to all of our panelist about this before nailing everything down, but I brought the idea to Amazon, and in the end, it was my decision to do this.
Over the past few years I’ve dreamt of how to make the awards more well known, more respected, more institutionalized, and in my opinion, this prize money will do just that. More people will talk about the winners, heaping praise on the winning artists and hopefully helping get the titles into the hands of more readers. And I still think this was the ultimate best decision, even after
obsessing over reading Dennis Loy Johnson’s diatribe about how Melville House will no longer participate in the BTBAs.
I don’t want to engage with Dennis’s core issue (Amazon is evil, therefore money given by Amazon is laced with evil1), since that will get us nowhere fast and detracts from the main point: that winning translators and authors will each receive $5,000 cash this year. Now, I don’t know all the specifics of Melville House translator contracts, but I’m willing to make a guess that $5,000 is equal to, or more than, the average translator gets paid for doing a book for Melville House. (I know it is for Open Letter at least.)
There are a couple things I do want to say in response to Dennis’s post and comments. First off, it’s actually not possible for Melville House to “withdraw from any future involvement” with the prize. We run the BTBAs like the National Book Critics Circle awards—publishers are encouraged to send eligible titles to the panelists, but panelists are also out buying, reading, and evaluating books on their own. We do this for the same reason that we don’t charge a submission fee—so that small presses that may not have the resources and infrastructure of a Random House can still be considered for the prize.
For example, last year at almost the eleventh hour for the voting, Michael Orthofer told all of us about The Weather Fifteen Years Ago by Wolf Haas. None of us had heard of this because Ariadne Press wasn’t aware of the award, or didn’t bother sending us copies, or whatever. But the book was one of the best eligible translations published in 2009, and we wanted everyone to know about it.
Point being, unless Melville House stops publishing literature in translation (which I don’t think is going to happen anytime soon), their titles will still be considered for the award. We won’t expect any review copies to be arriving on the doorsteps of our panelists anytime soon (although seeing that the majority are also reviewers, we might end up receiving more books than we expect), and if a Melville House title is chosen, we will offer the money to the winning author and translator. It’s up to them if they want to reject it or not. We’ll still promote the book, try and get people to read it, etc., etc.
And yes, as in years past, we will try and promote the crap out of these titles through independent bookstores. I worked for years in indie stores before getting into publishing and will always have a soft spot in my heart for what they do. I love the people in bookselling, the feeling of being in a bookstore, of browsing, of overhearing bookish conversations, of getting a recommendation from someone who’s more well-read than I am. Simply put, indie bookstores kick ass. And as was demonstrated with the now on hiatus Reading the World program, and the number of judges on our panels, indie stores are great supporters of international literature, and we (me, Open Letter, Three Percent, the BTBAs, society) would be lost without them.
Since oversharing is a hallmark of this blog, I do want to say that reading about Dennis’s post on dozens and dozens of blogs and tweets and whatever rocked my mind a little bit. As I said above, this was my decision, and the awards my baby, so I take any and all criticisms way more personally than maybe I should. Learning how best to run and promote this awards has been a process. We’re still experimenting with how best to announce the awards, with how to promote the winning titles. And we’ll keep experimenting. Undeniably, Amazon’s contribution will help us reach these goals, and I’m sorry that Dennis has chosen to try and undermine the awards in an attempt to make a political point. We’re going to continue doing what we’re doing, and doing all we can do to champion literature in translation.
OK, back to your regularly scheduled postings.
1 As a corollary to Dennis’s post, I wonder if he’s also withdrawing support from PEN America, the 92nd St. Y, and all of these other organizations that have received funding from Amazon.
I know I’ve written it before, and will do so again, but the Wolff Symposium is one of the absolute best annual translation-related gatherings. It’s held every June and is centered around the awarding of the Helen and Kurt Wolff Translator’s Prize, which is given to the best translation from German into English published in the previous year. All genres are eligible, but translators can only win once.
Anyway, the symposium took place a few weeks back and was absolutely amazing. Great panels, wonderful to see Ross Benjamin receive the award, very nice tribute to Breon Mitchell re: his new translation of The Tin Drum. (I maybe shouldn’t admit this, but I’ve never read this, although every time I see Breon I swear that it’ll be the next book I pick up . . . And it will be! Soon. Soon . . .)
I was planning on writing up some notes and thoughts and whatever from the day of panels, but well, it’s been a busy time and besides, WBEZ was there to record the whole symposium. And although I can’t imagine many people listening to all of these podcasts, they’re a much better record of what was discussed than anything I could babble on about . . .
If you do decide to listen, you might want to do so in order—at least when it comes to the “Increased Interest in Foreign Fiction?” and “Cultivating Audiences” panels, otherwise my random 15-minute speech at the beginning of the latter panel will make next to no sense . . .
First off is the tribute to Breon Mitchell that included an interview with NY Times journalist David Streitfeld.
(There was another panel with Peter Constantine, Drenka Willen, Susan Bernofsky, Krishna Winston, Ross Benjamin, and Breon Mitchell, but I can’t find the podcast . . . Which sucks! This was a great conversation . . . Maybe I’m just missing something? If anyone knows where this is, please e-mail me.)
Then the panel with Dennis Loy Johnson of Melville House, Daniel Slager of Milkweek, Jeremy Davies of Dalkey Archive Press on An Increased Interest in Foreign Literature?
And then the Cultivating Audiences – Particular Examples, Viable Models? panel that started with my rant and ended with all of us (Susan Harris of Words Without Borders, Susan Bernofsky, and Annie Janusch) talking about technology and reaching readers . . . while my phone buzzed with the dozen or so text messages I received during that panel . . .
Finally, we wrapped up with a
contentious argument about Amazon.com discussion about Publishing Literary Translations and New Publishing Technologies. Dennis Loy Johnson of Melville House, Henry Carrigan of Northwestern University Press, and Jeff Waxman of Seminary Co-op were on this panel, which was a great way to end the day, having moved from a grand appreciation of Breon and the craft of translation to the dirty details of the book business and how all the various segments always feel like their getting screwed. Speaking of screwing, this panel also had one of the funniest exchanges of the day:
Jeff: “Being a bookseller, it’s kind of an unrequited love affair with books where you know that you’re going to get screwed.”
Chad: “That’s not really an unrequited . . . It’s actually just a love affair.”
This then led to a series of sexually charged double entendres . . . Man, those end of the day panels—brilliant!
MobyLives is back!
Started by Dennis Loy Johnson years ago, MobyLives was one of the pioneering lit/political blogs. It was insanely popular and triumphantly smart, and it’s refreshing to have it back.
In case you’re wondering what DLJ (and his wife Valerie Merians) did in the years between shutting this down and relaunching, check out Melville House Press one of the premiere independent presses in the world today.
Their “Art of the Novella” series—including both classics and contemporary works—is both visually striking and one of the sharpest series out there. (We’re planning reviews of Imre Kertesz’s The Pathseeker, Benoit Duteurtre’s Customer Service, and Alejandro Zambra’s Bonsai.)
Paul Klee’s Boat, Anzhelina Polonskaya’s newest bilingual collection of poems available in English, is an emotional journey through the bleakest seasons of the human soul, translated with great nuance by Andrew Wachtel. A former professional ice dancer(!), Polonskaya left the. . .
In Seiobo There Below, Lázló Krasznahorkai is able to succeed at a task at which many writers fail: to dedicate an entire novel to a single message, to express an idea over and over again without falling into repetition or. . .
There are curious similarities in three Italian mystery series, written by Maurizio de Giovanni, Andrea Camilleri, and Donna Leon.1
They’re all police procedurals, and all set in Italy: Naples, Sicily, Venice.
The three protagonists are Commissarios: Luigi Ricciardi, Salvo. . .
Poetry always has the feel of mysticism and mystery, or maybe this feeling is a stereotype left over from high school literature class. It is generally the result of confusion, lack of time committed to consuming the poetry, and the. . .
Our Lady of the Flowers, Echoic is not only a translation, but a transformation. It is a translation of Jean Genet’s novel Notre Dame des Fleurs, transmuted from prose to poetry. Originally written in prison as a masturbatory aid (Sartre. . .
Equal parts stoner pulp thriller and psycho-physiological horror story, a pervasive sense of dread mixes with a cloud of weed smoke to seep into every line of the disturbing, complex Under This Terrible Sun. Originally published by illustrious Spanish publishers. . .
From the start, Daniel Canty’s Wigrum, published by Canadian press Talonbooks, is obviously a novel of form. Known also as a graphic designer in Quebec, Canty takes those skills and puts them towards this “novel of inventory” and creates a. . .