This morning, Judge Jeff and I were on the local morning news show to talk about the 2012 Best Translated Book Award finalists.
And even though it’s not even noon, I highly recommend using this as a drinking game . . . Every time Judge Jeff looks directly into the camera, do a shot. And do a double if he looks in there and smiles.
April 10, 2012—On Tuesday evening, the poetry and fiction finalists for the 2012 Best Translated Book Awards were announced during a special event at the University of Rochester, and on Three Percent, the university’s translation-centric website (www.rochester.edu/threepercent).
“In previous years, there was much less consensus than we saw this year when choosing a list. That eleven very different readers have all found these books so exceptional speaks volumes about the incredible appeal of the shortlist—this is some of the best fiction of the year, in any language,” said fiction committee member Jeff Waxman.
Highlights from this year’s fiction list include Jean Echenoz’s Lightning, translated from the French by Linda Coverdale; Magdalena Tulli’s In Red, translated from the Polish by Bill Johnston; and Enrique Vila-Matas’s Never Any End to Paris, translated from the Spanish by Anne McLean.
Notable poetry finalists include Anja Utler’s engulf—enkindle, translated from the German by Kurt Beals; and Amal al-Jubouri’s Hagar Before the Occupation, Hagar After the Occupation, translated from the Arabic by Rebecca Gayle Howell with Husam Qaisi.
“We had an especially strong selection of books this year,” said BTBA poetry committee member Idra Novey, “and from a wider ranger of presses, many of them publishing translations of contemporary poets for the first time, including Alice James and Canarium Books, both of which ended up with a finalist on this year’s list.”
The Best Translated Book Awards launched in 2007 as a way of bringing attention to great works of international literature. Original translation (no reprints or retranslations) published between December 2010 and December 2011 are eligible for this year’s award. Quality of the original book and the artistry of the English translation are the criteria used in determining the winning titles.
Overviews of the ten fiction finalists can be found at the Best Translated Book Award website, and the poetry finalists will be featured there and on Three Percent beginning next week. Also available on besttranslatedbook.org are promotional posters and shelf-talkers that booksellers can download for free.
The BTBA winners will be announced on Friday, May 4 at 6:00pm at McNally Jackson Books as part of the PEN World Voices Festival. More details about the celebration will be available in late April.
Once again, Amazon.com is supporting the BTBA this year through its giving program (www.tinyurl.com/amazongiving), providing the prize money so that the winning authors and translators will each receive a $5,000 cash prize. The BTBA is one of several non-profit programs supported by Amazon.com that is focused on bringing more great works from around the world to English-language readers. Other recipients include the PEN American Center Translation Fund, Worlds Without Borders, Open Letter, the Center for the Art of Translation, Archipelago Books, and the Ledig House International Writers Residency.
This year’s fiction judges are: Monica Carter (Salonica), Gwendolyn Dawson (Literary License), Scott Esposito (Conversational Reading and Center for the Art of Translation), Susan Harris (Words Without Borders), Annie Janusch (Translation Review), Matthew Jakubowski (writer & critic), Brandon Kennedy (bookseller/cataloger), Bill Marx (PRI’s The World: World Books), Edward Nawotka (Publishing Perspectives), Michael Orthofer (Complete Review), and Jeff Waxman (Seminary Co-op and University of Chicago Press).
The poetry judges are: Brandon Holmquest (poet, translator, editor Asymptote Journal), Jennifer Kronovet (poet, translator), Erica Mena (poet, translator, host of the Reading the World Podcast), Idra Novey (poet, translator), and Kevin Prufer (poet, academic, essayist).
Fiction Finalists (in alphabetical order):
Lightning by Jean Echenoz
Translated from the French by Linda Coverdale
Upstaged by Jacques Jouet
Translated from the French by Leland de la Durantaye
(Dalkey Archive Press)
Kornél Esti by Dezső Kosztolányi
Translated from the Hungarian by Bernard Adams
I Am a Japanese Writer by Dany Laferrière
Translated from the French by David Homel
(Douglas & MacIntyre)
New Finnish Grammar by Diego Marani
Translated from the Italian by Judith Landry
Stone Upon Stone by Wiesław Myśliwski
Translated from the Polish by Bill Johnston
Scars by Juan José Saer
Translated from the Spanish by Steve Dolph
Kafka’s Leopards by Moacyr Scliar
Translated from the Portuguese by Thomas O. Beebee
(Texas Tech University Press)
In Red by Magdalena Tulli
Translated from the Polish by Bill Johnston
Never Any End to Paris by Enrique Vila-Matas
Translated from the Spanish by Anne McLean
Poetry Finalists (in alphabetical order):
Hagar Before the Occupation, Hagar After the Occupation by Amal al-Jubouri
Translated from the Arabic by Rebecca Gayle Howell with Husam Qaisi
(Alice James Books)
Last Verses by Jules Laforgue
Translated from the French by Donald Revell
Spectacle & Pigsty by Kiwao Nomura
Translated from the Japanese by Kyoko Yoshida and Forrest Gander
A Fireproof Box by Gleb Shulpyakov
Translated from the Russian by Christopher Mattison
engulf—enkindle by Anja Utler
Translation from the German by Kurt Beals
False Friends by Uljana Wolf
Translated from the German by Susan Bernofsky
(Ugly Duckling Presse)
Here’s a PDF version of the press release.
Sorry . . . All German, all day here at Three Percent. But again, following up on the first post this morning with the overview of the German Book Prize longlist, the shortlist was announced just a few hours ago and includes exactly two of the titles I thought sounded most interesting. (I so suck at predicting things like this. Which is why I’m not betting on the Man Booker . . . or the Nobel.)
Anyway, here are the six finalists, with the winner to be announced at the start of the Frankfurt Book Fair:
Jan Faktor, Georgs Sorgen um die Vergangenheit oder im Reich des heiligen Hodensack-Bimbams von Prag (Georg’s concern about the Past)
Thomas Lehr, September (Fata Morgana)
Melinda Nadj Abonji, Tauben fliegen auf (Falcons without Falconers)
Doron Rabinovici, Andernorts (Elsewhere)
Peter Wawerzinek, Rabenliebe (Motherless Child)
Judith Zander, Dinge, die wir heute sagten (Things We Said Today)
English excerpts will be available sometime over the next few weeks. I’ll definitely post about that as soon as they appear . . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .