A few weeks back, I posted about the 2010 Best Translated Book Award and included all of the dates and information for the Fiction selections. (To recap: We’ll announce the 25-title longlist on Tuesday, January 5th, the ten finalists on Tuesday, February 16th, and the winner at a TBD day in mid-March.)
In terms of potery, just over 60 titles came out over the past year (that year being from December 2008 through November 2009), so rather than announce a longlist consisting of 40% of all eligible books, for poetry we’re skipping right to the finalists and announcing the ten BTB poetry books on Tuesday, February 16th. And just as we do for the fiction titles, we’ll be highlighting a poetry book a day between the 22nd of February and the announcement of the winner.
I’ve been contacting all publishers with eligible titles, but in case I missed anyone, or in case you’re intentionally or unintentionally ignoring my e-mail, I thought I’d post the general guidelines on submitting books for the prize.
All original translations published between December 1, 2008 and November 30, 2009 are eligible. And by “original” we mean collections that have never before appeared in English—so no reprints, and no retranslations.
There’s no entry fee, all you have to do is mail one copy of your publication to each of the five panelists. (And if possible, send one copy to me as well—my address is on that same form—for record keeping and whatnot.) Please include a note or mark the package in some way indicating that these are 2010 BTB submissions . . .
Here are the names of the five panelists for this year’s award:
And now the countdown begins . . . I have a feeling that this year’s award will spark a lot more debate than the 2009 one. There doesn’t seem to be as many clear-cut favorites this time around, whereas last year was all about Bolano . . . And although he didn’t win, 2666 was one of the three best books that stood out to all of the panelists, along with Horacio Castellanos Moya’s Senselessness, and eventual winner Attila Bartis’s Tranquility. Should be interesting . . .
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. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .