In response to the incredibly lame GoodReads Choice Awards (and yes, I’m totally voting for Jodi Picoult in the fiction category), Typographical Era launched their own Translation Award:
It all started when I asked a simple question on Twitter yesterday. Why in the HELL do the GoodReads Choice Awards not have a category dedicated to allowing users to vote for their favorite literary translation of the year? There are twenty categories. TWENTY. Yet translations are completely ignored. Thus the first ever Typographical Translation Award is born. Lovers of international fiction, this is your chance to be speak up and be heard! You tell us, what was the best translation published in 2013? Here’s how it works:
I’ve started the ball rolling by officially nominating 20 titles that appeared in English translation in the United States for the first time in 2013. Some of these we’ve reviewed on the site, others we have not. While no list can ever be all encompassing, I’ve done my best to select quality works spanning a wide variety of publishers, languages, countries, and subject matter. In the interest of fairness, I’ve linked each title below directly to its publisher’s informational page and NOT, where applicable, to our review. I’ve also included an “other” field as part of the poll where you can write-in a vote for your favorite novel if it didn’t make the list. Any write-ins that are received will automatically be added to the poll so that others can vote for them as well. I reserve the right to remove a title if it doesn’t qualify as an original work that was published in 2013. Confused about what’s eligible? Three Percent’s translation database is a great resource.
Voting is limited to one per IP address. The polls will close on the evening of November 28th at which time I’ll reveal the results and the top 8 titles will move on to a final round of voting, with your overall champion being crowned on December 19th.
Below you’ll find the entire list of 20 nominated titles, but really, you should only be voting for one of these two books:
The Dark by Sergio Chejfec, translated from the Spanish by Heather Cleary
Tirza by Arnon Grunberg, translated from the Dutch by Sam Garrett
But if you insist on voting for something that wasn’t published by Open Letter, here’s the rest of the nominated titles:
All Dogs Are Blue by Rodrigo de Souza Leao, translated from the Portuguese by Zoe Perry
My Struggle: Book Two by Karl Ove Knausgaard, translated from the Norwegian by Don Bartlett
Cold Sea Stories by Pawel Huelle, translated from the Polish by Antonia Lloyd Jones
Under This Terrible Sun by Carlos Busqued, translated from the Spanish by Megan McDowell
The Whispering Muse by Sjon, translated from the Icelandic by Victoria Cribb
The Fall of the Stone City by Ismail Kadare, translated from the Albanian by John Hodgson
The President’s Hat by Antoine Laurain, translated from the French by Jane Aitken
The Infatuations by Javier Marias, translated from the Spanish by Margaret Jull Costa
Seiobo There Below by Laszlo Krasznahorkai, translated from the Hungarian by Ottilie Mulzet
The Elixir of Immortality by Gabi Gleichmann, translated from the Norwegian by Michael Meigs
A True Novel by Minae Mizumura, translated from the Japanese by Juliet Winters Carpenter
Ten White Geese by Gerbrand Bakker, translated from the Dutch by David Colmer
The Devil’s Workshop by Jachym Topol, translated from the Czech by Alex Zucker
The Black Lake by Hella Haasse, translated from the Dutch by Ina Rilke
The Jew Car by Franz Fuhmann, translated from the German by Isabel Fargo Cole
Kafka’s Hat by Patrice Martin, translated from the Dutch by Chantrell Bilodeau
The Fata Morgana Books by Jonathan Littell, translated from the French by Charlotte Mandell
Sandalwood Death by Mo Yan, translated from the Chinese by Howard Goldblatt
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
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. . .