Just reproducing the press release the GBO sent me, since it says everything that needs to be said in the best way possible:
The German Book Office is excited to announce that Kurt Beals has won its first ever translation competition.
Beals, a PhD Candidate in German Literature and Culture at the University of California, Berkeley, will receive a $600 commission to translate the first fifteen pages of Nora Bossong’s novel Gesellschaft mit beschraenkter Haftung into English. Translator Elizabeth Janik, meanwhile, has been named runner-up, and both translators will be added to the Goethe-Institut & German Book Office translator database.
“As a reader and a student of German literature, every so often I come across a work that’s brilliant, unexpected, and untranslated,” said Beals. “And as a translator, that’s the kind of problem that I like to solve. But I think that the more fundamental reason to translate, for me, is that there’s no better way to engage thoroughly with a work of literature, to think about each word, why it’s there and how it fits into the work as a whole.”
The competition, which aimed to bring aspiring German language translators into contact with US editors, asked contestants to translate a seven-hundred word excerpt from Gesellschaft mit beschraenkter Haftung. Submissions were limited to translators who had no more than one translated book published in English and are US based.
The first round of judging featured a panel of American editors – comprised of Jenna Johnson from Houghton Mifflin Harcourt, John Siciliano from Penguin, and Random House’s Lexy Bloom – who narrowed down the nearly sixty submissions to a shortlist of nine.
A panel of three accomplished translators – Susan Bernofsky, Burton Pike and Ross Benjamin – then chose from that shortlist the winner and runner up.
The announcement was made last night at a reception and awards ceremony at the Goethe-Institut New York.
“I’m pleased that the German Book Office has offered translators at an early stage in their careers an opportunity to test their skills and receive recognition for their efforts,” added Beals. “This is a great way to encourage the next generation of translators!”
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
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. . .