They've announced the winners of this year's prix Méditerranée and prix Méditerranée du roman étranger; not yet at the official site, last I checked, but see for example the Livres Hebdo report.
Rue du pardon by Mahi Binebine was awarded the prix Méditerranée -- see also the Stock publicity page --, and Borgo Vecchio by Giosuè Calaciura won the foreign novel prize; see also the Sellerio publicity page.
They've announced the winner of this year's Erich Fried Prize, a €15,000 author prize awarded since 1990 to a German-speaking writer; it is one of those prizes decided by a single judge -- a different one every year --, who is always a prominent author in their own right; judges have included Christa Wolf (1992), Volker Braun (1998), Elfriede Jelinek (1999), Christoph Ransmayr (2005), and Christoph Hein (2019) -- whereby Christoph Hein was also the first winner of the award, selected in 1990 by Hans Mayer.
This year's judge was Maja Haderlap, and she selected Esther Kinsky to get the prize; the prize ceremony is scheduled for 29 November.
The most recent addition to the complete review is my review of A version of Euripides's Helen by Anne Carson, Norma Jeane Baker of Troy, recently out from New Directions (in the US) and Oberon Books (in the UK).
The European Writers' Council has released a survey, conducted 30 March to 24 April, on The Economic Impact of COVID-19 on Writers and Translators in the European Book Sector (warning ! dreaded pdf format !); see also the executive survey, which covers the main points.
Obviously, the impact has continued through May and now beyond, much of which is not reflected here, and a comprehensive final assessment is a ways off, but it's still a good overview, with some interesting country-to-country variations.
The full report is worth a read-through -- down to the explanatory notes, such as the one pointing out why loss of income for writers and translators was less severe in the Czech Republic:
Czech Republic: the losses are currently assessed as less severe, since the low income of authors usually forces them to pursue another profession or job for their main income anyway.
Longtime Sydney Morning Herald book reviewer Andrew Riemer has passed away; see, for example, Melanie Kembrey's obituary in the SMH.
There are links to and quotes from dozens of his reviews at the complete review.
Liveright also published The Collected Stories of Machado de Assis two years ago (see their publicity page, or get your copy at Amazon.com or Amazon.co.uk), which got some decent attention too (unfortunately, I haven't seen this one yet) -- and maybe these new Brás Cubas-translations will now really cement his reputation as one of the great authors of his time.
They've announced the latest Litprom-Bestenliste Weltempfänger -- "the seven finest book releases of the season [...] from the Global South" in German translation --, the summer 2020 list.
Interesting as always, it includes two titles under review at the complete review: Kim Young-ha's Diary of a Murderer and Eliot Weinberger's 19 Ways of Looking at Wang Wei.
The most interesting selection, however, is Wilma Stockenström's The Expedition to the Baobab Tree -- not so much for the selection itself but because the German translation is not from the Afrikaans original but rather from J.M.Coetzee's English translation; see, for example, the Verlag Klaus Wagenbach publicity page.
Given that Afrikaans is by pretty much any measure closer to German than English, this is an odd publishing decision -- or maybe not, since the J.M.Coetzee-connection is an obvious selling point .....
Still, gotta wonder about this .....
(Note also that this is not a new translation: it first came out in 1987.)
I suppose it's good to hear that, as TASS reports:
Russian President Vladimir Putin has emphasized that Moscow can afford to promote the Russian language and culture across the world even despite falling oil prices.
Not sure what kind of promotion to expect -- Twitter trolling ? -- but at least he's expressing some interest and awareness of the issue(s), which is more than one can say for many other heads-of-state.
He even weighs in:
According to Putin, Russian classic fiction is rather complicated for translation.
"You need talent to convey the essence and to convey the elegance of the author," he said adding that "talent is a compulsory thing, otherwise everything grinds to a standstill after one or two unsuccessful experiments."
In literature are there any recognisable trends typical of the end of the millennium and the 2000s ?
It's my feeling that nowadays people really do trust in documentary testimony.
This doesn't purely mean the documentary form, it's a mishmash of various forms.
As longtime readers know: not me.
I am deeply suspicious of 'documentary testimony' (and can't stand how prevalent it has become in contemporary journalism).
I'm with Pound: "End fact. Try fiction".
So too if it's going to be personal (as, sigh, so much nowadays seems to have to be ...) re-work it -- de-personalize it ! -- as fiction.
If I never see/hear/read any 'testimony' again, I'd be fine with that.
The (British) Crime Writers' Association has announced the longlists for this years CWA Dagger awards, including those for the Crime Fiction in Translation Dagger -- the only category I've read or seen any titles in; the only title under review at the complete review is Kike Ferrari's Like Flies from Afar, in Adrian Nathan West's translation.
(I also have the Leonardo Padura, and hope to see the Antti Tuomainen -- and I am kind of curious about Hannelore Cayre's The Godmother (which has won several European crime fiction prizes) and Edoardo Albinati's The Catholic School.)
There is no set date for the shortlist announcement, but the winners are supposed to be revealed on 22 October.
The most recent addition to the complete review is my review of Auður Ava Ólafsdóttir's Miss Iceland, just (about) out in the US from Grove Press' Black Cat imprint, and coming in July in the UK from Pushkin Press.
They've announced the shortlist for this year's Internationaler Literaturpreis, awarded to: "an outstanding work of contemporary international literature that has been translated into German for the first time".
Given this year's unusual circumstances they will not be naming a winner; instead:
At a time when the importance of solidarity has become so obvious, whether interpersonal or global, it was important to the jury to not highlight just one of the titles, but to conceive of the entire shortlist as a constellation of six outstanding books and to divide the prize money among them all.
International Literary Properties has acquired twelve literary estates, including those of Evelyn Waugh, Georges Simenon, Eric Ambler, Margery Allingham, and Michael Innes from Peters Fraser + Dunlop in a reported "eight-figure deal" (!) -- yes, there's a lot of money in literary estates; see the reports in Publishers Weekly and The Bookseller.
(No news yet at the sites of the two organizations that are involved; in fact, at PF+D the estates they unloaded are still listed as their estate-clients as I write this ....)
As long-time readers know, I'm fascinated by literary estates and their (mis)handling (see also) -- so also now by the emphasis, as noted in the correction to the Publishers Weekly piece: "An earlier version of this story referred to ILP as a literary agency; it is an estate management firm".
Often, sadly, more 'estate management' than literary representation is involved -- and too often neither authors nor, especially, readers are well-served (though the rent-seeking heirs (and their representatives) seem to do okay); I weep whenever I look at Wylie Agency estate-clients on their very impressive list and how much of their work remains inaccessible to would-be readers (though many of these other agencies are no better -- consider the PF+D list and how many of these authors seem somewhat ... neglected).
Some of the dozen estates that have changed hands are fairly easy sells -- Simenon and Waugh, in particular, though recall how much of Simenon's work has never been translated (even as Penguin has just finished re-translating all 75 Maigrets) -- but maybe they'll see to that now .....
They've announced the winner of this year's prix Orange du Livre en Afrique, a prize for a French-language novel written by an African -- and, significantly and admirably, published by an Africa-based publisher -- and it is C'est beau la guerre by Youssouf Amine Elalamy; see, for example, the Livres Hebdo report.
Publishers of the six shortlisted titles are based in Algeria, Mali, Morocco, Senegal, and Tunisia -- great to see such a spread.
They've announced the winners of this year's Lambda Literary Awards.
Lots of categories -- four different for fiction alone (Lesbian, Gay, Bisexual, and Transgender) -- with the winners selected from an impressive: "more than 1,000 book submissions from over 300 publishers"
The most recent addition to the complete review is my review of Saratchandra Chattopadhyay's oft-filmed 1917 Bengali classic, Devdas.
In The Hindu's review Meenakshi Mukherjee notes:
He must be the only Indian writer who achieved grass root popularity in many languages of India through spontaneous and direct translation from Bangla without the mediation of English and without any official patronage.
His appeal was purely indigenous.
Westerners or Indian readers who knew only English never formed his constituency.
It is only in the last decade that Saratchandra's novels have begun to be translated into English.
Fascinating -- and I look forward to seeing more of his work.
Penguin India seems to have a nice selection .....