In a press release today, the French American Foundation and Florence Gould Foundation announced the finalists for their 27th annual translation prize for one work of fiction and one work of non-fiction.
According to the release, the foundations received 84 submissions to the Translation Prize, from over 40 publishers. This year, the list of finalists saw a massive increase in number. The 2012 list consisted of only three titles and translators—one in the fiction category, and two in the non-fiction category. In fact, with 10 titles in total, 2013 saw the highest number of winners in the history of the award. (The full list of past winners is here.) Hopefully, the foundations’ ability to award multiple translators will keep thriving, thus creating opportunities for a continued and healthy mix (and rotation) of well-known translators, and translators who are slowly working up their repertoire or are only just emerging.
From the release:
One Fiction and one Non-Fiction prize will be presented at the annual Awards Ceremony on May 22 in New York. Each winning translator will receive a $10,000 prize funded by the Florence Gould Foundation.
The jury, which includes Linda Asher, David Bellos, Linda Coverdale, Emmanuelle Ertel and Lorin Stein, has selected the best English translations of French works published in 2013. The 10 finalists form a prestigious and diverse group that includes books by award-winning authors and important French works available in English and in the United States for the first time.
Though every press would, obviously, love to see their title on the docket, this year’s list of translators and titles really is a good one, and even includes one of our newest author-friends, Jean-Marie Blas de Roblès, who was at the University of Rochester last fall to kick off our Reading the World Conversation Series, and is a fantastic person and amazing writer.
More info on the Translation Prize can be found at the French-American Foundation’s website.
The full list of fiction finalists is:
The list of non-fiction finalists can be seen here.
“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. . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .