Yesterday, PEN announced its shortlists for all the awards ever, including those for works of poetry in translation and works of fiction in translation. For the 2014 awards, PEN tried out something new by announcing a longlist back in May.
The 2014 poetry list was judged this year by Kimiko Hahn:
Even Now: Poems by Hugo Claus (Archipelago), David Colmer
Diaries of Exile by Yannis Ritsos (Archipelago), Karen Emmerich & Edmund Keeley
Collected Haiku of Yosa Buson by Yosa Buson (Copper Canyon Press), Takako Lento & W.S. Merwin
Paul Klee’s Boat by Anzhelina Polonskaya (Zephyr Press), Andrew Wachtel
Cut These Words Into My Stone: Ancient Greek Epitaphs (Johns Hopkins University Press), Michael Wolfe
(To which I’ll add that Karen Emmerich is also the translator of Open Letter’s very own Why I Killed My Best Friend by Amanda Michalopoulou.)
In turn, the 2014 fiction /PEN Translation Prize judges are Ann Goldstein, Becka McKay, and Katherine Silver:
An Armenian Sketchbook by Vasily Grossman (New York Review Books), Elizabeth & Robert Chandler
Transit by Anna Seghers (New York Review Books), Margot Bettauer Dembo
The African Shore by Rodrigo Rey Rosa (Yale University Press), Jeffrey Gray
The Emperor’s Tomb by Joseph Roth (New Directions), Michael Hofmann
Autobiography of a Corpse by Sigizmund Krzhizhanovsky (New York Review Books), Joanne Turnbull & Nikolai Formozov.
Winners will be announced by PEN on July 30th.
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .