Announcing the 2017 National Translation Award Longlists for Poetry and Prose!

The American Literary Translators Association (ALTA) is pleased to announce the longlists for the 2017 National Translation Awards (NTA) in Poetry and Prose! This is the nineteenth year for the NTA, which is administered by ALTA, and the third year to award separate prizes in poetry and prose. The NTA is the only national award for translated fiction, poetry, and literary nonfiction that includes a rigorous examination of both the source text and its relation to the finished English work.

Featuring authors writing in 11 different languages, this year’s longlists expand the prize’s dedication to literary diversity in English. The selection criteria include the quality of the finished English language book, and the quality of the translation. This year’s judges for poetry are Ani Gjika, Katrine Øgaard Jensen, and Gregory Racz. This year’s prose judges are Carol Apollonio, Eric M. B. Becker, and Ottilie Mulzet.

The winning translators will receive a $2,500 cash prize each. The awards will be announced at ALTA’s annual conference, held this year at the Radisson Blu Minneapolis Downtown in Minneapolis, Minnesota from October 5-8, 2017.

The 5-title shortlists will be announced in August. In the meantime, ALTA will highlight each book on the longlists with features written by the judges on the ALTA blog: www.literarytranslators.wordpress.com


National Translation Award Longlist in Poetry (listed alphabetically by title):

NASSER

A Map of Signs and Scents
by Amjad Nasser
translated from the Arabic by Fady Joudah and Khaled Mattawa
(Northwestern University Press)


Screen-shot-2015-07-30-at-6.18.04-PM-275x300Absolute Solitude
by Dulce Maria Loynaz
translated from the Spanish by James O’Connor
(Archipelago Books)


diseno de tapa olvido finalAnd We Were All Alive
by Olvido García Valdés
translated from the Spanish by Catherine Hammond
(Cardboard House Press)


Berlin-Hamlet_1024x1024Berlin · Hamlet
by Szilárd Borbély
translated from the Hungarian by Ottilie Mulzet
(New York Review of Books)


NerudaCanto-interim_FrontCoverCanto General 
by Pablo Neruda
translated from the Spanish by Mariela Giffor
(Tupelo Press)


XiXi_frtcvrNot Written Words
by Xi Xi
translated from the Chinese by Jennifer Feeley
(Zephyr Press)


RETURNINGS-by-Rafael-Alberti-small-covre-imageReturnings
by Rafael Alberti
translated from the Spanish by Carolyn Tipton
(White Pine Press)


tasks_cover_fronttasks
by Víctor Rodríguez Núñez
translated from the Spanish by Katherine Hedeen
(co·im·press)


TheEndOfTheDarkEraCoverThe End of the Dark Era
by Tseveendorjin Oidov
translated from the Mongolian by Simon Wickhamsmith
(Phoneme Media)


9780986204944The Hunchbacks’ Bus
by Nora Iuga
translated from the Romanian by Adam Sorkin and Diane Manole
(Bitter Oleander Press)


Cvr_Morales_mktgThe World as Presence
by Marcelo Morales
translated from the Spanish by Kristin Dykstra
(University of Alabama Press)


Valdivia_Cover_frontValdivia 
by Galo Ghigliotto
translated from the Spanish by Daniel Borzutsky
(co·im·press)

 


 

National Translation Award Longlist in Prose (listed alphabetically by title):

Chronicle_of_the_Murdered_House-front_largeChronicle of the Murdered House
by Lucio Cardoso
translated from the Brazilian Portuguese by Margaret Jull Costa and Robin Patterson
(Open Letter Books)


france storyFrance, Story of a Childhood
by Zahia Rahmani
translated from the French by Lara Vergnaud
(Yale University Press)


Lindqvist_BehindYouI am Behind You
by John Ajvide Lindqvist
translated from the Swedish by Marlaine Delargy
(Text Publishing)


Kafka_The_Early_YearsKafka, the Early Years
by Reiner Stach
translated from the German by Shelley Frisch
(Princeton University Press)


9789774167812No Knives in the Kitchens of This City
by Khaled Khalifa
translated from the Arabic by Leri Price
(American University of Cairo Press)


shinobu_bookThe Book of the Dead
by Orikuchi Shinobu
translated from the Japanese by Jeffrey Angles
(University of Minnesota Press)


9780802125828The Explosion Chronicles
by Yan Lianke
translated from the Chinese by Carlos Rojas
(Grove Atlantic)


Screen_Shot_2017-03-31_at_4.21.34_PMThe Last Wolf & Herman
by László Krasznahorkai
translated from the Hungarian by George Szirtes and John Batki
(New Directions)


Party_Wall_frontCover_-_GillerThe Party Wall
by Catherine Leroux
translated from the French by Lazer Lederhendler
(Biblioasis)


9781447283904a whole life_2_jpg_264_400A Whole Life
by Robert Seethaler
translated from the German by Charlotte Collins
(Farrar, Straus, and Giroux)


WickedWeeds_CVR_FinalWicked Weeds: A Zombie Novel
by Pedro Cabiya
translated from the Spanish by Jessica Powell
(Mandel Vilar Press)


Zama_1024x1024Zama
by Antonio de Benedetto
translated from the Spanish by Esther Allen
(New York Review of Books)

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Call for NTA Expert Readers in Poetry and Prose!

ALTA is seeking expert readers for the 2017 National Translation Awards! We are looking for readers in the following languages:

Arabic | Chinese | French | German | Hungarian | Japanese
Mongolian | Portuguese | Romanian | Spanish | Swedish

Expert readers will be provided with a PDF of the book to be evaluated. Reader reports must be delivered by July 17.

Per the NTA Policies and Procedures, to serve as an expert reader, a person must have expertise in the source language of the translation he/she is asked to assess, and have published at least one translated book.

Please email Rachael Daum (rachaeldaum@literarytranslators.org) by June 23 if you are interested, specifying the language and genre you translate from (i.e. Hungarian Poetry).

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Grief and Stasis: Review of “August”

by Jaclyn Kershaw

August, by Romina Paula and translated by Jennifer Croft, might be difficult to read for downloadsome: it is a stream of conscious style of writing wherein the protagonist, who suffers from anxiety and depression, herself has trouble distinguishing what is actually going on and what is only going on in her head. However, the words themselves do not add to this possible difficulty; rather, they fit perfectly in the setting of Emilia in her stage of life.

Our protagonist, Emilia, spends the book  talking to her best friend, Andrea, almost like she is writing in a diary or a letter. Andrea, however, committed suicide 5 years ago; Emilia left her home town soon after that.  This book is the story of her difficult return. Seeing her family and childhood friends after all this time is surreal to Emilia, and she writes—or thinks—everything she feels. It is hard for her to grasp how it seems that everyone has moved on but her (her father has a new family with her stepmother; her former flame has a family of his own; etc.). She admits to feeling ‘in-between’ the dream world and real life, stuck in a stasis:

“… all this silence, brings you back, materializes your presence, or your absence, or the fact that you’re not here or your never going to be here again, so clear, so definitive. Then I think about the afternoons at the Percy or here in your room or in the living/dining and I kind of waver, I get weak. I realize, I think I realize that I want to leave, but I also know I want to take you with me, and it’s impossible because you’re here, very here, I just now fully understood that. From there, from Buenos Aires, I can miss you very contemplatively, look at you, at us, as though through a glass in a shop window, our common/shared past, behind glass, get into a funk about it but at a safe remove, removed by that window pane. There, on the shelf, there’s a weak light that calms things down even further, and it gives it a halo of unreality, or something that happened far away and a long time ago, something one can step back from to observe, observe from afar, something one attends, as though it were something else, far away, removed from the body. But here it isn’t like that, I get here and you’re everywhere.” (101-102)

Instances like this occur throughout the book; sometimes she realizes she isn’t moving on and sometimes she just insinuates it:

“I hang up and realize I’m in the same place as before, that I have completely failed to move forward, that I have not evolved. That for God’s sake someone please tell me what I need to do.” (95)

She doesn’t find solace in other relationships either, instead labeling them as “necessary outgrowths”.

“I feel like I already miss him, which happens with those relationships where you see the other person so much they become a necessary outgrowth, which is the thing about them that’s not good … is he the person I choose, would I choose him now, from scratch? Could I in fact now choose not to choose him? Did I choose him, did I choose all this at some stage?” (14-15)

The death of her best friend Andrea sets the stage for death to be ever-present in Emilia’s life afterward. Not that it wasn’t already — it is more that Emilia is more aware of all the types of death around her. She seems to be obsessed with death and imprints this obsession onto everything. Mice in her apartment, the weather, and ‘normal’ daily interactions all have connotations of death to her:

“I can see them multiply before my very eyes, there are more of them each second, forcing me to think about the rodent, about our rodent. IS there just one of them or are there more of them? Maybe it’s a family. Making themselves at home, I mean making their home our pantry. I’m resigned, I want to leave the mouse the house, I don’t want to kill it, I don’t want to poison it; if it winds up dying in the kitchen I’ll still want to leave. It’s so revolting, it’s done now, the havoc has been wreaked; the mouse is there, we’ve seen each other now, we’ve looked each other in the eyes, now I can neither kill it nor have it killed, even less so live with it. So I surrender the kitchen.” (7-8)

Emilia’s mind almost hasn’t grown since the death of Andrea. She can’t move forward in her grief or her life, and it is exemplified in almost every interaction she has with other people or things. Emilia often comments how specific people or things are ‘exactly like himself/herself/itself’, as though nothing and no one ever changes. She has these memories of people and things and expects them to be exactly like that. She notices changes, but the past is superimposed over every chance of progress into the future.  Simply put, she doesn’t understand that things have changed, that they could change, because she can’t move on.

The story reminds me of an Oscar Wilde quote from The Picture of Dorian Gray: “… nothing cures the soul but the senses, just like nothing cures the senses but the soul.” I say this because the paragraphs seemed to oscillate between her describing social interactions or her describing what her senses were telling her, and the symbiotic but absent relationship between the two sends her into a loop of madness. Her stasis prevented her social interactions from helping ground her, thus her senses were overwhelmed and you could almost see her mind spinning as it tries to find purchase in her environment.

The wonderful translator Jennifer Croft gives us the ability to read this insightful story in English.  Thanks to her, the story reads smoothly and seamlessly, allowing the reader to perceive the world as Emilia does. Croft introduces just enough foreignization to remind the reader that it happened in another country, but Emilia’s voice comes through so strongly it could be any small town in the world. Emilia’s suffering is not limited to the Spanish world; her loose grip of reality following the death of a friend, the paralysis of grief, is an ultimately universal experience.

August is an engaging, thought-provoking story of how one young woman copes, or doesn’t cope, with loss and grief, and how it forever alters her perception of the world. Emilia gives us an inside view of what many people go through in their lives and how we can better understand and help those that go through this kind of tragedy.


20170503_083128Jaclyn Kershaw is a blog contributor for the ALTA. She earned two Bachelor’s, one in Biology and one in Spanish, at Arcadia University, and is currently earning her MS in
Translation at New York University. Her dream is to be a literary translator and translate books and video games. She lives in Philadelphia, and you can usually find her buried in a book somewhere outside.

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Meet the Mentors: Steve Bradbury

The ALTA Emerging Translator Mentorship Program is designed to facilitate and establish a close working relationship between an experienced translator and an emerging translator on a project selected by the emerging translator. The mentorship duration is approximately one year. The emerging translator is expected to choose a project that can be completed in a year’s time, and they will only be advised on that particular project.

This week we are excited to feature Steve Bradbury, this year’s non-language-specific poetry mentor:

Steve Bradbury lived for many years in Taiwan, where he was Associate Professor of English at National Central University and founding editor of Full Tilt: a journal of East-SteveBradburyHeadshotAsia poetry, translation and the arts. A long-standing member of the American Literary Translators Association and recipient of a PEN/Heim Translation Fund grant, a National Endowment for the Arts Literary Fellowship, and two Henry Luce Foundation Chinese Poetry & Translation Fellowships, Bradbury has published poems, translations, and essays on poetry and translation in over forty journals. His most recent book-length translation, Hsia Yü’s Salsa (Zephyr Press, 2014), was short-listed for the Lucien Stryk Prize.  His previous collection, a chapbook of the poetry of Ye Mimi entitled His Days Go by the Way Her Years (Anomalous Press 2013), was a finalist for both the Lucien Stryk Prize and the Best Translated Book Award.

If you are interested in finding out more about ALTA’s Emerging Translator Mentorship program and the other mentors, please check out our website and blog. If you are interested in applying, please see our online portal. Please apply by May 31.

 

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Intern with ALTA!

ALTA is offering internships with our awesome social media team!

If you’re looking to be a part of a group of fun- and translation-loving peers, you’ve found your place. You’ll learn to manage the responsibility of bringing translation news and enthusiasm to the many members of ALTA, what makes social media in the translation world tick, and how to be even more awesome than you are now. Responsibilities will include managing, contributing to, and furthering the various social media platforms that ALTA implements every day to make this world a better, more translation-friendly place.

Here are our requirements:

  • Ability to work remotely about 5 hours per week
  • Native or near-native fluency in English
  • Love of translation and familiarity with the world of literary translation (either as a translator, publisher, or consumer!)
  • Familiarity with social media sites including Facebook, Twitter, Instagram, and WordPress or Medium
  • Ability to work in a team

If you are interested, please send your resume and letter of interest to rachaeldaum@literarytranslators.org by June 1st. Please also direct any questions about the position to this email address. We are presently unable to offer pay for the internship, but college credit may be rewarded for your contributions, along with the gratitude and favorite cat videos of the people you’ll be working with.

We’re looking for longer commitments; if you can only work for a semester, that’s fine, but six months or longer is preferred.

We look forward to hearing from you!

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