A couple weeks ago we ran an announcement about the new James H. Ottaway Award for the Promotion of International Literature—an awesome award that numerous friends deserve to win. Anyway, I just received a letter from WWB’s Executive Director, Joshua Mandelbaum, with information about nominating people for the award.
His letter is reprinted in full below, but to cut to the chase, you just have to fill out this form and mail it to him.
Earlier this year Words without Borders announced the creation of the James H. Ottaway Award for the Promotion of International Literature. Named in honor of our first chair, The Ottaway recognizes an individual who has helped promote cultural understanding through the promotion of literature in translation in the United States.
As a member of our community I am hoping you will help us find our first honoree by completing and submitting the attached nomination form by May 3, 2013. The recipient will be announced in June and the award will be presented at our October 29, 2013 gala.
You are welcome to forward this nomination form to anyone who might be interested.
I thank you in advance for your assistance. If you have any questions please do not hesitate to contact me.
P.S. Although the award is for the promotion of literature in translation in the U.S., you do not have to reside in the United States to make a nomination.
There you have it. Now get out there and nominate!
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .