Commentary and analysis will go in another post . . . for now, here’s the official press release.
January 27, 2011—The 25-title fiction longlist for the 2011 Best Translated Book Awards was announced this morning at Three Percent—a resource for international literature at the University of Rochester. According to award co-founder Chad W. Post, this year’s longlist is a “testament to the number of high-quality works in translation that are making their way to American readers, thanks to a number of talented translators and exciting publishing houses.”
Featuring authors from 19 countries writing in 12 languages, the list highlights established authors, like Javier Marías and David Grossman, alongside newcomers, such as Julia Franck and Abdelfattah Kilito. It also features titles from the past three centuries, from Eline Vere (originally published in Dutch in 1893) to I Curse the River of Time (first published in Norwegian in 2008), and there’s a wide range of length, with Cyclops checking in at 550 pages, and Bad Nature, or With Elvis in Mexico at a much briefer 57 pages.
“Not only is this a collection of the year’s most important and compelling books in translation, it’s a list of high quality books that deserve readers’ attention,” said fiction judge Monica Carter. “These books represent a global perspective that, due to the dedication and talent of the translators, can open up the world to readers of English. The Best Translated Book Awards serve the world literature community of writers, translators, and readers in a way that no other award can.”
Founded in 2007 with the goal of bringing additional attention to international works of literature, the Best Translated Book Awards are one of the only awards in the country honoring original works in translation. Selection criteria include the quality of the work itself, along with the quality of the translation. All original translations (not retranslations or reprints) published between December 1, 2009, and November 30, 2010, were eligible.
This year’s set of judges consists of Monica Carter (Salonica), Scott Esposito (Conversational Reading and Center for the Art of Translation), Susan Harris (Words Without Borders), Annie Janusch (Translation Review), Matthew Jakubowski (writer & critic), Brandon Kennedy (bookseller/cataloger), Bill Marx (PRI’s The World: World Books), Michael Orthofer (Complete Review), and Jeff Waxman (Seminary Co-op and The Front Table).
The award itself has grown greatly over the past few years. Beginning as an online-only event, the Best Translated Book Awards now feature an awards ceremony and a $5,000 cash prize—awarded to each winning author and translator, thanks to the support of Amazon.com.
The 10-title fiction shortlist will be announced on Thursday, March 24th, concurrent with the announcement of the finalists for the poetry award. Winners will be announced on April 29th in New York City, as part of the PEN World Voices Festival.
More details about the awards ceremony will be made available in coming weeks. In the meantime, Three Percent will highlight a book a day from the fiction longlist, with pieces written by translators, reviewers, and editors about the individual qualities of each title, and “why it should win.”
The 2011 BTBA Fiction Longlist (in alphabetical order by author):
The Literary Conference by César Aira, translated from the Spanish by Katherine Silver (New Directions)
The Golden Age by Michal Ajvaz, translated from the Czech by Andrew Oakland (Dalkey Archive)
The Rest Is Jungle & Other Stories by Mario Benedetti, translated from the Spanish by Harry Morales (Host Publications)
A Life on Paper by Georges-Olivier Châteaureynaud, translated from the French by Edward Gauvin (Small Beer)
A Jew Must Die by Jacques Chessex, translated from the French by Donald Wilson (Bitter Lemon)
A Splendid Conspiracy by Albert Cossery, translated from the French by Alyson Waters (New Directions)
The Jokers by Albert Cossery, translated from the French by Anna Moschovakis (New York Review Books)
Eline Vere by Louis Couperus, translated from the Dutch by Ina Rilke (Archipelago)
Visitation by Jenny Erpenbeck, translated from the German by Susan Bernofsky (New Directions)
The Blindness of the Heart by Julia Franck, translated from the German by Anthea Bell (Grove)
Hocus Bogus by Romain Gary (writing as Émile Ajar), translated from the French by David Bellos (Yale University Press)
To the End of the Land by David Grossman, translated from the Hebrew by Jessica Cohen (Knopf)
The True Deceiver by Tove Jansson, translated from the Swedish by Thomas Teal (New York Review Books)
The Clash of Images by Abdelfattah Kilito, translated from the French by Robyn Creswell (New Directions)
Bad Nature, or With Elvis in Mexico by Javier Marías, translated from the Spanish by Esther Allen (New Directions)
Cyclops by Ranko Marinković, translated from the Croatian by Vlada Stojiljković, edited by Ellen Elias-Bursać (Yale University Press)
Hygiene and the Assassin by Amélie Nothomb, translated from the French by Alison Anderson (Europa Editions)
I Curse the River of Time by Per Petterson, translated from the Norwegian by Charlotte Barslund and the author (Graywolf Press)
A Thousand Peaceful Cities by Jerzy Pilch, translated from the Polish by David Frick (Open Letter)
Touch by Adania Shibli, translated from the Arabic by Paula Haydar (Clockroot)
The Black Minutes by Martín Solares, translated from the Spanish by Aura Estrada and John Pluecker (Grove/Black Cat)
On Elegance While Sleeping by Emilio Lascano Tegui, translated from the Spanish by Idra Novey (Dalkey Archive)
Agaat by Marlene Van Niekerk, translated from the Afrikaans by Michiel Heyns (Tin House)
Microscripts by Robert Walser, translated from the German by Susan Bernofsky (New Directions/Christine Burgin)
Georg Letham: Physician and Murderer by Ernst Weiss, translated from the German by Joel Rotenberg (Archipelago)
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. . .