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.
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .
While looking back at an episode in his life, twenty-year-old Taguchi Hiro remembers what his friend Kumamoto Akira said about poetry.
Its perfection arises precisely from its imperfection . . . . I have an image in my head. I see. . .
The central concern of Sorj Chalandon’s novel Return to Killybegs appears to be explaining how a person of staunch political activism can be lead to betray his cause, his country, his people. Truth be told, the real theme of the. . .
Spoiler alert: acclaimed writer Stefan Zweig and his wife Lotte kill themselves at the end of Lauren Seksik’s 2010 novel, The Last Days.
It’s hard to avoid spoiling this mystery. Zweig’s suicide actually happened, in Brazil in 1942, and since then. . .
To call Kjell Askildsen’s style sparse or terse would be to understate just how far he pushes his prose. Almost nothing is explained, elaborated on. In simple sentences, events occur, words are exchanged, narrators have brief thoughts. As often as. . .
After a mysterious woman confesses to an author simply known as “R” that she has loved him since she was a teenager, she offers the following explanation: “There is nothing on earth like the love of a child that passes. . .