Wow. I’m just going to post this press release in its entirety:
The Polish Book Institute, the Polish Cultural Institute London, and the Polish Cultural Institute New York are delighted to announce that the winner of the 2012 Found in Translation Award is Antonia Lloyd-Jones. Usually the award is given for a single book, but this year the jury made an exception and decided to give the award to Ms Lloyd-Jones for the entirety of her output from the previous year.
Antonia Lloyd-Jones, who has been a particularly industrious translator of Polish prose and reportage, published no fewer than seven translations in 2012. “She has made an enormous impression with the quality of her translations on the one hand, and on the other with her versatility,” remarked Grzegorz Gauden, Director of the Polish Book Institute, “In only one year, she has published a collection of stories, and a novel, a biography, reportage, and a classic work of children’s literature.”
In acknowledgment of the quality of the translator’s work, several of these titles have been nominated for various literary prizes.
The complete list of translations by Antonia Lloyd-Jones published in 2012 includes:
Paweł Huelle Cold Sea Stories (Comma Press, 2012).
Jacek Dehnel Saturn (Dedalus Press, 2012).
Zygmunt Miłoszewski A Grain of Truth (Bitter Lemon Press, 2012).
Artur Domosławski Ryszard Kapuściński, A Life (Verso Books, 2012).
Wojciech Jagielski The Night Wanderers (Seven Stories & Old Street Publishing, 2012).
Andrzej Szczeklik Kore: On Sickness, the Sick and the Search for the Soul of Medicine (Counterpoint Press, 2012).
Janusz Korczak Kaytek the Wizard (Urim Publications/Penlight Press, 2012).
An award in the amount of 10,000 PLN, funded by W.A.B. Publishers, will be presented on November 15th at the London Review Bookshop, at a reading with the translator and author Jacek Dehnel. Antonia Lloyd-Jones is being honored for the second time, having received the award in 2008 for The Last Supper by Paweł Huelle.
The FOUND IN TRANSLATION AWARD is given annually to the translator of the best translation of Polish literature into English in the form of a book in the previous calendar year. The winner receives a cash prize, as mentioned above, a certificate, as well as a three-month residency in Kraków, funded by the Polish Book Institute.
There are established, talented translators who haven’t published seven books in their entire life, much less in one year. You go, Antonia! And seriously, she is extremely deserving of this award. Not just for her translations—which are all excellent—but what she does for Polish literature on the whole by talking it up, making connections with English presses, and mentoring younger translators.
Congrats, Antonia! Time for some Polish vodka, a pierogi, and a pączki!
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. . .