Thanks—in a somewhat roundabout way—to Arts Council England funding, I had the chance to meet with Eric Abrahamsen and Nikki Harman from Paper Republic at the London Book Fair. Paper Republic is one of the best online sources for information about Chinese literature, especially thanks to resources such as their lists of books to (re)translated.
A relatively new feature, the site now offers three short lists: Five Books in Need of Retranslation,, Five Best Untranslated Books of the Past Five Years, and Five Best Untranslated Books of the Past Fifty Years.
They’re still in the process of adding information about each of these fifteen books and authors, and, in some cases, even making sample translations available. You can visit the links above to see the complete lists, but here are a couple titles that caught my eye:
The recipients of this year’s PEN Translation Fund Awards were announced last week, and once again, a number of really interesting projects are highlighted—including a number that are still looking for a publishers . . .
For those unfamiliar with the prize, this was established in 2003 thanks to an anonymous gift of some $730,000 and every year ten or so translators receive $2,000-$5,000 for a project they are working on. These projects don’t need to have a publisher already, and since translators apply directly, the Fund receives approx. 130 applications each year. (Almost half as many applications as the number of translations published in the U.S. . . .)
Anyway, here are this year’s winners:
Eric Abrahamsen for My Spiritual Homeland by Wang Xiaobo (1952-1997), a collection of penetrating, funny and breathtakingly frank essays written fifteen years after the Cultural Revolution by one of China’s most insightful and controversial writers. (No publisher)
Mee Chang for Garden of Youth (1981) by Oh Junghee, a series of powerful stories that center on the struggles of domestic life during the Korean War, by a writer widely recognized as the master of the Korean short story. (No publisher)
Robyn Creswell for The Clash of Images (1995) by Abdelfattah Kilito, a hybrid bildungsroman, written in French, set in the medina of an unnamed Moroccan city. Growing up in a traditional world where the image is taboo, the protagonist is seduced by new American technologies of the image. (No publisher)
Brett Foster for Elemental Rebel: The Rime of Cecco Angiolieri (1260-1310?), a selection of impudent sonnets by a Sienese rival of Dante with a penchant for parodic wordplay. (Forthcoming from Princeton University Press)
Geoffrey Michael Goshgarian for The Remnants by Hagop Oshagan (1883-1948), a historical novel widely considered one of the greatest masterpieces of Armenian literature, written in the early 1930s “to save what remained of our people.” (No publisher)
Tess Lewis for That Didn’t Reassure the Children (2006) by Alois Hotschnig, a collection of disquieting stories about the mystery, fluidity and perils of intimacy, by a prize-winning Austrian writer renowned for his stylistic virtuosity. (No publisher)
Fayre Makeig for Mourning (2006), a selection of free verse poems by H.E. Sayeh, an eminent contemporary Iranian poet whose life and work span many of Iran’s political, cultural and literary upheavals. “Tell us, heaven, why the rain / pours from your eyes…” (No publisher)
Arvind Krishna Mehrotra for Poems of Kabir, a selection of 60 Hindi padas (songs) by India’s legendary mystic poet saint (1398?-1448?) who opposed all religious and social orthodoxies and oppositions. “But I’m wasting my time, / Says Kabir, / Even death’s bludgeon / About to crush your head / Won’t wake you up.” (No publisher)
Frederika Randall for Deliver Us from Evil by Luigi Meneghello (1922-2007), a darkly original memoir, ordered by theme rather than chronology, set in rural Italy when the Church and Il Duce ruled. The savage immediacy of childhood perception combines with amused and astutely ironic insights in an unsentimental human comedy. (No publisher)
Daniel Shapiro for Missing Persons, Animals and Artists (1999) by Roberto Ransom, a short story collection by an acclaimed young Mexican writer which explores the enigmas of art and the creative process with gentle irony and whimsical, at times fantastical, premises. (No publisher)
Chantal Wright for A Handful of Water (2008), poems written in German by Tzveta Sofronieva, a young Bulgarian-born poet, trained as a physicist and science historian, who also writes in Bulgarian and English. Joseph Brodsky said of her, “Listen carefully… She has something to say.” (No publisher)
Congratulations to all the winners, and I’m especially pleased to see Tess Lewis, Eric Abrahamsen of Paper-Republic) and Daniel Shapiro of the Americas Society. The unsigned books on this list usually find a publisher within days, so it’s possible this is already out of date . . . Which is great for the translators and authors, and means that I really have to get moving on contacting the right people about the projects that sound most interesting to me . . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
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!. . .