Over at the Poetry Foundation, the names of the six poetry finalists for this year’s Best Translated Book Awards have been revealed.
Before reproducing the list below, I just want to take a second to thank all six judges for this year’s competition: Brandon Holmquest, poet, translator, editor of CALQUE; Jennifer Kronovet, poet and translator; John Marshall, owner, Open Books: A Poem Emporium; Erica Mena-Landry, poet and translator; Idra Novey, poet, translator; Kevin Prufer, poet, academic, essayist, and co-editor of New European Poets; and Russell Valentino, academic, translator, director of Autumn Hill Books and The Iowa Review.
All six did a fantastic job and have a tough decision ahead of them. You can watch some of the logic of their discussion play itself out starting next week with their write ups about why each individual title deserves to win . . .
For now, here’s the shortlist.
2013 Best Translated Book Award: Poetry Finalists
Transfer Fat by Aase Berg, translated from the Swedish by Johannes Göransson (Ugly Duckling Press; Sweden)
pH Neutral History by Lidija Dimkovska, translated from the Macedonian by Ljubica Arsovska and Peggy Reid (Copper Canyon Press; Macedonia)
The Invention of Glass by Emmanuel Hocquard, translated from the French by Cole Swensen and Rod Smith (Canarium Books; France)
Wheel with a Single Spoke by Nichita Stanescu, translated from the Romanian by Sean Cotter (Archipelago Books; Romania)
Notes on the Mosquito by Xi Chuan, translated from the Chinese by Lucas Klein (New Directions; China)
Almost 1 Book / Almost 1 Life by Elfriede Czurda, translated from the German by Rosmarie Waldrop (Burning Deck; Austria)
A man’s country may be cramped or vast according to the size of
his heart. I’ve never found my country too small, though that isn’t
to say my heart is great. And if I could choose it’s here. . .
The recent reissuing of several of Stig Dagerman’s novels by University of Minnesota Press has rekindled interest in his works, which have until now been little-known outside Sweden. Just twenty-four when he wrote A Burnt Child (here newly translated by. . .
Paul Klee’s Boat, Anzhelina Polonskaya’s newest bilingual collection of poems available in English, is an emotional journey through the bleakest seasons of the human soul, translated with great nuance by Andrew Wachtel. A former professional ice dancer(!), Polonskaya left the. . .
In Seiobo There Below, Lázló Krasznahorkai is able to succeed at a task at which many writers fail: to dedicate an entire novel to a single message, to express an idea over and over again without falling into repetition or. . .
There are curious similarities in three Italian mystery series, written by Maurizio de Giovanni, Andrea Camilleri, and Donna Leon.1
They’re all police procedurals, and all set in Italy: Naples, Sicily, Venice.
The three protagonists are Commissarios: Luigi Ricciardi, Salvo. . .
Poetry always has the feel of mysticism and mystery, or maybe this feeling is a stereotype left over from high school literature class. It is generally the result of confusion, lack of time committed to consuming the poetry, and the. . .
Our Lady of the Flowers, Echoic is not only a translation, but a transformation. It is a translation of Jean Genet’s novel Notre Dame des Fleurs, transmuted from prose to poetry. Originally written in prison as a masturbatory aid (Sartre. . .
Equal parts stoner pulp thriller and psycho-physiological horror story, a pervasive sense of dread mixes with a cloud of weed smoke to seep into every line of the disturbing, complex Under This Terrible Sun. Originally published by illustrious Spanish publishers. . .
From the start, Daniel Canty’s Wigrum, published by Canadian press Talonbooks, is obviously a novel of form. Known also as a graphic designer in Quebec, Canty takes those skills and puts them towards this “novel of inventory” and creates a. . .
Throughout his career—in fact from his very first book, Where the Jackals Howl (1965)—the renowned Israeli writer Amos Oz has set much of his fiction on the kibbutz, collective communities he portrays as bastions of social cohesion and stultifying conformity. . .