The first set of Art Works grants from the NEA were announced this morning, and I’m incredibly giddy about the fact that Open Letter was awarded $45,000 for the following:
To support the publication and promotion of books in translation and the continuation of the translation website Three Percent. Works from Germany, Denmark, Bulgaria, Italy, Iceland, and Greece will be translated. The website features 50-70 book reviews per year; the Best Translated Book Awards; and posts on international awards, new works, opportunities for translators, the future and business of publishing, and book culture in general.
To make that a bit more specific, this grant will primarily support the publication and promotion of these five titles:
Two or Three Years Later by Ror Wolf, translated from the German by Jennifer Marquart;
This Is the Garden by Guilio Mozzi, translated from the Italian by Elizabeth Harris;
The Last Days of My Mother by Sölvi Björn Sigurðsson, translated from the Icelandic by Helga Soffía Einarsdóttir;
When We Leave Each Other by Henrik Nordbrandt, translated from the Danish by Patrick Phillips; and,
Why I Killed My Best Friend by Amanda Michalopoulou, translated from the Greek by Karen Emmerich.
We’ll be posting more information about all these titles as they become available (the Nordbrant poems will be coming out first, in April as part of National Poetry Month), and posting excerpts, etc.
So far, this has been a great week for Open Letter . . . And I recommend checking out the full list of literary organizations receiving NEA funding—it’s an absolutely stellar list of some of the best nonprofit lit orgs in the country.
When I was about two-thirds of the way through Neuman’s very ambitious, very engrossing novel, Bromance Will Evans asked me what I thought the purpose the rapist had in this book. Not who the rapist was—something that’s held in suspense. . .
“At night Amarâq is coated with a darkness as viscous as unmixed colors, neither the fjord nor the mountains, valleys, lakes, or the river exist, there is only a black mass, a void that spreads across the landscape sporadically, pressing. . .
If you’ve been following any of the recent Antoine Volodine talk going around Three Percent—both on the blog or on the podcasts—and have heard his fans wax obsessive over all his alter author-egos, you’re probably starting to feel some Volodine. . .
Muireann Maguire’s Red Spectres is a stunning and engaging collection of eleven Russian gothic tales written by various authors during the early Soviet Era, all but two stories of which are featured in English for the first time ever. These. . .
“The small stone plaza was floating in the midday heat. The Christ of Elqui, kneeling on the ground, his gaze thrown back on high, the part in his hair dark under the Atacaman sun—he felt himself falling into an ecstasy.. . .
This slender, uncanny volume—the second, best-selling collection of stories by Russian author Ludmilla Petrushevskaya to appear in the U.S.—has already received considerable, well-deserved praise from many critics and high profile publications. Its seventeen short tales, averaging ten pages each, are. . .
The Urdu word basti refers to any space, intimate to worldly, and is often translated as “common place” or “a gathering place.” This book by Intizar Husain, who is widely regarded as one of the most important living Pakistani writers,. . .