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Tag: Ryszard Kapuściński

  • PEN Atlas – Editor's Round Up

    In the first of a monthly series, PEN Atlas editor Tasja Dorkofikis rounds up some of the highlights so far, and suggests some great further reading for our literary travellers

    Dear Readers,

    We launched the PEN Atlas over six months ago and have now 30 pieces published online, all newly commissioned and written for us. I would like to highlight the most recent blogs and books we mentioned.

    At the beginning of September we published dispatches from two exceptional women.

    Samar Yazbek wrote from Syria about the dangers of reporting and writing from a conflict zone. Yazbek, a writer and a journalist, was active in the first four months of the Syrian uprising in 2011. She witnessed and experienced cruelty and torture from the Assad regime. During that time she kept a diary of her own reflections as well as of oral testimonies from other opposition fighters. In her book, Woman in the Crossfire: Diaries of the Syrian Revolution, she shows the reality of what’s happening there and brings us stories of many people who risk their lives in the struggle for freedom. The insight that Yazbek offers into the complex and bloody conflict is both incredibly valuable and inspiring.

    Her novel, Cinnamon, will be published by Arabia Books later this year. Fearing for her daughter’s life she was forced to leave Syria and she is now in hiding. 

    Lydia Cacho wrote from Mexico about censorship and about the power the government and media over journalists and reporters. Her new book Slavery Inc; the Untold Story of International Sex Trafficking, just published in the UK, follows the trail of the traffickers and their victims from Mexico to Turkey, Thailand to Iraq, Georgia to the UK, and exposes the trade’s hidden links with the tourist industry, internet pornography, drugs and arms smuggling, money laundering,  and terrorism.  Cacho’s powerful first-person interviews with mafiosi, pimps, prostitutes, and those who managed to escape from captivity make us aware of the terrible human cost of this exchange. Shocking and sobering, Slavery Inc, is an exceptional book, both for the scope of its investigation, and for the bravery with which Cacho pursues the truth.

    English PEN has also been busy this month promoting a biography of Ryszard Kapuscinski by Artur Domoslawski, one of the winners of its Writers in Translation award (PEN Promotes!). You can read on our site a conversation with the author and some further recommendations of Polish reportage recently published in the UK. It is worth remembering that Polish reportage has an established and celebrated tradition from Ryszard Kapuscinski and Hanna Krall to Mariusz Szczygiel (winner of European Book Award for Gottland) and recently to Andrzej Dybczak, who has just won the prestigious Koscielski Prize for his reportage on the nomadic tribes of Evenks in Siberia. And one more piece of Polish literary news – many Polish writers are touring UK this autumn: the details are here.

    Our other dispatches took us to the Netherlands where Michele Hutchison examined the success of The Dinner by Herman Koch, a novel full of suspense and middle-class anxiety, and to the Edinburgh Festival where Daniel Hahn considered the issue of translation and Krys Lee looked at how migration and displacement encourages creativity.

    As we know, there is far too little literature in translation published in English. Our aim at the PEN Atlas is to introduce new international writing to readers in the UK and to encourage publishers to bring that writing to the British market. We hope to give new insights into the rich literary landscape beyond the English language and to inspire people to seek out new writers in translation. I hope that you will enjoy reading our site and our writers, and will find them enriching and inspiring.  

    Tasja Dorkofikis

    Editor, PEN Atlas

    Tasja Dorkofikis is the editor of the PEN Atlas as well as a freelance editor and publicist. She used to work as Publicity Director at Random House and most recently at Portobello Books as Associate Publisher and Commissioning Editor. Tasja shares her time between London and a small village in Vaud in Switzerland.

     

  • PEN Atlas – Editor’s Round Up

    In the first of a monthly series, PEN Atlas editor Tasja Dorkofikis rounds up some of the highlights so far, and suggests some great further reading for our literary travellers

    Dear Readers,

    We launched the PEN Atlas over six months ago and have now 30 pieces published online, all newly commissioned and written for us. I would like to highlight the most recent blogs and books we mentioned.

    At the beginning of September we published dispatches from two exceptional women.

    Samar Yazbek wrote from Syria about the dangers of reporting and writing from a conflict zone. Yazbek, a writer and a journalist, was active in the first four months of the Syrian uprising in 2011. She witnessed and experienced cruelty and torture from the Assad regime. During that time she kept a diary of her own reflections as well as of oral testimonies from other opposition fighters. In her book, Woman in the Crossfire: Diaries of the Syrian Revolution, she shows the reality of what’s happening there and brings us stories of many people who risk their lives in the struggle for freedom. The insight that Yazbek offers into the complex and bloody conflict is both incredibly valuable and inspiring.

    Her novel, Cinnamon, will be published by Arabia Books later this year. Fearing for her daughter’s life she was forced to leave Syria and she is now in hiding. 

    Lydia Cacho wrote from Mexico about censorship and about the power the government and media over journalists and reporters. Her new book Slavery Inc; the Untold Story of International Sex Trafficking, just published in the UK, follows the trail of the traffickers and their victims from Mexico to Turkey, Thailand to Iraq, Georgia to the UK, and exposes the trade’s hidden links with the tourist industry, internet pornography, drugs and arms smuggling, money laundering,  and terrorism.  Cacho’s powerful first-person interviews with mafiosi, pimps, prostitutes, and those who managed to escape from captivity make us aware of the terrible human cost of this exchange. Shocking and sobering, Slavery Inc, is an exceptional book, both for the scope of its investigation, and for the bravery with which Cacho pursues the truth.

    English PEN has also been busy this month promoting a biography of Ryszard Kapuscinski by Artur Domoslawski, one of the winners of its Writers in Translation award (PEN Promotes!). You can read on our site a conversation with the author and some further recommendations of Polish reportage recently published in the UK. It is worth remembering that Polish reportage has an established and celebrated tradition from Ryszard Kapuscinski and Hanna Krall to Mariusz Szczygiel (winner of European Book Award for Gottland) and recently to Andrzej Dybczak, who has just won the prestigious Koscielski Prize for his reportage on the nomadic tribes of Evenks in Siberia. And one more piece of Polish literary news – many Polish writers are touring UK this autumn: the details are here.

    Our other dispatches took us to the Netherlands where Michele Hutchison examined the success of The Dinner by Herman Koch, a novel full of suspense and middle-class anxiety, and to the Edinburgh Festival where Daniel Hahn considered the issue of translation and Krys Lee looked at how migration and displacement encourages creativity.

    As we know, there is far too little literature in translation published in English. Our aim at the PEN Atlas is to introduce new international writing to readers in the UK and to encourage publishers to bring that writing to the British market. We hope to give new insights into the rich literary landscape beyond the English language and to inspire people to seek out new writers in translation. I hope that you will enjoy reading our site and our writers, and will find them enriching and inspiring.  

    Tasja Dorkofikis

    Editor, PEN Atlas

    Tasja Dorkofikis is the editor of the PEN Atlas as well as a freelance editor and publicist. She used to work as Publicity Director at Random House and most recently at Portobello Books as Associate Publisher and Commissioning Editor. Tasja shares her time between London and a small village in Vaud in Switzerland.

     

  • Artur Domoslawski, autor książki Ryszard Kapuścinski; Non-Fiction, rozmawia z redaktorką PEN Atlas, Tasją Dorkofikis

    Spotkania z Arturem Domoslawskim zorganizowane są w Wielkiej Brytanii miedzy 19-26 września. 

    Dlaczego zdecydował się Pan napisać biografię Ryszarda Kapuścińskiego? 

    Bo miał fascynujące życie – przeżył kilka epok historyczych w różnych częściach świata, był świadkiem tylu przełomowych wydarzeń w Europie, Afryce, Azji i Ameryce Łacińskiej, że można by obdarować jego doświadczeniem kilku reporterów i pisarzy. Bo był najważniejszym dziennikarzem swojego czasu w Polsce, a na świecie jednym z najważniejszych. Bo był mi bliski – zarówno osobiście, jak i intelektualnie, światopoglądowo. Wreszcie – ponieważ mimo ogromnej sławy niewiele o nim wiedzieliśmy, a to, co miał do powiedzenia o świecie – mimo podziwu dla jego talentu pisarskiego – nie było w Polsce zrozumiane i przemyślane.

    Czy fakt, że był Pan zaprzyjaźniony z Kapuścińskim, utrudnial pisanie jego biografii? 

    Czasem to pomagało, a czasem utrudniało. Pomagało, ponieważ rozmawiałem z nim intensywnie przez ostatnich 9 lat jego życia i „nasiąkłem“ jego sposobem myślenia. Utrudniało wtedy, gdy natrafiałem na zdarzenia, które – jak sądziłem – część czytelników może odebrać jako negatywne, choć niekoniecznie ja sam tak je odbierałem. Wtedy pojawiało się wyzwanie: jak opisać takie zdarzenia wiernie, a zarazem z empatią i zrozumieniem. Każdy autor biografii, który znał swojego bohatera i był z nim w przyjaźni, musi zmagać się z takimi trudnościami, nie jestem wyjątkiem.

    Czy, wedlug Pana, Kapuściński byl wybitnym pisarzem, jak również wybitnym reporterem? 

    Tak, był jednym i drugim. Niektóre jego książki to książki stricte dziennikarskie – i również w nich bywał wybitnym pisarzem. Jeden z najwspanialszych reporterskich i zarazem literackich opisów to np. odpływające z Luandy drewniane miasto, spakowany w skrzyniach cały dobytek Portugalczyków opuszczających wybijającą się na niepodległość Angolę. To jeden z momentów, w których reportaż staje się wielką literaturą.

    Ale w dorobku Kapuścinskiego są również książki, które traktowano jako reportaż, a były one – choć miały elementy reportażowe – literaturą sensu stricto. Sądzę, że to przypadek „Cesarza“, ktory jest wspaniałym traktatem o władzy osnutym na motywach dworu Hajle Sellasje, ale jednak przede wszystkim literaturą. W latach  siedemdziesiątych Polacy czytali tę ksiażkę jako metaforę dworu Edwarda Gierka. Jeden z przyjaciół Kapuścińskiego powiedział kiedyś, że „Cesarz“ to najwybitniejsza powieść polska w XX wieku. Myślę, że Kapuściński nie miałby nic przeciwko takiej klasyfikacji.

    Czy Pana zdaniem fakt, że Kapuściński byl pisarzem zza żelaznej kurtyny, sprawił, że jego wyobraźnia jako reportera byla bardziej wyostrzona?

    Myślę, że miejsce urodzenia i ta czćść losu, ktorego czlowiek sam nie wybiera, może obdarować dodatkowym wyostrzeniem widzenia. Ale nie sadzę, żeby akurat życie za żelazną kurtyną wyposażało kogokolwiek w jakąś specyficzną mądrość niedostępną dla innych. Kapuścińskiemu dało po prostu wiele doświadczeń, które potrafił przetworzyć w literaturę.

    Co w sztuce pisarskiej Kapuścińskiego powoduje jego niezwykłą popularność?

    Jest pewnie kilka takich rzeczy. Jedną z nich jest odwoływanie się do emocji i wyobraźni dostępnych czytelnikom w różnym wieku, o różnym wykształceniu, o różnym doświadczeniu. Po drugie – uwodzicielski styl i melodia zdań. Po trzecie – opowiadanie o skomplikowanych zjawiskach świata: władzy, rewolucjach, wykluczeniu w sposób dostępny szerokiej publiczności, za pomocą obrazów, historii, a nie abstrakcyjnych, analitycznych pojęć.

    Dlaczego, według Pana, postać Kapuścińskiego w Polsce była poza krytyką?

    Myślę, że w Polsce lubimy mieć nieskazitelnych bohaterow, świętych, stawiać im pomniki, a potem się do nich modlić. Tak też było z Kapuścińskim. Był wielbiony powierzchownie, choć z pewnościa autentycznie –  jako rodak, któremu się udało zagranicą. Niestety, jego refleksje o świecie są słabo w Polsce przemyślane, a to, co miał ważnego do powiedzenia, jest ignorowane. Bo przecież ze „świętym“ się nie dyskutuje, „świętego“ się  nie krytykuje. To ma konsekwencje – paradoksalnie Kapuściński wcale nie jest w Polsce dogłębnie znany, rozumiany, przemyślany.

    O czym, wedlug Pana, pisałby Kapuściński dzisiaj? Ktore tematy bylyby dla niego szczegolnie istotne? 

    Myślę, że zafascynowalaby go arabska wiosna. Kapuściński opisywał masowe ruchy na rzecz wyzwolenia – politycznego, społecznego. Bunt przeciwko dyktaturom w świecie arabskim byłby niewątpliwie jego tematem. Inna sprawa, czy w zaawansowanym wieku miałby siłę podrożować. Możliwe, że nie. Miał jednak kilka pomysłów na inne książki, których nie zdażył napisać: o Bronisławie Malinowskim, o Ameryce Łacińskiej, o mieście swojego dzieciństwa – Pińsku.

    Czy uważa Pan, że Kapuściński ma w Polsce swoich następców? I kogo poleciłby Pan czytelnikom i wydawcom brytyjskim? 

    Myslę, że Polska ma bardzo dobry reportaż, ale trudno mi wskazywać następców. Niech zrobią to wydawcy i czytelnicy.

     

     

     

  • PEN Atlas Q&A – Artur Domosławski, author of Ryszard Kapuściński: A Life

    PEN Atlas editor Tasja Dorkofikis talks to Artur Domosławski, author of the controversial and popular biography Ryszard Kapuściński: A Life. Artur Domosławski will be touring the UK from 19 – 26 September. You can find the full events schedule here.The Polish version of the text can be read here.Why did you decide to write a biography of Kapuscinski? Because he had a fascinating life – he lived through a few historical events in several parts of the world, was a witness to so many crucial events in Europe, Africa, Asia and Latin America that one could parcel out his experiences to several reporters and writers. He was also the most important journalist of his time in Poland, and one of the most important in the world. He was close to me, personally and intelectually, and we shared a similar view of the world. Also, because despite his fame we knew very little about him; and what he had to say about the world – despite admiration for his literary talent – was not understood and considered in Poland.Did the fact that you were friends with Kapuscinski make writing his biography more difficult?Sometimes it helped, sometimes it made it more difficult. It helped, because I talked to him intensely during the last nine years of his life, and soaked up his way of thinking. It hindered when I encountered events which – I thought – some readers might take as negative, though I didn’t necessarily see them as such myself. Then I was faced with a challenge: how to describe these events honestly, but at the same time with empathy and understanding. Each author of a biography, who knows his subject, and was friends with him or her, has to confront such difficulties, I am not an exception.Was Kapuscinski, according to you, an outstanding writer as well as an outstanding reporter? Yes, he was both. Some of this books are strictly journalistic – but also in those he was an outstanding writer. One of the most wonderful descriptions, both journalistic and literary, is, for example, the scene describing the wooden city of crates departing from Luanda with all the possessions of the  Portuguese leaving Angola when it gained independence.  This is one those moments when reportage becomes great literature.But amongst Kapuscinski’s works there are also books which were treated as reportage, but were –  even though they had the element of reportage – in the strict sense of the word,  literature. I think that this is the case with The Emperor, which is an outstanding treatise about power based on the motif of the Haile Sellasje’s court, but also, above all, great literature. In the 70s Poles read this book as a metaphor for the court of Edward Gierek. One of Kapuscinski’s friends said once that The Emperor is the greatest Polish novel of the 20th century. I think that Kapuscinski wouldn’t have anything against such a classification.Do you think that the fact that Kapuscinski wrote from behind the Iron Curtain sharpened his imagination as a reporter?I think that the place of birth and the part of one’s life which has not been freely chosen can give some additional sharepened vision. But I don’t think that life behind the Iron Curtain could equip anybody with any particular wisdom not accessible to  others. It simply gave Kapuscinski a lot of experiences, which he was able to transform into literature.Which elements of Kapuscinski’s writing have made him so popular? I am sure that there are a few elements. One of them is being able to evoke emotions understood by readers of various ages, education and experience. Secondly, his seductive style and the melody of his sentences. And thirdly, relating complicated world events: power, revolutions, issues often excluding the public, through images, and stories and not through abstract, analytical concepts.Why do you think Kapuscinski was beyond criticism in Poland?I think that in Poland we like having blameless heros, saints, we like turning them into statues, and then worshipping them. That happened with Kapuscinski. He was admired superficially, though certainly in an authentic way – as a compatriot, who was successful abroad. Unfortunately, his reflections about the world haven’t been taken seriously in Poland, and what he had to say has been ignored. Because one does not debate the merits of a saint, one does not criticise a saint. This has consequences – paradoxically, Kapuscinski is not well known, understood and taken into account in Poland.What subjects would Kapuscinski write about nowadays? Which subjects would he consider most important?I think that he would be fascinated by the Arab Spring. Kapuscinski described mass movements for liberation – both political and social.  Rebellion against dictators in the Arab world would certainly be his subject. Though he might not have much energy to travel at his advanced age. Maybe not. He had a few ideas for other books, which he didn’t have enough time to write: about Bronislaw Malinowski, about Latin America, about his childhood town – Pinsk.Do you think that Kapuscinski has successors in Poland? Who would you recommend to British readers and publishers? I think that Poland has very good reportage, but it would be hard to nominate successors. I will leave this to readers and publishers.

    *

    Additional InformationArtur Domosławski writes on international politics for the weekly review Polityka and for the Polish edition of Le Monde diplomatique, and for two decades reported for the Polish daily Gazeta Wyborcza. In 2010 he received Poland’s prestigious Journalist of the Year Award. A Knight Fellow at Stanford University in 2005-2006, he is the author of five books and is currently working on a book about contemporary Latin America.Tasja Dorkofikis is the editor of the PEN Atlas as well as a freelance editor and publicist. She used to work as Publicity Director at Random House and most recently at Portobello Books as Associate Publisher and Commissioning Editor. Tasja shares her time between London and a small village in Vaud in Switzerland.Ryszard Kapuściński: A Life is translated by Antonia Lloyd-Jones, a full-time translator of Polish literature. Her published translations include fiction by several of Poland’s leading contemporary novelists, including The Last Supper by Paweł Huelle, for which she won the Found in Translation Award 2008. Her translations of non-fiction include reportage, literary biographies and essays. She also translates poetry and books for children, including illustrated books, novels and verse. She occasionally takes part in translation conferences, reads her work at public events, and interprets for the writers whom she translates at literary festivals. Last year she participated in Translation Nation, a project to teach primary school children the value of knowing languages. She recently mentored a younger translator within a project run by the British Centre for Literary Translation, and initiated by the UK Translators Association, of which she is currently a committee member.Ryszard Kapuściński: A Lifehttp://rcm-uk.amazon.co.uk/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=enpe-21&o=2&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=184467858X
    Recent Polish reportage available in English: The Night Wanderers: Uganda’s Children and the Lord Resistance Army by Wojciech Jagielski, translated by Antonia Lloyd-Jones, (Old Street, 2012)http://rcm-uk.amazon.co.uk/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=enpe-21&o=2&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=1908699086
    White Fever by Jacek Hugo-Bader, translated by Antonia Lloyd-Jones, (Portobello Books, 2011)http://rcm-uk.amazon.co.uk/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=enpe-21&o=2&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=1846272696
    Like Eating a Stone by Wojciech Tochman, translated by Antonia Lloyd-Jones, (Portobello Books, 2009)http://rcm-uk.amazon.co.uk/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=enpe-21&o=2&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=184627088X

  • PEN Atlas Q&A – Artur Domosławski, author of Ryszard Kapuściński: A Life

    PEN Atlas editor Tasja Dorkofikis talks to Artur Domosławski, author of the controversial and popular biography Ryszard Kapuściński: A Life. Artur Domosławski will be touring the UK from 19 – 26 September. You can find the full events schedule here.The Polish version of the text can be read here.Why did you decide to write a biography of Kapuscinski? Because he had a fascinating life – he lived through a few historical events in several parts of the world, was a witness to so many crucial events in Europe, Africa, Asia and Latin America that one could parcel out his experiences to several reporters and writers. He was also the most important journalist of his time in Poland, and one of the most important in the world. He was close to me, personally and intelectually, and we shared a similar view of the world. Also, because despite his fame we knew very little about him; and what he had to say about the world – despite admiration for his literary talent – was not understood and considered in Poland.Did the fact that you were friends with Kapuscinski make writing his biography more difficult?Sometimes it helped, sometimes it made it more difficult. It helped, because I talked to him intensely during the last nine years of his life, and soaked up his way of thinking. It hindered when I encountered events which – I thought – some readers might take as negative, though I didn’t necessarily see them as such myself. Then I was faced with a challenge: how to describe these events honestly, but at the same time with empathy and understanding. Each author of a biography, who knows his subject, and was friends with him or her, has to confront such difficulties, I am not an exception.Was Kapuscinski, according to you, an outstanding writer as well as an outstanding reporter? Yes, he was both. Some of this books are strictly journalistic – but also in those he was an outstanding writer. One of the most wonderful descriptions, both journalistic and literary, is, for example, the scene describing the wooden city of crates departing from Luanda with all the possessions of the  Portuguese leaving Angola when it gained independence.  This is one those moments when reportage becomes great literature.But amongst Kapuscinski’s works there are also books which were treated as reportage, but were –  even though they had the element of reportage – in the strict sense of the word,  literature. I think that this is the case with The Emperor, which is an outstanding treatise about power based on the motif of the Haile Sellasje’s court, but also, above all, great literature. In the 70s Poles read this book as a metaphor for the court of Edward Gierek. One of Kapuscinski’s friends said once that The Emperor is the greatest Polish novel of the 20th century. I think that Kapuscinski wouldn’t have anything against such a classification.Do you think that the fact that Kapuscinski wrote from behind the Iron Curtain sharpened his imagination as a reporter?I think that the place of birth and the part of one’s life which has not been freely chosen can give some additional sharepened vision. But I don’t think that life behind the Iron Curtain could equip anybody with any particular wisdom not accessible to  others. It simply gave Kapuscinski a lot of experiences, which he was able to transform into literature.Which elements of Kapuscinski’s writing have made him so popular? I am sure that there are a few elements. One of them is being able to evoke emotions understood by readers of various ages, education and experience. Secondly, his seductive style and the melody of his sentences. And thirdly, relating complicated world events: power, revolutions, issues often excluding the public, through images, and stories and not through abstract, analytical concepts.Why do you think Kapuscinski was beyond criticism in Poland?I think that in Poland we like having blameless heros, saints, we like turning them into statues, and then worshipping them. That happened with Kapuscinski. He was admired superficially, though certainly in an authentic way – as a compatriot, who was successful abroad. Unfortunately, his reflections about the world haven’t been taken seriously in Poland, and what he had to say has been ignored. Because one does not debate the merits of a saint, one does not criticise a saint. This has consequences – paradoxically, Kapuscinski is not well known, understood and taken into account in Poland.What subjects would Kapuscinski write about nowadays? Which subjects would he consider most important?I think that he would be fascinated by the Arab Spring. Kapuscinski described mass movements for liberation – both political and social.  Rebellion against dictators in the Arab world would certainly be his subject. Though he might not have much energy to travel at his advanced age. Maybe not. He had a few ideas for other books, which he didn’t have enough time to write: about Bronislaw Malinowski, about Latin America, about his childhood town – Pinsk.Do you think that Kapuscinski has successors in Poland? Who would you recommend to British readers and publishers? I think that Poland has very good reportage, but it would be hard to nominate successors. I will leave this to readers and publishers.

    *

    Additional InformationArtur Domosławski writes on international politics for the weekly review Polityka and for the Polish edition of Le Monde diplomatique, and for two decades reported for the Polish daily Gazeta Wyborcza. In 2010 he received Poland’s prestigious Journalist of the Year Award. A Knight Fellow at Stanford University in 2005-2006, he is the author of five books and is currently working on a book about contemporary Latin America.Tasja Dorkofikis is the editor of the PEN Atlas as well as a freelance editor and publicist. She used to work as Publicity Director at Random House and most recently at Portobello Books as Associate Publisher and Commissioning Editor. Tasja shares her time between London and a small village in Vaud in Switzerland.Ryszard Kapuściński: A Life is translated by Antonia Lloyd-Jones, a full-time translator of Polish literature. Her published translations include fiction by several of Poland’s leading contemporary novelists, including The Last Supper by Paweł Huelle, for which she won the Found in Translation Award 2008. Her translations of non-fiction include reportage, literary biographies and essays. She also translates poetry and books for children, including illustrated books, novels and verse. She occasionally takes part in translation conferences, reads her work at public events, and interprets for the writers whom she translates at literary festivals. Last year she participated in Translation Nation, a project to teach primary school children the value of knowing languages. She recently mentored a younger translator within a project run by the British Centre for Literary Translation, and initiated by the UK Translators Association, of which she is currently a committee member.Ryszard Kapuściński: A Lifehttp://rcm-uk.amazon.co.uk/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=enpe-21&o=2&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=184467858X
    Recent Polish reportage available in English: The Night Wanderers: Uganda’s Children and the Lord Resistance Army by Wojciech Jagielski, translated by Antonia Lloyd-Jones, (Old Street, 2012)http://rcm-uk.amazon.co.uk/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=enpe-21&o=2&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=1908699086
    White Fever by Jacek Hugo-Bader, translated by Antonia Lloyd-Jones, (Portobello Books, 2011)http://rcm-uk.amazon.co.uk/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=enpe-21&o=2&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=1846272696
    Like Eating a Stone by Wojciech Tochman, translated by Antonia Lloyd-Jones, (Portobello Books, 2009)http://rcm-uk.amazon.co.uk/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=enpe-21&o=2&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=184627088X