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 email@example.com. 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
*Defined more or less as writers currently active, or active in the later 20th/early 21st century. When in doubt, query!
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.
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.
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?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .