This is pretty interesting, and a great opportunity for talented, young German translators:
In 2010, the Goethe-Institut New York received a generous donation in memory of Frederick and Grace Gutekunst with which we have established the Gutekunst Prize for Young Translators. From Frederick Gutekunst’s love of the German language evolved the idea of creating a prize to identify outstanding young translators of German literature into English and assist them in establishing contact with the translation and publishing communities.
Sixth Gutekunst Prize for Young Translators: Now Accepting Submissions
The Gutekunst Prize for Young Translators is open to college students and to all translators under the age of 35 who, at the time the prize is awarded, have not yet published, nor are under contract for, a book-length translation. Applications will be accepted only from permanent residents of the United States. Team translations will not be accepted.
Each applicant is required to translate a literary text of approximately 15 pages, available on request from the Goethe-Institut New York. To receive the text and the application form, please send an email to: GutekunstPrize@newyork.goethe.org
The translation and application form must be mailed electronically to the Goethe-Institut New York by midnight, Friday, March 18, 2016. Full information on the submission procedure is included on the application form.
Translations will be submitted to a jury consisting of three experts in German literature and translation. The winner will be notified in early May 2016. The jury’s statement and the name of the winner will be published on the website of the Goethe-Institut.
The winner of the Gutekunst Prize will be invited to an award ceremony to take place at the Goethe-Institut New York. The $2,500 prize will be awarded at this time and the winner will have the opportunity to present his or her translation.
The winning translation will be published on the website of the Goethe-Institut and, following agreement with the German publisher of the work, be used as a sample translation in negotiations with US publishers, to be conducted by the German Book Office.
For further information, please contact Walter Schlect: GutekunstPrize@newyork.goethe.org
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
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. . .