The recipients of this year’s PEN/Heim Translation Fund grants were just announced today, with thirteen projects (featuring fourteen translators) working from nine different languages (Spanish, German, Romanian, Chinese, French, Italian, Swedish, Russian, and Indonesian). Each project will receive $3,300 in prize money.
Congrats to everyone who won, and here are a few of the highlights (meaning people I’m friends with, or projects that sound most interesting to me):
Isabel Cole for her translation of At the Burning Abyss by Franz Fühmann, the great dissident patriarch of East German letters. This challenging, multifaceted, genre-bending book is Fühmann’s highly personal (auto)biographical response to the great Expressionist poet Georg Trakl. Cole’s translation captures the richness and depth of Fühmann’s complex magnum opus. (To be published by Seagull Publishing)
Sean Cotter for his translation of Mateiu Caragiale’s Rakes of the Old Court, a relentlessly funny, dark, flamboyant, twisted text that Cotter captures perfectly in this audacious and over-the-top translation. Written in the early 20th century, the text has a contemporary voice that is ahead of its time. (Available for publication)
Edward Gauvin for the translation of Jean Ferry’s The Conductor and Other Tales, the only collection of prose fiction written by Ferry, an illustrious screenwriter associated with a number of avant-garde movements, including the College of Metaphysics and Oulipo. Gauvin’s translation of his work is vivid and authoritative. (To be published by Wakefield Press)
Elizabeth Harris for Tristano Dies by Antonio Tabucchi. This rich and textured translation rises to the challenge of the complex, exuberant Italian text – its voice, musicality, layering, and depth – and allows the reader to follow all of its twists and turns. (To be published by Archipelago)
Eugene Ostashevsky and Daniel Mellis for their translation of Tango with Cows by Vasily Kamensky. Originally printed on wall-paper and decorated with cubo-futurist drawings by the Burliuk brothers, this collection introduced the “ferro-concrete” poem and other striking verbo-visual innovations. A perfect team for the task, Ostashevsky and Mellis are able to provide both the linguistic and visual expertise that this Russian futuristic text demands. (Available for publication)
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .