For this week’s podcast, Tom and I answered our first mailbag question about literary journals, discussed the old adage that “short stories don’t sell,” and complained about the unbeatable Milwaukee Brewers.Read More...
In our fifty-first year of publication, the editors of the Massachusetts Review plan to dramatically increase the amount of fiction, poetry, and socially-engaged nonfiction they publish in translation. Today, we see a great need for literary journals to internationalize—to open their ears and their pages to voices from outside the United States, and to writers in languages other than English. MR believes we have a real opportunity for synergy with friends and colleagues from local institutions, given the strength of the University of Massachusetts Amherst programs in translation, of the locally-based translation studies journal Metamorphoses, as well as of the American Studies Diploma Program at Smith College (a one-year graduate program exclusively for international students). But we will of course need the help of readers, colleagues, and translators from across the globe. To that end, we announce the Jules Chametzky Prize for Literary Translation.
The Jules Chametzky Prize in Literary Translation, sponsored by the Massachusetts Review, will be awarded annually to the best poem and prose translations published within our pages in a Volume year. Judges for the award will be MR’s translation editors, Ellen Watson and Edwin Gentzler, along with an additional third judge, chosen yearly from the local pool of translation experts. MR editors are not eligbile for the prize. Once a decision has been made, the writers in both categories will be contacted directly. The prize will award $500 each for the best poetry and prose translations to appear in MR’s pages in a Volume year. There is no entry fee; all submissions must be adhere to our general guidelines, which you will find here. A copy of the translated text should be submitted along with the translation.
To put it simply, our goal is to publish great writing from across the globe, from writers we haven’t yet heard.
They’re accepting submissions starting October 1st…
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .