Meet ALTA’s Assistant Managing Director, Rachael Daum!

Rachael Daum joined ALTA in 2014, and became Assistant Managing Director in 2017. This interview was conducted over e-mail.

Q: You’ve worked for ALTA for 4 years now. What changes have you seen in the organization during that time that excite you?

A: It’s been a pleasure to witness ALTA’s growth as I’ve seen my own role at ALTA grow as well. From being the social media manager as a graduate student and then coming into my role as Assistant Managing Director, I’ve seen the organization expand—we now offer the Emerging Translator Mentorship Program, for example, which has been a joy to 1528185410639 (2)see grow (thanks to Allison Charette’s tireless work). It’s also been such a pleasure to see the organization start to speak more about diversity and advocacy as we discuss more about ensuring that people of color are included in discussions of translation (ALTA offers the Jansen Fellowship now, for example), and people who identify as women, as well (it is #WiTMonth, after all!). Additionally, I’m happy to see that we have more and more of our membership engaging, whether it’s by donating (last year we had ¼ of our membership donate to ALTA), volunteering their time with us, coming to the conference—or all three.

And of course I would be remiss if I didn’t note my enthusiasm about the affiliation between ALTA and the University of Arizona as ALTA makes its move to Tucson, AZ; I’m looking forward to seeing what this partnership brings.

Q: You translate from two languages that are fairly well-represented in translation in the U.S.: German (74 works translated into English in the U.S. in 2017, all stats taken from the Three Percent database) and Russian (18 works in 2017). But you also translate from Serbian, Bosnian, and Croatian (9 works total in 2017). Tell us about the differences you perceive in translating from well- and under-represented languages into English.

A: I feel very fortunate that I grew up speaking German, another major world language, so that when I did get into translation thanks to the literary translation certificate program at the University of Rochester and internships at Open Letter, it was relatively easy for me to find texts to translate and—even more important—much-needed guidance. I’ve also been fortunate in finding invaluable teachers and mentors in the Bosnian/Croatian/Serbian community as I’ve been learning, living, and working in Belgrade. Whereas there is much more institutional support when translating German and Russian, I find that it’s even more personal when working with BCS: because there are not as many dictionaries available on- or off-line, for example, there have to be that many more face-to-face conversations, especially with the immensely rich selection of work not yet translated into English from the Balkans. I’m so grateful for my friends’ patience as I ask about slang and informal use of Serbian grammar!

Q: You live in Belgrade, Serbia. What does it mean for you as a translator to be immersed in the language and culture from which you translate? Do you find that your community in Belgrade has a different relationship to literary translation than does your U.S. community?

A: As I’m sure many in this community feel, I really think it’s crucial to be as immersed in the language you translate as possible—for me, I just feel so lucky that I get to live in one of my favorite places in the world while speaking a language every day that I love so much and am so humbled by; I really do feel that I get to learn something every day. It’s also wonderful that bookstores still have such a presence in Belgrade: I found the authors I’m translating currently because I stumbled across their poetry in bookstores when I had a free hour.

As to attitudes toward literary translation, being a translator is much more commonplace here seeing as Serbian is a lesser-represented language. And one of the best things about this is that no one makes comments about how Google Translate is going to put us out of work!

Q: Of which of your translations are you the proudest? Which provided the greatest challenge?

A: I’m still very much an emerging translator, so my answer to both of these questions is circus shardamthe same: I translated Circus Shardam, an absurdist children’s puppet play by Soviet dissident writer Daniil Kharms. It was filled with challenges, number one being: it has to be funny for children! It was a joy and a challenge to try to render the text in English so that it would be funny to contemporary American children, which is going to be a different kind of funny than it was to Russian children in the 1920s. But it was also humbling to realize how much humor is international—who doesn’t love seeing a wooden puppet bonked on the head and break the fourth wall? I’m delighted that at this year’s conference in Bloomington, IN, which has a theater theme, a section of this play will be performed live, alongside the translations of the fabulous Anne Fisher, Gregary Racz, and Zachary Scalzo.

Q: What is your favorite part of managing ALTA’s communications and social media?

A: This is perhaps cheesy, but it has to be seeing how relevant literary translation is every day. We put out posts twice per weekday, which at first seemed like a lot; but the translation world is extremely active, so there’s always something on, it’s always growing. And it’s a joy to get to celebrate the work of ALTA members—I feel there’s always someone getting an award for their work, which means more books I need for my shelf.

Q: You completed your master’s in Russian Language and Literature, as well as studying Literary Translation, at Indiana University where ALTA41: Performances, Props, and Platforms will be held in just a few months. What are you most looking forward to in Bloomington? What should attendees look forward to there?

A: I am so looking forward to seeing the many folks in this really wonderful community and getting to nerd out with them about translation, celebrate their work, and meet many people I’ve only corresponded with over email. Besides this, I admit I’m very food-oriented: Bloomington is a wonderful place for food and drinks, so I’m looking forward to getting vegan donuts (something sadly lacking in Belgrade!) from Rainbow Bakery when I arrive.

Q: What three things do you need in order to translate?

A: A pile of dictionaries, a hot drink—and my cat!


Rachael Daum has worked with ALTA since 2014, and became ALTA’s Assistant Managing Director in 2017. She received her BA in Creative Writing from the University of Rochester and MA in Slavic Studies from Indiana University; she also received Certificates in Literary Translation from both institutions. Her original work and translations have appeared in Queen Mob’s Teahouse, TRANSverse, The Airship Daily, Mt. Island Magazine, Literary Laundry, and elsewhere. Rachael lives and works in Belgrade, Serbia, where she also runs a teaching and translation agency called Black Birch, and translates from Serbian, Russian, and German. Find her on Twitter at @rclouisedaum.

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On Ukrainian Bookstores, Translating Hawking, and Hemingway Haunts: An Interview with Translator Hanna Leliv

by Reilly Costigan-Humes

This interview between Ukrainian translator Hanna Leliv and ALTA emerging translator mentee Reilly Costigan-Humes was conducted over email.

Reilly Costigan-Humes: You’ve studied translation theory both in Ukraine and America. Are there any fundamental differences in terms of what schools of thought are emphasized or deemphasized?

Hanna Leliv: I had a chance to study translation theory at the University of Iowa’s MFA in Literary Translation program during my Fulbright fellowship there and, eight years ago, at the Lviv Ivan Franko National University in Ukraine where I did my MA inhemingway_birthplace_oak_park (1) English Language and Literature. I must admit, though, that translation studies were not my major back then and I took only a few related theoretical courses and workshops. Still, certain fundamental differences are obvious. In Ukraine, the reading list—at least eight years ago—covered classical translation theory (Schleiermacher, Benjamin, Nida), but more contemporary theorists were missing. Again, the situation might have changed over the past eight years. One of the aspects I really appreciated at the University of Iowa’s program is that the syllabus—while covering the classical approaches at length—leans toward the contemporary theorists (Spivak, Venuti, Chamberlain) and the latest trends. When I did my MA, the issues of gender in translation, the politics and power dynamics of translation, various ethical and advocacy issues related to translation did not exist in our theory classes. At the same time, the Ukrainian syllabus covered not only Western schools of thought, but also Ukrainian and Russian schools of translation. Looking back, I find it interesting to compare those approaches with the Western frameworks, tracing the similarities and the distinct features of the Ukrainian / Russian schools. I think it would be worthwhile if Western syllabi gave some insights into what’s going on in the translation studies domain in the Central and Eastern Europe, Asian countries or other, non-Western, regions. So far, those areas seem to be overlooked in a traditional syllabus. 

R.C.H.: You translate both into and from English. What are the most pressing challenges you face when working into Ukrainian? What about into English?

H.L.: I have a much longer experience of translating into Ukrainian, my mother tongue, than into English. It was only after I arrived in the USA on a Fulbright and enrolled in the translation workshops that I ventured to try my hand at working into English. I say “ventured”, since the ability or “right” of someone to translate into their second language is still a subject of heated discussions and triggers certain reservations and anxieties. The experience of working between the languages proved invaluable for me, as the nature, the inner mechanisms, and the subtleties of both languages—Ukrainian and English—became even more vivid and distinct, once each of them started to act as both a source and a target language. As a mediator in this two-way communication, I became more aware how these languages work in the interplay with one another and in which ways their systems differ. The challenges of translation remain pretty much the same, regardless into which language I work—how to build an authentic voice, how to render the author’s individual style into another language, how to recreate natural dialogues and deal with informal speech, slang, obscenities, dialects, etc. Punctuation works differently in these two languages, so this is something I should constantly keep an eye on so as not to create a nightmarish overload of m-dashes, colons, and semicolons in English or commit an error of frequency in Ukrainian. The issues of tone, register, temporal fabric are always there, as well, regardless which language are you working into.

R.C.H.: In 2009, most bookstores in Kyiv had a rather small selection in terms of Ukrainian-language titles. In 2016, the vast majority of books were in Ukrainian, instead of Russian.  To what do you attribute Ukrainian publishers’ commitment to translating and retranslating a wide range of books, from business literature to the classics, into Ukrainian?

H.L.: I’d say there are a number of reasons behind these changes, political among them. After the Revolution of Dignity and the outbreak of the Russian-Ukrainian war in 2014, the volume of books imported from Russia dropped due to political and economic reasons. According to Oleksandr Afonin, president of the Ukrainian Publishers and Booksellers Association, the correlation between the books published in Ukraine and in Russia in the Ukrainian market was roughly 50/50. It was 60/40 in the Western Ukraine leliv interview 1(in favor of Ukrainian books), and 40/60 in the Eastern Ukraine (this time in favor of Russian publications). At the same time, over the past seven years, Ukrainian-language publications have outnumbered those in Russian. Another reason, as I see it, is the overall revival of interest toward Ukrainian culture and literature in particular in the wake of the Revolution of Dignity. People who used to read mostly Russian books turned their eyes to the shelves with the Ukrainian authors and discovered that their texts are no less engaging. Reading Ukrainian became trendy. Readings, lectures, and book festivals, concentrated mostly in Western and Central Ukraine, reach Eastern terrains more and more often, with Ukrainian texts and authors playing prominent part. I believe it was this combination of factors which spurred Ukrainian publishers to work more with Ukrainian authors and translate foreign books into Ukrainian. When it comes to classics, one of the intentions is to give a contemporary Ukrainian voice to the texts translated back in the Soviet times. This is true as in the case with the large-scale Hemingway re-translation project launched by a major Ukrainian press, the Old Lion Publishing House. Men without Women, the short story collection I re-translated, was first rendered into Ukrainian back in 1968, exactly fifty years ago. The language and the translation methodologies have evolved ever since, so it’s only natural that we’re seeing Hemingway being given a contemporary, fresh voice in the third decade of Ukraine’s independence.

R.C.H.: You mentioned at last year’s ALTA conference that Hemingway was “haunting you” while you were translating a collection of short stories by him. Did the great American novelist’s spirit come to you in dreams or something like that? 

H.L.: No, it took more realistic dimensions! I just noticed that after I started translating Hemingway’s short stories, he followed me everywhere. I went into a pub in Lviv—and spotted his portrait hanging on the wall, Hemingway winking mischievously. I arrived in an Air BnB in Minneapolis for the ALTA conference—and The Sun Also Rises was right there on the table. His picture was even hanging on the wall of an Iowa City rental apartment where I came for a showing (there was no way I could say no to that place after seeing this great American writer smiling on the wall). He made a cameo appearance in the Woody Allen film Midnight in Paris I watched the other day, and right in the middle of Fight Club the protagonist also—surprise!—quotes good old Hemingway. This year I also visited his birthplace in Oak Park and had lunch at Hemingway’s bistro—but that was intentional, no spirits involved. I’m now translating Winner Take Nothing into Ukrainian and I’m very curious to see where Hemingway will appear or take me next. 

R.C.H.: You’ve translated several of Stephen Hawking’s young adult books into Ukrainian. What motivated you and the Old Lion Publishing House to undertake these projects? 

H.L.: A young adult book series by Stephen and Lucy Hawking has actually become my gateway to the Ukrainian literary translation scene. These are five books about the cosmic adventures of a teenage boy George and his friend Annie. The authors skillfully hemingwayinterweave a fascinating fictional plot and the actual, “serious” scientific facts, helping young readers to learn about the science behind the workings of the universe. I picked the first book from this series, George’s Secret Key to the Universe, myself, when scrolling through the list of New York Times bestsellers. I had participated in the collaborative translation of Stephen Hawking’s Brief History of Time before, so his YA book immediately grabbed my attention—I have to admit I didn’t even know he wrote popular science books for kids, as well. It occurred to me it might be a good fit for the Ukrainian book market, as this niche—children’s or YA literature which combines the elements of both fiction and non-fiction to help the readers grasp complex concepts in a fascinating, entertaining way—was almost empty at that time. So, I translated the first chapter of the book and pitched it to the Old Lion Publishing House. I admired that press for what it had been doing for the Ukrainian children’s literature. Later on, I have also translated Gilbert and Hemingway for them. But getting back to Hawking’s series, I must say that this project has turned out to be tremendously successful. One of the key reasons behind it is that the demand for children’s creative non-fiction was—and still is—very high. The author’s name played its role, too, of course. Also, the publishers commissioned an amazing book cover from Agrafka, a very successful Ukrainian team of designers, whose books won several Bologna book fair awards. The design of the first book was experimental—the planets drawn on the cover were coated in a special scratch-off material, like on a lottery ticket. The readers had to take a coin and scratch it off to see what planets were hiding underneath. All in all, the project has been very successful for a number of reasons, and I hope that my translation also contributed to it. The last, fifth book from this series is forthcoming this May. 


Reilly Costigan-Humes lives and works in Moscow, and translates literature from the Ukrainian and Russian. Reilly and his colleague Isaac Wheeler have translated Serhiy Zhadan’s Voroshilvogradand Mesopotamia, and they’re currently translating Lena Eltang’s novel Cartagena as part of ALTA’s Emerging Translator Mentorship Program.

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Announcing the Longlists for the 2018 National Translation Awards in Poetry and Prose!

July 16, 2018—The American Literary Translators Association (ALTA) is pleased to announce the longlists for the 2018 National Translation Awards (NTA) in Poetry and Prose! 2018 marks the twentieth year for the NTA, and the fourth year to award separate prizes in poetry and prose. The NTA, which is administered by ALTA, 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 13 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 Kareem James Abu-Zeid, Jennifer Feeley, and Sawako Nakayasu. This year’s prose judges are Esther Allen, Tess Lewis, and Jeremy Tiang.

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 Indiana Memorial Union at Indiana University in Bloomington, IN from October 31 – November 3, 2018. The 5-title shortlists will be announced in September. In the meantime, ALTA will highlight each book on the longlists with features written by the judges on the ALTA blog: https://literarytranslators.wordpress.com/


The 2018 NTA Longlist in Poetry (in alphabetical order by title):

pessoa_book_of_disquiet_for_pwThe Book of Disquiet
by Fernando Pessoa
translated from the Portuguese by Margaret Jull Costa
(New Directions)


ristovicvrDirections for Use
by Ana Ristović
translated from the Serbian by Steven Teref and Maja Teref
(Zephyr Press)


Hackers_coverHackers
by Aase Berg
translated from the Swedish by Johannes Göransson
(Black Ocean)


I_Remember_Nightfall-bw-300dpiI Remember Nightfall
by Marosa di Giorgio
translated from the Spanish by Jeannine Marie Pitas
(Ugly Duckling Presse)


If_I_Were_a_Suicide_Bomber-front-frameIf I Were a Suicide Bomber
by Per Aage Brandt
translated from the Danish by Thom Satterlee
(Open Letter Books)


Magnetic_PointMagnetic Point: Selected Poems 
by Ryszard Krynicki
translated from the Polish by Clare Cavanagh
(New Directions)


cover berenguerMy Lai
by Carmen Berenguer
translated from the Spanish by Liz Henry
(Cardboard House Press)


Cover_-_The_OdysseyThe Odyssey
by Homer
translated from the Greek by Emily Wilson
(W. W. Norton & Company)


Oxygen_jpegOxygen: Selected Poems
by Julia Fiedorczuk
translated from the Polish by Bill Johnston
(Zephyr Press)


SonicPeace_coverSonic Peace
by Kiriu Minashita
translated from the Japanese by Spencer Thurlow and Eric Hyett
(Phoneme Media)


Spiral_Staircase_CoverSpiral Staircase: Collected Poems
by Hirato Renkichi
translated from the Japanese by Sho Sugita
(Ugly Duckling Presse)


3rdMillenniumHeart_FINAL-small

Third-Millennium Heart
by Ursula Andkjær Olsen
translated from the Danish by Katrine Øgaard Jensen
(Action Books)

 

The 2018 NTA Longlist in Prose (in alphabetical order by title):

NGS Picture Id:613732

Affections
by Rodrigo Hasbún
translated from the Spanish by Sophie Hughes
(Simon & Schuster)


AUGUST_Cover - CopyAugust
by Romina Paula
translated from the Spanish by Jennifer Croft
(Feminist Press)


Compass_Enard_1Compass
by Mathias Énard
translated from the French by Charlotte Mandell
(New Directions)


DandelionsDandelions
by Yasunari Kawabata
translated from the Japanese by Michael Emmerich
(New Directions)


9780143111689Ghachar Ghochar
by Vivek Shanbhag
translated from the Kannada by Srinath Perur
(Penguin Books)


Impossible_Fairy_TaleThe Impossible Fairy Tale
by Han Yujoo
translated from the Korean by Janet Hong
(Graywolf Press)


tipThe Invented Part
by Rodrigo Fresán
translated from the Spanish by Will Vanderhyden
(Open Letter Books)


9781517900113Italian Chronicles
by Stendhal
translated from the French by Raymond N. MacKenzie
(University of Minnesota Press)


MovingThePalace-Cover-WEB-noqte-900x1200Moving the Palace
by Charif Majdalani
translated from the French by Edward Gauvin
(New Vessel Press)


Old-Rendering-Plant_Front-Cover-with-QuoteOld Rendering Plant
by Wolfgang Hilbig
translated from the German by Isabel Fargo Cole
(Two Lines Press)


9781945492044_FCSwallowing Mercury
by Wioletta Greg
translated from the Polish by Eliza Marciniak
(Transit Books)


World_Goes_OnThe World Goes On
by László Krasznahorkai
translated from the Hungarian by George Szirtes, Ottilie Mulzet, and John Batki
(New Directions)

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Meet ALTA’s Program Manager, Kelsi Vanada!

Kelsi Vanada joined ALTA in July 2018 as Program Manager. This interview was conducted over e-mail. 

ALTA: You were an ALTA Travel Fellow back in 2016. How does it feel to be involved with ALTA again, this time as the new Program Manager?

Kelsi Vanada: It feels like a dream! In many ways, I got my start as a translator thanks to ALTA’s support through my Travel Fellowship—it meant financial support while I was a Headshot - Kelsigrad student, and the chance to grow professionally by presenting on a panel—and also gave visibility to my translation of Berta García Faet’s The Eligible Age, which was published with Song Bridge Press earlier this year. I couldn’t be more thrilled to support ALTA’s work in this new administrative capacity, supporting the wonderful training provided through the conferences and the Mentorship Program. I’m also happy that working with ALTA will put me in a position to connect with translators and translation publishers I admire—mostly I just feel full of gratitude and very excited.

 

ALTA: What are you most looking forward to bringing to this new position?

KV: I’ve been thinking recently about how in my poetry MFA program, I only read two books in translation that I can remember: Aimé Césaire’s Notebook of a Return to the Native Land and Fady Joudah’s translation of Mahmoud Darwish’s If I Were Another. So, one thing I’d like to do is to use my connections to the worlds of creative writing and translation in the U.S. context to help forge greater and understanding between translators and creative writers about what their work entails. That’s a main reason why I’m excited about ALTA’s move to Tucson—the University of Arizona has a strong Creative Writing MFA, and they have the Poetry Center! I’m also looking forward to bringing my experience with teaching young people to ALTA—I’d like to see how we can continue to empower educators to incorporate translation into classroom curriculums at every level. And the first piece of advice I always give young writers is to find a mentor, which I think applies to translation as well—so I’m looking forward to working with ALTA’s Mentorship Program. And lastly, as a Spanish-speaker, I can’t wait to find opportunities to partner with and learn from Latinx writers and translators in the Southwest.

 

ALTA: You are a poet as well as translator, having studied at the Iowa Writers’ Workshop. Do you see interplay between your creative work and translations?

KV: Most definitely. I don’t know if I’d be much of a poetry translator without having worked on my own poems, without having learned to talk about other writers’ poems, and without thinking about voice in the context of my own poetic voice. And even more specifically, I’ve found that translating changes what and in what way I am moved to write. Once, Cole Swenson spoke at Iowa about how she found herself writing a book of poems in tercets—upon reflection, she realized the form came from a poet she’d translated years prior. Though I never expected it, I felt the influence of translating Berta García Faet almost immediately after finishing my translation of her book—by the time I was finished, I had started writing in a first-person voice that was much more tied to my own voice and experience in my body than were my previous, more language-driven poems. I feel like translating her poems freed me to do that.

 

ALTA: You translate from both Spanish and Swedish. How did you get started in each of these languages, and do you find you translate differently from such different languages, or do they influence each other somehow?

KV: I started learning Spanish in elementary school, it was my second major in college,

the-eligible-age-465x700

The Eligible Age, by Berta García Faet (Song Bridge Press, 2018)

and then I lived in northern Chile for a time. As for Swedish, I’m not fully fluent, though my (also partial) knowledge of Danish (thanks to my Danish family) has helped me learn. I started learning Swedish in 2014, in order to translate the poet Marie Silkeberg, who was a resident in the International Writing Program in Iowa City at the time. My process with both languages is very different. In Spanish I can read a text on my own and create a translation which finds a new voice in English for the work. In Swedish, my process must be collaborative from the start, because I need help to understand some vocabulary and nuance. I have to be more vulnerable with my first drafts, which I’m usually very private about with my Spanish translations.

 

ALTA: What are you working on right now?

KV: I’m in the polishing phase of both a translation of Álvaro Lasso’s Izquierda Unida [United Left] and Marie Silkeberg’s Atlantis, excerpts of both of which are forthcoming in Anomaly and Black Sun Lit! I’m also working on a translation of one of Blanca Varela’s books with a Spanish friend: we both draft our own translation of each poem into English, and then we read both versions aloud together and negotiate which parts we like best to create the final translation. I’m also sending out a manuscript of my own poems, as well as starting to write some new ones that are so nascent I can’t talk about them yet.

 

ALTA: What are you reading right now?

KV: I’m reading through a bunch of the literary journals I have on my shelves, because I’m moving to Tucson soon, and I’m not planning to bring them all with me! I’m fascinated by how most literary journals are able to create such a clear mood or tone across the issue, even as they’re combining varied literature. Two Lines is good at that, for example, as is the Black Warrior Review. I’m also reading Mary Ruefle’s Madness, Rack, and Honey. She gave a beautiful talk at AWP in March about bells: how different poets/poems create distinct tones like the tones of different bells, and how a good haiku strikes one single tone like the stroke of a bell. Since then, I’ve been thinking about the tone(s) a translated poem strikes in relation to the original poem. And the best novel I’ve read recently is the late Argentine writer Aurora Venturini’s Las primas [The Girls]. I think Roy Kesey is working on a translation into English, for which Anglophone readers everywhere should be glad!

 

ALTA: Do you know any translation jokes?

KV: I didn’t, so I did what we translators often do well, and asked my community of translator friends for help! One shared this: “Question: How many translators does it take to change a lightbulb? Answer: It depends on the context.” Sounds like an inside joke for translators to me!


Kelsi Vanada joined ALTA as Program Manager in July 2018. She writes poems and translates from Spanish and collaboratively from Swedish. Her translation of The Eligible Age by Berta García Faet came out in 2018 with Song Bridge Press, and Toward Muteness by Sergio Espinosa is forthcoming from Veliz Books. She holds MFAs in Poetry (The Iowa Writers’ Workshop) and Literary Translation (The University of Iowa). Other poems and translations have been published most recently or are forthcoming in The Iowa Review, The Bennington Review, Anomaly, and elsewhere. She was a 2016 ALTA Travel Fellow, and enjoys building a readership for literature in translation by writing reviews.

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The American Literary Translators Association to Receive $15,000 Grant from the National Endowment for the Arts

May 9, 2018—National Endowment for the Arts Chairman Jane Chu has approved more than $80 million in grants as part of the NEA’s second major funding announcement for fiscal year 2018.  Included in this announcement is an Art Works grant of $15,000 to the American Literary Translators Association to support the annual ALTA conference. The Art Works category is the NEA’s largest funding category and supports projects that focus on the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and/or the strengthening of communities through the arts.

“The variety and quality of these projects speaks to the wealth of creativity and diversity in our country,” said NEA Chairman Jane Chu. “Through the work of organizations such as the American Literary Translators Association, NEA funding invests in local communities, helping people celebrate the arts wherever they are.”

“We are delighted to be among the organizations awarded funding this year, and incredibly grateful for the NEA’s support,” said ALTA Executive Director Elisabeth Jaquette. The $15,000 award will support ALTA’s 41st annual conference, “Performance, Props, and Platforms,” held this year in Bloomington, Indiana from October 31-November 3.

ALTA’s conference is the only one in the U.S. dedicated exclusively to literary translation. It brings together nearly 500 professional literary translators, editors, educators, students, publishers, and literary arts professionals to discuss the art, practice, theory, funding, publication, and promotion of works of literary translation into English. The conference includes panels, workshops, roundtables, readings, and events on literary translation with local community and arts organizations. It also inaugurates a new season of ALTA’s Emerging Translator Mentorship Program, which facilitates a close working relationship between an experienced translator and an emerging translator on a project selected by the latter.

For more information on projects included in the NEA grant announcement, visit arts.gov/news.

aw-color-logo-large (2)

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