Magazines

Dear editors,

I have loads of stuff here, translations of amazing writers who are doing great stuff in Germany, winning prizes, gaining respect, pushing boundaries, all that kind of thing. Instead of me submitting it to you with a begging letter and you ignoring it for months on end and then possibly deigning to send a nebulous response about how it's not right for your magazine, why don't you just get in touch with me if you want something?

Thanks,

Katy

***

Actually, I do realize magazine editors have better things to do. One of the reasons I'm glad I'm not a writer is that I get offended too easily. Imagine if it was my own writing I was submitting to magazines. I'd be really really unhappy all the time.

But here's the thing: in the past, I've encouraged emerging translators to submit to literary magazines as a way of building up a résumé, like an unpublished writer might do. And one of the things I've said is to submit to magazines that don't focus on translation as well as the ones that do. Partly, this is a translation politics thing, because I think we should try and get out there and shout about non-Anglophone writers all over the place and not just in the usual venues. And partly it's because I think more people read them, and getting these pieces read is all I'm interested in. It's not like anyone's paying for them.

But while I've had excellent and encouraging experiences, on the whole, with journals that focus on translation, submitting to just plain literary journals has mainly been one big merry-go-round of frustration. The disturbing thing is, the things I send in are not by nobodies. They're by published writers, they've been edited and printed and reviewed positively and then I've translated them and usually also had someone edit the translation for me. Some of these writers have won major literary prizes here in Germany. And then as soon as they leave the country: nothing.

It makes me wonder about a few things: are there national tastes? Is that the problem, that British and American editors prefer a different kind of writing to German readers? That feels kind of unlikely to me, judging by the amount of fiction that gets translated from English to German. Then again, I bought The New Yorker's Twenty Under Forty and was distinctly underwhelmed. The other hazy thing is about writers having made names for themselves. Does the fact that German readers have heard of these authors make them think their writing is better than if it were a kind of blind tasting? So that, when I submit a translation to a British journal, say, the editors are reading it in a less biased way because they're not swayed by the name? If so, what does that say about me? Does it mean I'm subject to the same dazzle-factor? Probably, at least to some extent.

I'll probably keep on plugging away, at least on good days. I'll probably keep trying to come up with modest but enthusiastic cover letters to try and explain why I'm crazy about these superb pieces of writing. But if you happen to be a magazine editor and you've been thinking, hey, why do we have so few outstanding stories and essays translated from German, something needs to be done about this! - then do get in touch.

Asymptote Global Party

Asymptote Journal is celebrating its third anniversary with a series of events in different countries (hence the title). They made a little video about it. Upcoming things are happening in Shanghai, Philadelphia, Sydney and - hey! - Berlin.

So please join us from 8 p.m. on Thursday, 3 April in the always welcoming Alte Kantine Wedding for an evening of talking about translation. There will be various contributors and we will talk about translation, in English. But after that, there will be dancing. Me and Florian Duijsens will merge into an entity by the name of DJ Slappy Joe Sixpence (named after the ex-husband of R'n'B belter Lavern Baker) and we will play what appears to be called "old-school dirty soul" and I will wear my glittery dress and you will all have to take Friday off work because you will be dancing and having fun until goodness knows when.

Lilo, Nelly und ich

Last year I translated Christa Wolf's final short story, "August". During and after the translation process, I wrote about it in English, and then I offered the piece to the German magazine Merkur and they took it. My friend Ina Pfitzner translated it into German, and now you can read it in the print edition or in fact download my essay for free. I hope it'll be somewhere in English at some point. The book comes out in February.

Berlin Book Issue

The December issue of Exberliner magazine ("Berlin in English since 2002") is about books, although it doesn't include any reviews. There is a feature on "publishing heroes" though, profiling the literary agent Karin Graf, bookseller Frithjof Klepp, me, e-publisher Nikola Richter, nano-publisher Amanda DeMarco and literary connector Sharmaine Lovegrove. I would like an embroidery of the phrase "publishing hero" to hang on my kitchen wall.

The magazine is available from newsagents and bookshops in Berlin.

Multiple Uljana Wolf Whammy

O! The new issue of Asymptote is online! It is full of things, but may I draw your attention in particular to some of the laciest poems ever by Uljana Wolf, translated by Shane Anderson, and an essay by Uljana Wolf, translated by me. If you like that kind of thing they have links to the originals.

Mini-making-of: An Asymptote editor and I attended a rather odd event at which Uljana Wolf and Christian Hawkey talked about erasure and their joint book in front of a bunch of students, and then the students asked the kind of questions I personally don't think writers ought to be asked. They had their baby with them and she was a bit wriggly and wanted to be held all the time, which made matters difficult, so I offered my baby-holding services. Uljana read the very essay you too can enjoy at Asymptote, and said editor and I went a bit gooey-eyed (on top of my baby-induced gooey-eyedness). He said could they put it in Asymptote, and I said could I translate it, and that was that.

(Whispering) I took a few little liberties. It was a great pleasure to translate. The essay is about erasure and snow and the Monkees and how Rilke was a bad translator and very possibly an arsehole to boot. And about Elizabeth Barrett Browning and this lovely book.

Several Things in One Go

A quick round-up of all sorts of things:

The Prize of the SWR Bestenliste - an annual riff on the monthly SWR Bestenliste, a list of top recent fiction compiled by critics - has gone to Ulrike Edschmid for her work in general and the novel Das Verschwinden des Philip S. in particular. I must admit the book had slipped under my radar. It's about a couple in 1960s West Berlin, and what happens when the man becomes a left-wing terrorist. In July it also won the Grimmelshausen Prize, bagging Edschmid €10,000 for a narrative work that deals with contemporary history.

This coming weekend, the Goethe Institut New York is holding a series of talks, I think, about Berlin and New York and translation and literature and the all-round wonderfulness that is the Literary Colloquium Berlin. It's called Shining Island and you should go, if at all possible, because it features some fantastic people.

The new issue of New Books in German is out, all purple and regally full of recommended books. Very soon, they'll also have English sample translations from all six novels shortlisted for the German Book Prize. What they already have is a sweet little feature by Romy Fursland, I believe, about new publisher (and friends of mine) Readux Books. Where you can now place advance orders, by the way, and probably ought to.

Translators Canan Marasligil and Nicki Harman are revving up for their London discussion on International Translation Day by stating their positions on whether or not translators should write forewords and footnotes, on the Free Word Centre website.

Call for Submissions - no man's land #8

Contemporary German-language fiction and poetry in English translation.
Deadline: September 15, 2013.

no man’s land, the online journal for contemporary German literature in translation at www.no-mans-land.org, is seeking submissions for its 2013 issue.

For prose, send up to 3 texts (stories or self-contained novel excerpts, max. 4,000 words each) by one or different contemporary* writers. For poetry, send work by up to 3 poets, each to a maximum of 5 poems. Electronic submissions only. No simultaneous submissions, please, and – with some possible exceptions** – no previously-published translations. The deadline is September 15, 2013, and we will inform contributors by mid-October 2013; the issue will go online by mid-December. We regret that we are unable to offer honoraria.

Please include your contact information, biographical and publication information (for both translator and author) and a copy of the original. Also, please provide proof of permission from the original publisher and/or author – whoever holds the rights to the piece (this could be a scanned letter, or forward us an e-mail).

Please send submissions electronically to Isabel Cole at isabel@no-mans-land.org.

To save time and avoid misplacing your work, we ask that you observe the following guidelines for electronic submissions:

1)     Submit all texts (poems or prose) by one author in the same file (i.e. not a separate file for each poem).
2)     Name the file with your translation as follows: pr for prose, ly for poetry_your last name_the author’s last name_e. So Anthea Bell’s translation of prose by E. T. A. Hoffmann would be: pr_bell_hoffmann_e.doc. Name the file with the original the same way, but ending with _dt (pr_bell_hoffmann_dt.doc). Stephen Mitchell’s translation of Rilke poems would be ly_mitchell_rilke_e.doc, and the original would be ly_mitchell_rilke_dt.doc.

Apologies if this sounds complicated, but it really is a great help!

For more information, see our “Translators’ Tips” on the no man’s land website, and feel free to contact us at the above e-mail address.

We look forward to reading your work!

The Editors, no man’s land
www.no-mans-land.org


*Defined more or less as writers currently active, or active in the later 20th/early 21st century. When in doubt, query!

** We are willing to make exceptions for translations that have appeared previously in very limited circulation and that we feel deserve a new audience. Again, please feel free to query.

Asymptote Translation Contest

Translation-themed journal Asymptote has just raised lots of crowd-funded money and is coming good by launching a translation competition. Early-career translators will be favoured and can win $1000 for a poetry or prose translation from any language into English. Good luck!

MadHat/Litro

Two magazines for you:

MadHat 14 is a special translation issue, with the innovatively punctuated subtitle of cut.ting edge: austrian, german and swiss writing. It features a number of my absolute favourites: Annett Gröschner, Francis Nenik, Julya Rabinowich, and a great deal more fiction, poetry and drama.

There's also a Germany issue of Litro out now, although the writing is about rather than from Germany.

Transfiction Goes Fantastic

Not that they weren't already fantastic before, but the ladies at Transfiction are being particularly impressive right this moment. First check out their blog - featuring interviews with everyone involved in Frisch & Co's first release, Anna Kim's Anatomy of A Night (trans. Bradley Schmidt).

And then you can go to an event they're hosting in Berlin, a launch party for a special translated-from-the-German issue of MadHat Annual. Which, I believe, they've co-curated. It has all the good translators and all the good writers in it. The launch is on Saturday. I can't go. I'm very upset.

Five Dials Teaser

Another guest post today, this time from the delectable Anna Kelly, a woman of excellent taste. Anna is an editor at Hamish Hamilton, and has put together a special edition of Five Dials magazine. 

On the 3rd December Five Dials will publish a special issue featuring writing by some dozen German-language writers, translated into English.

I've wanted to put together an issue of Five Dials devoted to German-language writers for some time - partly because it's a personal interest of mine that I'd like to share with the world, and partly out of a more emphatic feeling that somehow English-language readers should be experiencing these writers more than they’re able to at the moment.

I work as an editor in a mainstream publishing house and I’m also lucky enough to read French and German as well as English, so I feel it’s partly my responsibility to champion writers working in those other languages to other British readers, just so they know what’s out there.  In reality that can’t always be done by publishing every single book that I read in German and love -- I work on a small, select list which can only publish so many books every year, and the majority of them are in English to start with. But with such a  vast array of interesting names and novels turning up in my inbox from month to month, I've come across many submissions over the past few years which have made me feel excited about what's being written in German at the moment and made me want to do something about that -- so putting together an issue of Five Dials is a way to publish these talented writers, celebrate them, and in some cases, introduce them to British readers for the first time.

It's also an opportunity to set up an event which enables us to actually meet some of these authors. Five Dials is proud to think of itself as an international magazine, with readers all over the world, and one of the ways in which it tries to keep in touch with these readers and to publish work which is relevant to everyone is by actually physically travelling around and meeting people - both readers and writers. So in that way this issue of Five Dials actually follows on from a few others which have come before it - an issue devoted to Paris, for example, which we celebrated with a launch event in Paris, and an issue featuring Quebecois literature, which had its launch in Montreal.

There are thirteen German-language writers featured in this issue, and they're a mixture of the already-known-in-English (for example, the brilliant Peter Stamm, Juli Zeh, and Judith Schalansky, whose Atlas of Remote Islands struck a chord here last year), the writers whose novels are currently being translated into English for the first time (eg. Jan Brandt, Simon Urban and Tilman Rammstedt), and those who (as far as I know) haven't yet ever been published in English but whose work impresses me so much that I am sure -- and hope -- that it can only be a matter of time before they are (eg. Clemens Setz and Ulrike Almut Sandig). 

One of the concerns I had while selecting work for the issue was that people would get up in arms about omissions of important writers. And to that I have to hold up my hands and say that this can only ever be a glimpse. There are numerous authors writing wonderful things in German at the moment and this issue could never show anything more than a handful. On a similar note, I always wanted this to be a German-language rather than a German issue, but it just so happens that the final selection includes far more German writers than it does Austrian or Swiss. This is purely coincidental, but to see the glass half empty, it does also leave open the opportunity that I might in the future be able to look into the option of doing a whole new issue dedicated to Swiss writers, or Austrian writers. There's no reason why not, and there would be plenty to fill either of these with.

But back to this issue. I wanted to include in it a mixture of fiction, non fiction and poetry, so there are stories by Simon Urban, Peter Stamm, Ulrike Almut Sandig, Tilman Rammstedt and  Clemens Setz, and novel extracts from Marjana Gaponenko and Judith Schalansky; poems by Raoul Schrott, Marion Poschmann and Pedro Lenz; and non-fiction by Jan Brandt and Juli Zeh. Many of the writers featured are those whose work has been submitted to me to publish and who I've been impressed by and wanted to publish in some format ever since. Some were recommended to me by friends. Some, like Peter Stamm, are already established in the English literary world thanks to having already been published by mainstream publishers in the UK.

One slightly exceptional inclusion in the issue is an essay by German literary translator Ulrich Blumenbach, about his experiences translating David Foster Wallace's Infinite Jest into German. This fits in with the theme in a different way to the rest of the issue, and in some ways represents the opposite of what the rest is about: it's about English being translated into German instead of vice versa. But I loved the idea of including this essay. I find the process of a book's movement from one language into another fascinating, and I thought that there was a sort of beautiful mirroring in the idea of English-language readers finding out about the process of a particularly well-known -- and famously challenging -– book being translated into German, at exactly the same time that they were reading, in the rest of the issue, writing that had been translated the other way. As well as highlighting the idea of a mutual cultural exchange, which I hope this issue exemplifies, I thought that Blumenbach's essay might also lead readers to respond differently and more deeply, maybe, to the German writing they were reading in translation: that they might be provoked into thinking about what it means to read writing in translation, about what is lost and gained in the process, about how close and far two different languages can be to one another, about what that says about our understanding of the world, and about how that understanding can be expanded.

To receive the issue as a pdf by email as soon as it’s available, you can subscribe here. It’s free.

And a word from me again: Monday, 3 December is also the launch party in Berlin. Please come. It's going to be the party of the year, with short readings from Jan Brandt, Joe Dunthorne, Clare Wigfall, Judith Schalansky and me. And dancing and drinking. So all your favourite things.

Launch Party

There's a project I've been translating for, which I'm very excited about. It's a special edition of Hamish Hamilton's Five Dials magazine dedicated to contemporary writing in German. In case you're not familiar with it, it's a free online magazine in pdf format, the idea being that you just download it and go. Check it out now please to help you understand how pleased I am to be involved.

So part of the Five Dials fun always seems to be a launch party, often in out-of-the-way places (Greek hillside, anyone?). This time the out-of-the-way place is Berlin. I shall be reading alongside some other people, and I hope you can all attend. Although the event announcement doesn't include an explicit dress code, my friends the co-organisers from Dialogue Books and I have already decided we'll be dressing up. So in case you were looking for an excuse to put on your gladrags on a Monday evening, this is your chance. There'll also be electronic music by DJ Anika and drinks on sale all night long and books to buy and just general glamour.

3 December, 7 p.m., The Wye. See you there then.

Translator Under Thirty?

Are you a translator under thirty? Would you like to be? Wouldn't we all?

The Berlin-based literary journal SAND is holding a translation competition, in conjunction with Youth in Action - hence the age limit.

Here's what they say:

The Rules: Submit an original English translation of another work (you must have permission from the author and/or publisher). The original piece may be in any language, from Urdu to Russian to Chinese. Our panel of judges will be basing their decision on the quality of your translation. Because we’re working with Youth in Action, you do need to be under the age of 30 to be eligible for the competition. (However, if you are over 30, you are still free to submit works under the regular submission guidelines.)
The Reward: There will be two winners, one for poetry and one for prose. Each winner will receive 150€ as well as publication in SAND.
The Workshop: Both winners and 8 runners up will be selected to participate in a translation workshop held in Berlin.* In the workshop, we’ll talk about the art of translation, your own translation and what it means to write, speak and live in multiple languages. The workshop will be led by some of our jurors and/or experts in the field and will be held in English. Of course it’s not all work – we promise a Berlin-style party with translation themed cocktails. (We don’t know what that means yet, but we’ll think of something good…)
*If you’re coming from outside the city, SAND will cover travel expenses up to a certain point.

Just a wee pointer from me: If you've never done this kind of thing before, take a look at the "Translators' Tips" at no man's land, where Isabel Cole has some useful advice about obtaining permissions.

New Books in German Features Shortlist!

It's time for the new issue of New Books in German! Go there to find out what's hot in German-language writing this season - fiction, non-fiction and children's books that the experts think will work on the English-language market.

As if that weren't enough, they've started a new collaboration with the German Book Prize, bringing you sample translations of all six shortlisted titles.

Diversity

I almost forgot! The latest issue of Words Without Borders features two rather different German writers: Finn-Ole Heinrich and Herta Müller, translated by myself and Philip Boehm. Enjoy!

Suggestions, Please

Two projects are looking for suggestions right now. The first is the Dublin literary magazine The Stinging Fly:

Our Summer 2013 issue will showcase literary translation of new and contemporary prose fiction from around the world. In conjunction with Dublin-based literary translation agency, Parkbench Publishing Services, we are now calling for submissions.
So, if you are a translator and you know of a new writer or new writing that you think we should know about, whatever the source language may be, please get in touch.
We are particularly interested in finding/translating short stories, though excerpts from novels and novellas will also be considered.
We hope to include work by new and emerging writers and translators, alongside the work of more established practitioners.

 Exciting, no? There's a form to fill in on the Stinging Fly website linked above.

And secondly, our And Other Stories German-language reading group is collecting suggestions for our next round of reading. We're looking for exciting contemporary novels written by women, to redress AOS's embarrassing gender imbalance. We'll be holding meetings in November, December and January (in Berlin) to discuss each one we pick from the preliminary suggestions, with a view to proposing one of them for translation. There'll probably be a meeting in London too, but you can also comment on the books via the AOS website - and we were pleased to find that a good few people did so during the last round.

I think the last round of discussions went astoundingly well. We had an excellent turn-out of readers in Berlin and some very heated discussions. The upshot was that none of our three books ended up selected for translation, for various reasons. But don't let that stop you joining in the next round - I know we won't!

Update: Oh yeah, contact me or share suggestions in the comments section - thanks.

Next Literature

You've been wondering what's coming next, haven't you? And you're in luck, because now there's Litflow to explain. Kicked off by some people at the Hildesheim creative writing programme, it's a magazine and a thinktank for next literature™. Utopian thinking about literary formats of the future, with (I think) a conference coming up in Berlin in September, bringing together creative and industry types from America and Germany including the inevitable but good Katrin Passig and top publishing boss Elisabeth Ruge. The magazine is not entirely free from sarcasm.

I read the magazine, which is in German only despite the English title and tags, and it left me feeling old and unexciting, and a little bit like I wasn't getting some big, big joke that everyone else is laughing at. And also that I just don't have enough free time to explore next literature™. But the German Federal Cultural Foundation is paying so it must be, you know, a serious undertaking of some kind.

On the plus side, Litflow is a zillion miles away from all those tiresome fetishist photos of mouldy old books you see on every other literature-related website in Germany. If you read German you should go and take a look for yourself, if only for the brilliant take-down of that book-scented perfume I deliberately haven't told you about here.

New New Books in German

The latest issue of New Books in German magazine is now online, highlighting great titles suitable for translation and this time with a features focus on Berlin. I have two pieces in there - one on translating Helene Hegemann and one on the Literaturwerkstatt Berlin.

Inside New Books in German

Everybody knows New Books in German, right? The UK's most fantastic vehicle for promoting literature written in German? To English-speaking readers, translators and publishers? Via two online and print issues a year? Edited by the amazing Charlotte "Energy Bundle" Ryland? Funded by Austria, Switzerland and Germany?

Good. Well, I happened to be in London at the same time as their editorial meeting, and I kind of invited myself along. The idea is, German-language publishers send the cream of their crop to NBG, and a crack team of experts selects about sixty titles that they reckon could work on the British market. Of course nowadays they cooperate with the German Book Office in New York so the American market is covered too. Anyway, the sixty books are sent off to sixty readers who each write a short report on their respective merits - but the idea is to be tough so that not just any old guff ends up in the magazine. And the editorial meeting is there to decide which books to feature on the pages of NBG.

But what actually happens behind the closed doors of the Austrian Cultural Forum in Range Rover Central, London SW7? I hear you ask. Ah, well let me enlighten you.

This time there were a record eighteen attendees, a bit of a mixed bag. According to the website, "editorial advisers are brought in for each issue, including a literary agent, a publisher, a translator and a bookseller." That's quite funny actually - but maybe you had to be there - because there was rather a wealth of translators, including - gasp! - Anthea Bell OBE, which nearly made me faint. Luckily there was a tea break for fawning purposes. There were also representatives of a number of cultural bodies, who were great because if there was an Austrian author, for instance, you could ask: Do you know them? Are they OK? And they'd say: Weeeelll, ye-es, not my cup of tea but very popular, or Ohhh, yes, fabulous, or: No, he's a complete vainglorious idiot.* Also, having a bookseller there was great because he knew what people actually buy in bookshops - and what they don't. Of course we translators had something to add too, although it was mostly anecdotes about how terribly nice the writers are.*

Anyway, we waded right in and voted on which books to take, covering children's and young adults' fiction plus non-fiction and fiction for adults. And I found myself talking rather a lot, no doubt unnecessarily, in an attempt to legitimise my presence in some way. But in fact most people had very sensible opinions and it was an object lesson in human nature. There were the eternal optimists, the passionate waverers, and best of all a couple of excellent Eyoreish sceptics. Just so nobody thought they were doing the world a favour.

And then there were the issues to consider. Can you expect kids to take an interest in long-dead political systems in foreign countries? (Probably not.) What percentage of non-fiction titles dealing with Nazis is OK? (Not 100%.) Does anyone give a monkeys about experimental fiction? (Perhaps not but it's still cool.) Are we topheavy on the crime front and low on love stories? (I made that one up but there were some questions of balance raised.) Then there was apple strudel. And then we went to the pub.

What's the point of the whole lot of you reading sixty-odd reports and putting together this very attractive magazine? I hear you ask. Ah, well let me explain.

German-language publishers benefit in a major way if their book ends up in NBG, mainly because it means publishers translating that book into English are entitled to funding. Which means they're more likely to do so in the first place. What doesn't happen is that Amy Editor curls up with a cup of cocoa and a copy of NBG and chooses which German book to publish this season. You still need to call Amy Editor's attention to your book, but its profile will be that little bit higher. Also, people will be that mite more aware of your author, so they're more likely to invite her to the UK and the US for glamorous lecture tours and the like. What you don't want to do, as a German publisher, is submit your third-most-exciting book of the season, on the assumption that your whizz-banging humdinger is going to sell like hot cakes and doesn't need any help. Every book needs help to make it into English. NBG is there to ease the way - and also to showcase just how fantastic writing in German is.

Of course it's not just the book reports. New Books in German is also a useful resource for finding out what's been published recently, and each issue also offers feature articles. This upcoming one is a bit heavy on the pieces written by me, but that's just a coincidence and won't be a regular fixture. I wouldn't want to annoy people. Oh, and they also organise a big flashy party during the London Book Fair, which I shall be attending this year. I already have a new dress and some bargainacious shoes.

* Not really.

Call for Submissions – no man’s land # 6

Contemporary German-language fiction and poetry in English translation.
Deadline: August 6, 2011.

no man’s land, the online journal for contemporary German literature in translation, is seeking submissions for its 2011 issue.

For prose, send up to 3 texts (stories or self-contained novel excerpts, max. 4,000 words each) by one or different contemporary* writers. For poetry, send work by up to 3 poets, each to a maximum of 5 poems. No simultaneous submissions, please, and – with some possible exceptions** – no previously-published translations. The deadline is August 6, 2011 (postmark date), and we will inform contributors by early September 2011; the issue will go online in November. We regret that we are unable to offer honoraria.

Please include your contact information, biographical and publication information (for both translator and author) and a copy of the original. Also, please provide proof of permission from the original publisher and/or author – whoever holds the rights to the piece (this could be a copy of a letter, or forward us an e-mail).

If you can include the original text in file format (PDF or other), we prefer that you send submissions electronically to Isabel Cole at isabel@no-mans-land.org. Otherwise, mail them to no man’s land, PO Box 02 13 04, 10125 Berlin, Germany.

To save us time and keep us from misplacing your work, please observe the following guidelines for electronic submissions:

1) Submit all texts (poems or prose) by one author in the same file (i.e. not a separate file for each little poem).
2) Name the file with your translation as follows: pr for prose, ly for poetry_your last name_the author’s last name_e. So Anthea Bell’s translation of prose by E. T. A. Hoffmann would be: pr_bell_hoffmann_e.doc. Name the file with the original the same way, but ending with _dt (pr_bell_hoffmann_dt.doc). Stephen Mitchell’s translation of Rilke poems would be ly_mitchell_rilke_e.doc, and the original would be ly_mitchell_rilke_dt.doc.

Apologies if this sounds complicated, but it really would be a great help!

For more information, see our “Translators’ Tips” on the no man’s land website, and feel free to contact us at the above e-mail address.

We look forward to reading your work!

The Editors, no man’s land
www.no-mans-land.org


*Defined more or less as writers currently active, or active in the later 20th/early 21st century. When in doubt, query!

** We are willing to make exceptions for translations that have appeared previously in very limited circulation and that we feel deserve a new audience. Again, please feel free to query.