The Susan Sontag Foundation recently announced Julia Powers and Adam Morris as the winners of their 2012 Prize for Translation. Every June, the $5,000 prize is awarded to a literary translator under the age of 30 over the course of five months, during which the proposed project must be completed. The award was established to foster the development of a new generation of literary translators and increase the number of works in translation published in the United States. This year, the prize will be split between Powers and Morris, who will each translate a work by Hilda Hilst, a Brazilian poet, novelist, and playwright. Known for writing about intimacy, insanity, and supernatural events, Hilst wrote for 50 years, during which she won almost every major Brazilian literary prize.
Julia Powers will translate Contos d’escárnio/Textos grotescos, a short, satirical novel with elements of confessionalism and radical criticism. A graduate of Amherst College, Powers has worked as an editor for the Hudson Review and recently received a Fulbright research grant to translate literature in Salvador, Brazil. This fall, she will begin her Ph.D. in Comparative literature at Yale University.
Adam Morris’s project, A obscena senhora D, is an erotic narrative that draws inspiration from the field of psychoanalysis. Morris is currently working toward a Ph.D. at Stanford University, studying 20th and 21st century Latin American literature. He has been published in CR: The New Centennial Review, The Luso-Brazilian Review, parallax, Zyzzyva, and Public Books.
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .