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…
While looking back at an episode in his life, twenty-year-old Taguchi Hiro remembers what his friend Kumamoto Akira said about poetry.
Its perfection arises precisely from its imperfection . . . . I have an image in my head. I see. . .
The central concern of Sorj Chalandon’s novel Return to Killybegs appears to be explaining how a person of staunch political activism can be lead to betray his cause, his country, his people. Truth be told, the real theme of the. . .
Spoiler alert: acclaimed writer Stefan Zweig and his wife Lotte kill themselves at the end of Lauren Seksik’s 2010 novel, The Last Days.
It’s hard to avoid spoiling this mystery. Zweig’s suicide actually happened, in Brazil in 1942, and since then. . .
To call Kjell Askildsen’s style sparse or terse would be to understate just how far he pushes his prose. Almost nothing is explained, elaborated on. In simple sentences, events occur, words are exchanged, narrators have brief thoughts. As often as. . .
After a mysterious woman confesses to an author simply known as “R” that she has loved him since she was a teenager, she offers the following explanation: “There is nothing on earth like the love of a child that passes. . .
Floating around the internet amid the hoopla of a new Haruki Murakami release, you may have come across a certain Murakami Bingo courtesy of Grant Snider. It is exactly what it sounds like, and it’s funny because it’s true,. . .
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .