I can’t find a listing at the National Poetry Series website, but Lawrence Venuti has been awarded the 2008 Robert Fagles Translation Prize for his translation of Edward Hopper by Ernest Farres.
The prize—which was awarded for the first time last year—is given each year to a translation who has “shown exceptional skill in translating a book of contemporary poetry into English.”
Venuti is an incredible force in the world of translation and translation studies. He translated from Italian, French, and Catalan and is also the author of The Translator’s Invisibility: A History of Translation. He’s been awarded a number of grants and fellowships, including ones from the NEA, NEH, and PEN, and in 2007 he received a Guggenheim Fellowship. He currently teaches at Temple University.
I’ve read some of the poems from Edward Hopper in Two Lines, Calque, and Words Without Borders and it promises to be an interesting collection. (It’s coming out next year from Graywolf Press.) Basically, each poem is named after and based on an Edward Hopper painting. Based on that, it’s sort of surprising that Edward Hopper has been “adapted to the stage in both Catalan and Spanish.” In addition to writing poetry, Farres is also an editor for the cultural supplement of La Vanguardia.
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
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?),. . .