8 June 11 | Julianna Romanazzi | Comments

If you’re looking to try out your German translation skills the German company no man’s land contacted us and is looking for submissions for its 2011 issue coming out in November. no man’s land is now accepting poetry and prose electronically and by mail. If interested contact Isabel Cole. Viel Glück!

Call for Submissions – no man’s land # 6

Contemporary German-language fiction and poetry in English translation.
Deadline: August 6, 2011.

no man’s land, the online journal for contemporary German literature in translation, is seeking submissions for its 2011 issue.

For prose, send up to 3 texts (stories or self-contained novel excerpts, max. 4,000 words each) by one or different contemporary* writers. For poetry, send work by up to 3 poets, each to a maximum of 5 poems. No simultaneous submissions, please, and – with some possible exceptions** – no previously-published translations. The deadline is August 6, 2011 (postmark date), and we will inform contributors by early September 2011; the issue will go online in November. We regret that we are unable to offer honoraria.

Please include your contact information, biographical and publication information (for both translator and author) and a copy of the original. Also, please provide proof of permission from the original publisher and/or author – whoever holds the rights to the piece (this could be a copy of a letter, or forward us an e-mail).

If you can include the original text in file format (PDF or other), we prefer that you send submissions electronically to Isabel Cole at isabel@no-mans-land.org. Otherwise, mail them to no man’s land, PO Box 02 13 04, 10125 Berlin, Germany.

To save us time and keep us from misplacing your work, please observe the following guidelines for electronic submissions:

1) Submit all texts (poems or prose) by one author in the same file (i.e. not a separate file for each little poem).
2) Name the file with your translation as follows: pr for prose, ly for poetry_your last name_the author’s last name_e. So Anthea Bell’s translation of prose by E. T. A. Hoffmann would be: pr_bell_hoffmann_e.doc. Name the file with the original the same way, but ending with _dt (pr_bell_hoffmann_dt.doc). Stephen Mitchell’s translation of Rilke poems would be ly_mitchell_rilke_e.doc, and the original would be ly_mitchell_rilke_dt.doc.

Apologies if this sounds complicated, but it really would be a great help!

For more information, see our “Translators’ Tips” on the no man’s land website and feel free to contact us at the above e-mail address.

We look forward to reading your work!

The Editors, no man’s land
www.no-mans-land.org

*Defined more or less as writers currently active, or active in the later 20th/early 21st century. When in doubt, query!

  • We are willing to make exceptions for translations that have appeared previously in very limited circulation and that we feel deserve a new audience. Again, please feel free to query.

3 March 09 | Chad W. Post | Comments

This started a while ago, but Rose Mary Salum of Entre los espacios has been interviewing a number of translation journals/magazines about issues of readership, editing, etc., with pretty interesting results.

Each question is a separate post, so here are links to the four already online, along with a quote from one of the responses. (Just for the record, editors from CALQUE, Absinthe, Words Without Borders, Tameme, One Edit, No Man’s Land, and CipherJournal are being interviewed.)

Question #1 is about the perceived lack of interest in international literature among English readers.

Brandon Holmquest from CALQUE: I’m not sure if I agree with the idea that readers are disinclined to read things from other countries. There are a hell of a lot of people in this country who are not readers, and a great many who read things like genre fiction. It does the publisher of serious literature, translated or not, no good to consider these people as readers. A record label that puts out hip-hop records cares about hip-hop fans, people who hate music and rock fans can take of themselves.

Question #2: What would seem to be the essential editorial challenge when working with translations?

Tim Adkins from One Edit: Make it interesting.

Question #3: Is expression in one language completely transmittable into another language?

Dwayne Hayes from Absinthe: I’m not sure the thoughts in our own heads are completely transmittable in our own language! That said, translation stands on its own as a literary work and is definitely capable of transmitting the heart of the text.

Question #4: Should the question be more about how much of a culture we try to transmit and how much we intervene, when working with our journals?

Samantha Schnee from Words Without Borders: The mission statement of WWB sums this up nicely: Words Without Borders opens doors to international exchange through translation, publication, and promotion of the world’s best writing. WWB publishes selected prose and poetry on the web and in print anthologies (the next one to focus on the Islamic world), stages special events that connect foreign writers to the general public and media, develops materials for high school teachers to use foreign literature in classrooms, and continues to build an unparalleled online resource center for contemporary global writing.

Not sure if there are more questions to come, but what’s available so far provides an interesting look into these diverse translation journals—all of which are worth checking out in their own right.

17 December 07 | E.J. Van Lanen | Comments

Absinthe points us to no man’s land, an online journal dedicated to German translations. We’re a tiny bit late to the game, as this is their 2nd issue, but better late than never. According to the site, they are: “more than just an online literary magazine, no man’s land is an information resource and forum for the German- and English-speaking literary communities in Berlin and beyond.”

The 2nd issue features pieces by Julia Franck and Clemens Meyer.

....
The Odyssey
The Odyssey by Homer
Reviewed by Peter Constantine

Now goddess, child of Zeus,
tell the old story for our modern times.

–(The Odyssey, Book I, line 10. Emily Wilson)

In literary translation of works from other eras, there are always two basic tasks that a translator needs. . .

Read More >

I Remember Nightfall
I Remember Nightfall by Marosa di Giorgio
Reviewed by Talia Franks

I Remember Nightfall by Marosa di Giorgio (trans. From the Spanish by Jeannine Marie Pitas) is a bilingual poetry volume in four parts, consisting of the poems “The History of Violets,” “Magnolia,” “The War of the Orchards,” and “The Native. . .

Read More >

Joyce y las gallinas
Joyce y las gallinas by Anna Ballbona
Reviewed by Brendan Riley

This review was originally published as a report on the book at New Spanish Books, and has been reprinted here with permission of the reviewer. The book was originally published in the Catalan by Anagrama as Joyce i les. . .

Read More >

Lost in Translation: An Illustrated Compendium of Untranslatable Words from Around the World
Lost in Translation: An Illustrated Compendium of Untranslatable Words from Around the World by Ella Frances Sanders
Reviewed by Kaija Straumanis

Hello and greetings in the 2017 holiday season!

For those of you still looking for something to gift a friend or family member this winter season, or if you’re on the lookout for something to gift in the. . .

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The Size of the World
The Size of the World by Branko Anđić
Reviewed by Jaimie Lau

Three generations of men—a storyteller, his father and his son—encompass this book’s world. . . . it is a world of historical confusion, illusion, and hope of three generations of Belgraders.

The first and last sentences of the first. . .

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Island of Point Nemo
Island of Point Nemo by Jean-Marie Blas de Roblès
Reviewed by Katherine Rucker

The Island of Point Nemo is a novel tour by plane, train, automobile, blimp, horse, and submarine through a world that I can only hope is what Jean-Marie Blas de Roblès’s psyche looks like, giant squids and all.

What. . .

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The Truce
The Truce by Mario Benedetti
Reviewed by Adrianne Aron

Mario Benedetti (1920-2009), Uruguay’s most beloved writer, was a man who loved to bend the rules. He gave his haikus as many syllables as fit his mood, and wrote a play divided into sections instead of acts. In his country,. . .

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