OK, now that ALTA is over and the new catalog doesn’t come out for two months, I have a bit of time to concentrate on this year’s Best Translated Book Awards. Over the next couple weeks I’ll be posting information about the fiction and poetry panelists, along with an updated list of all translations published in the U.S. this year. Also might highlight some of the books I think will be favorites, announce official dates for the announcements of the longlist, shortlist, and winners, etc.
(And at some point we’ll figure out how to update the official BTBA website. With E.J. gone to Berlin, we’re still getting a handle on some of these logistical things.)
First up, I wanted to provide a general update about the fiction award. Here’s the list of this year’s Fiction Judges. Added to this year’s group are translators Bill Martin and Tess Lewis, and booksellers Stephen Sparks and Jenn Witte. They’re joining Michael Orthofer, Susan Harris, Bill Marx, Scott Esposito, and Monica Carter to determine this year’s twenty-five title longlist, and eventual winner.
Just to recap for everyone’s benefit, here are the general rules for this competition:
Right now, the nine judges are reading their way through all the books they’ve received this year, but to make everything easier on them, presses that want to ensure that their books are being considered for the award should send copies to everyone on this list by November 30th.
A certain press that will remain unnamed (but published more translations that any other over the past couple years, and probably receives more funding for “marketing” from foreign agencies than everyone else in the States combined . . . speculate as you will) recently expressed some dismay about the perceived “cost” of giving away “free books” to this many panelists, especially since they “haven’t won” the award in the past.
Before explaining why I think this is not just stupid, but damaging to book culture as a whole and a slap in the face to the translators this press claims to be concerned about, I want to reiterate that presses are welcome to submit PDF versions of the books to all of the panelists. It’s not preferred, but if a press is concerned about the costs of shipping their product to ten of the most adamant supporters of literature in translation in the United States, then they can save a few bucks and just email them to these addresses.
Now onto the rant: The “logic” behind “demurring” from sending books to the BTBA judges is totally insane. These are ten of the most supportive readers of international literature in the country—many of whom already receive this press’s books. (Sidenote: If a press has already sent a book to one of these reviewers, they don’t need to resend it. And feel free to email and check in before sending a duplicate.) If these reviewers and bookseller’s AREN’T already receiving this press’s books, where are they sending them? Have they decided that reading copies are an unnecessary expense?
As a publisher myself, I can say that the LEAST you can do for one of your books is send copies to readers who are likely to review or recommend these books. It’s not like there’s a ton of huge media outlets for experimental fiction in translation—presses depend on readers like these judges to help spread the word about their titles.
To claim that sending out ten review copies would “leave a smoking hole” in one’s budget is kind of absurd. What is the actual cost of this? In terms of cost accounting, the books themselves are valueless—the printing is a sunk cost, that’s already paid for, and copies that haven’t sold have no intrinsic value until a reader wants to buy them. So basically, the cost is about $20 for shipping these books by media mail to the ten panelists, and maybe an extra $10 for packaging materials. To get this straight, this press’s marketing budget can’t absorb $30 per title to ensure that these titles get serious consideration for one of the most prestigious awards for international literature? An award that would result in their author & translator receiving $5,000 apiece?
This is an award that was designed to benefit all of the translators and international authors whose books are published here in the States, and which tend to be underpromoted and overlooked. Our goal is to highlight the best books in translation as a way of creating a sort of “crib sheet” for readers out there looking to explore the world of literature outside of our linguistic boundaries. And I think we’ve done a damn good job of doing this. Looking back at the shortlisted titles, I’m impressed by just how awesome this collection of books is. And as relatively small as this might be in comparison to awards like the NBCC, NBA, Nobel Prize, I think it’s fantastic that the translators of these books get some recognition for the work that they’ve done. And it they win the $5,000, that’s even better.
The translation field is one that can be pretty lonely and disconnected, and can often leave you feeling unappreciated on the whole. It’s important that everyone involved in this—particularly publishers who are making their living off of the work of underpaid translators—do whatever they can to help raise the awareness of the great books that came out last year, and the people who made these possible. As cheesy as it sounds, I truly believe that every non-profit (or for profit) who has titles eligible for this award should put aside their differences to help make this award as impactful as it can be. It’s a step in the right direction for literature in translation, and to try and undermine it because of personal grudges or “marketing budgets” is small and pathetic.
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. . .
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. . .