A couple weeks ago we ran an announcement about the new James H. Ottaway Award for the Promotion of International Literature—an awesome award that numerous friends deserve to win. Anyway, I just received a letter from WWB’s Executive Director, Joshua Mandelbaum, with information about nominating people for the award.
His letter is reprinted in full below, but to cut to the chase, you just have to fill out this form and mail it to him.
Earlier this year Words without Borders announced the creation of the James H. Ottaway Award for the Promotion of International Literature. Named in honor of our first chair, The Ottaway recognizes an individual who has helped promote cultural understanding through the promotion of literature in translation in the United States.
As a member of our community I am hoping you will help us find our first honoree by completing and submitting the attached nomination form by May 3, 2013. The recipient will be announced in June and the award will be presented at our October 29, 2013 gala.
You are welcome to forward this nomination form to anyone who might be interested.
I thank you in advance for your assistance. If you have any questions please do not hesitate to contact me.
P.S. Although the award is for the promotion of literature in translation in the U.S., you do not have to reside in the United States to make a nomination.
There you have it. Now get out there and nominate!
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .