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.
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“I was small. And my village was small, I came to know that in time. But when I was small it was big for me, so big that when I had to cross it from one end to the other,. . .
A few weeks after moving into a farm house in the Welsh countryside, Emilie, an expatriate from the Netherlands, starts to think about her uncle. This uncle tried to drown himself in a pond in front of the hotel where. . .
Think back to the last adventure- or action-type book you read. Wasn’t it cool? Didn’t it make you want to do things, like learn to shoot a crossbow, hack complicated information systems, travel to strange worlds, take on knife-wielding thugs,. . .
In Aira’s Shantytown, while we’re inside the characters’ heads for a good portion of the story, the voice we read on the page is really that of Aira himself, as he works out the plot of the book he’s writing.. . .
Noir is not an easy genre to define—or if it once was, that was a long time ago, in a galaxy far, far away; as a quick guess, maybe Silver Lake, Los Angeles, 1935. When two books as different as. . .
Some time ago I read this phrase: “The page is the only place in the universe God left blank for me.”
Pedro Mairal’s short novel The Missing Year of Juan Salvatierra is more about these blank spaces than the usual full. . .
“What if even in the afterlife you have to know foreign languages? Since I have already suffered so much trying to speak Danish, make sure to assign me to the Polish zone . . .”
So reads a typical aphoristic “poem”. . .
If you somehow managed to overlook the 2012 translation of Andrés Neuman’s breathtaking Traveler of the Century (and woe betide all whom continue to do so), you now have two exceptional works of fiction from the young Argentine virtuoso demanding. . .