I just received an invitation to the award ceremony for the French-American Foundation & Florence Gould Foundation Annual Translation Prizes, and since I think I missed the announcement of the finalists, I thought I’d take this chance to congratulate all ten translators being honored.
John Cullen for Brodeck by Philippe Claudel (Nan A. Talese/Doubleday)
C. Dickson for Desert by J.M.G. Le Clezio (David R. Godine Publishing)
Richard Howard for Alien Hearts by Guy de Maupassant (New York Review Books)
Charlotte Mandell for The Kindly Ones by Jonathan Littell (HarperCollins)
Richard Sieburth for The Salt Smugglers by Gerard de Nerval (Archipelago Books)
Beverley Bie Brahic for This Incredible Need to Believe by Julia Kristeva (Columbia University Press)
M.B. DeBevoise for Manichaeism by Michel Tardieu (University of Illinois Press)
Jody Gladding for On the Death and Life of Languages by Claude Hagege (Yale University Press/Odile Jacob)
George Holoch for Orphans of the Republic by Olivier Wieviorka (Harvard University Press)
Loic Wacquant for Prisons of Poverty by Loic Wacquant (University of Minnesota Press)
Great list of translators/books/publishers . . .
The prizes will be given out on Thursday, September 16th at a special event at the Gallery at the Century Association. For more information about the awards (and how to attend the ceremony/reception—which is always quite stunning) contact Sierra Schaller at sschaller [at] frenchamerican [dot] org.
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. . .
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. . .