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)
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .
Let’s not deceive ourselves, man is nothing very special. In fact, there are so many of us that our governments don’t know what to do with us at all. Six billion humans on the planet and only six or seven. . .
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .