Posts Tagged ‘Mira Rosenthal’

Brenda Hillman, Anne Carson win Griffin Awards in Toronto!

Thursday, June 5th, 2014

Two-time winner.

The Griffin Awards were announced in Toronto a few hours ago, and we’re happy to see familiar names on the lists.  Canadian poet Anne Carson, recently a Stanford guest (we wrote about her here and here)  became the first two-time winner of the $65,000 award, one of the most lucrative poetry prizes in the world, for her latest collection Red Doc.  The Berkeley’s Brenda Hillman was awarded the international prize, also worth $65,000, for her ninth collection, Seasonal Works With Letters on Fire. The jury had praised the collection as “a unique work. Its letters are on fire.”

In her acceptance speech, Brenda said that the world requires “more poetry and fewer weapons.” She had the guts to show it during the recent Occupy protests, when she and her Pulitzer prizewinning husband Robert Hass were roughed up by the police (I wrote about it here). The shortlisted poets gave a reading last night  at Koerner Hall in Toronto – a video of the readings from the shortlisted poets below. Brenda is about 36 minutes into the video, Ann Carson is at about 1.51.


Brenda goes international.

Here’s part of the reason for excitement for me: the Griffin Poetry Trust considers poetry in translation in its awards as well. It was a pleasure to hear Polish poetry again, recited by one of Poland’s best new poets, Tomasz Różycki – I was pleased to have a chance to meet him in New York three years ago. Stanford Stegner fellow Mira Rosenthal is the translator for his collection Colonies (Zephyr Press). You can see both at about 1.03 on the video below. See if you love the sound of Polish as much as I do. The book has already received a “notable translations of 2013” recognition from World Literature Today.

Other finalists for the Canadian prize were Sue Goyette for her fourth collection, Ocean, and poet and novelist Anne Michaels for Correspondences, a collaboration with the artist Bernice Eisenstein.

colonies-cover-imageThe other finalists for the International prize were Carl Phillips for Silverchest and Rachael Boast for Pilgrim’s Flower. All the finalists, including both winners, received $10,000 for taking part in the shortlist readings.

Adélia Prado was this year’s recipient of the Griffin Trust for Excellence in Poetry’s Lifetime Recognition Award – Bob Hass read a few of the Brazilian poet’s poems at about 1.40 on the video. (I’ve written about Bob here and here and here.)

Colonies is also on the short-list for the Oxford-Weidenfeld Award, which will be announced next week, June 13-14 in Oxford, UK. The book is also on the long-list for the PEN Poetry in Translation award.  The short-list for the PEN will be announced on June 17 in New York City. We’ll let you know how it goes.


griffinpoetryprize on Broadcast Live Free

Vladimir Sorokin “can eliminate one’s taste for lovemaking for a lifetime”

Monday, October 24th, 2011

The silver hair is lost in black & white (Elke Wetzig / Creative Commons)

Cannibalism, kinky violence, and scatology don’t normal fall within my range of reading material, but it’s always interesting and instructive to meet the author.

In this case, one of Russia’s most celebrated writers, Vladimir Sorokin, is a gentle, soft-spoken man, awkward in English and speaking with a slight stutter.  He’s hard to miss on campus, where he has started his one-month Stanford residency:  His flowing silver hair cascades to his shoulders.

As for the butcherings and bestiality in his writing – well, I guess he’s considered kind of a sci-fi writer. The protests against his books reached a crescendo in 2002, when protesters threw copies of his book into a huge papier-mâché toilet outside Moscow’s Bolshoi Theater.  (A notorious passage described sex between clones of Stalin and Khrushchev.)

During his pornography trial that year, one of his peers defended him, claiming “pornography is something that provokes indecency, yet reading Sorokin’s works can eliminate one’s taste for lovemaking for a lifetime.”

You can’t buy that kind of publicity.

From my short piece on him:

“According to [scholar Nariman] Skakov, many readers miss the point: “The beauty is not the shocking narrative, but what he does conceptually with the text.” For example, in one book, The Queue, it’s not entirely clear what commodity the characters are lining up for, and the lines of dialogue, including snatches of conversation, roll calls, jokes, howls of rage and amorous moans, are unattributed. Still the people in line wait patiently, doggedly, with several dozen blank pages representing the times when everyone is asleep on benches.

Sorokin’s dystopian science fiction books turn our mild anxieties and worst nightmares into art. His imagined future may include a Sinified Russian language or psychopathic cults, biomodification or hallucinogenic drugs, giant carrier pigeons the size of vultures and a cloned Dostoevsky or Pasternak, with characters and narrative lines that morph into others.”

The reading, with his translator Jamey Gambrell (I reviewed her translation of Marina Tsvetaea‘s Earthly Signs in the Los Angeles Times  here), began with Day of the Oprichnik, a book that opens in a futuristic Russia where czars are back and men in narrow beards wear kaftans and carry ray guns.  The narrator has “always the same dream” …  a white horse, “the stallion of all stallions, dazzling, a sorcerer…”

It all seemed sedate enough – but I ducked out after 45 minutes for a quick dinner with Mira Rosenthal, a current Stegner fellow and translator of poet Tomasz Różycki.