Last night the French-American Foundation and Gould Foundation held their annual translation prize ceremony, honoring Jody Gladding & Elizabeth Deshays in the fiction category for their translation of Small Lives by Pierre Michon (Archipelago) and Matthew Cobb & Malcolm Debevoise in nonfiction for their translation of Life Explained by Michel Morange (Yale University Press)
As Thomas Bishop pointed out in his opening remarks, it’s interesting that both winners were translated by a pair of translators. Not that this is necessarily good or bad, just interesting. He also gave a shout out to American university presses as one of the admirable publishing segments of the book business trying to do a lot of literature in translation.
Of the finalists for the nonfiction category, four of the five titles were published by university presses (the exception being Camus’s Notebooks that came out from Ivan R. Dee). The fiction category had a different make-up, but three of the six finalists were from independent presses (Archipelago, Europa Editions, and New York Review Books).
The event—which took place at the Century Association—was very well attended (standing room only!), filled with all the editors, agents, translators, and other cultural peoples involved in international lit. (Especially French literature. One of the cool things the FAF did, which I’ve never seen before, is hand out a printed list of all RSVPs, so attendees could see who else was supposedly there and seek them out . . . Actually sort of helpful for a reception of this sort, where you’re only one or two connections away from everyone else . . .
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. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .