The winner of the Oxford-Weidenfeld Translation Prize 2014 is Susan Wicks for her translation of Valérie Rouzeau’s Talking Vrouz (Arc publications).
From the judges:
“Talking Vrouz is a wonderfully inventive and yet faithful translation of poems which are already at an oblique angle to their own language (French). Susan Wicks renders a unique poetic voice, with all its eccentricities and privacies, into a matching English. The translation is exact, inventive and full of life, and offers readers something new and startling in English poetry.”
The Prize was awarded at an event at St Anne’s College Oxford, at which the shortlisted translators read from and discussed their work. This was the crowning event of Oxford Translation Day, a festival or talks, readings and workshops staged in collaboration with Oxford Comparative Criticism and Translation, English PEN, the Poetry Translation Centre, the Oxford German Network, the East Oxford Community Classics Centre and the Oxford Research Centre for the Humanities.
The Oxford–Weidenfeld Prize is for book-length literary translations into English from any living European language. It aims to honour the craft of translation, and to recognise its cultural importance. It is funded by Lord Weidenfeld and by New College, The Queen’s College and St Anne’s College, Oxford.
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .