Prix Coindreau*

Mathilde Bach received a recognition for her translation of William Giraldi’s Hold the Dark (Aucun homme ni dieu, editions Autrement).

For his translation into French of environmentalist Edward Abbey’s non-fiction work, Desert Solitaire.

For his translation into French of Paul Harding’s Tinkers (French title, Les Foudroyés). This second Coindreau prize in our 2012 program year reflects the shift of the annual award ceremony in Paris from December to June.

For her fine translation of The Brief, Wondrous Life of Oscar Wao, by the Dominican author Junot Diaz. This novel, which won the Pulitzer Prize in 2008, was published in France by Plon, in their Feux Croisés collection.

For his translations of Apex and The Colossus of New York (Gallimard), by the New York novelist and MacArthur Fellow Colson Whitehead.

For her translation of Cynthia Ozick’s The Puttermesser Papers.

For her translations of Orphans and The Dead Fish Museum (Albin), both by Charles d’Ambrosio.

For the translation of Monique Truong’s The Book of Salt (Houghton-Mifflin 2003).

For her translation of The Piano Tuner, by Daniel Mason.

For his translations of A Box of Matches and The Size of Thoughts, both by Nicholson Baker.

For his fine translations into French of Mark Danielewski’s The House of Leaves and John Barth’s The Sotweed Factor.

For the translation of Martin Dressler: The Tale of an American Dreamer, by Steven Millhauser.

For her translation of For the Time Being, by Annie Dillard.

For her translation of The Hours, by Michael Cunningham.

For his translation of Edith Wharton’s autobiography, A Backward Glance (published as Les Chemins parvenus)

For his translation into French of Red the Fiend, by Gilbert Sorrentino

For her translation into French of The Same River Twice, by Chris Offutt

For his translation into French of William Bronk’s volume of poems entitled The World, The Worldless

For his translations into French of Jane Welch’s Winter in the Blood and Harold Brodsky’s Angel (volume two of Brodsky’s Stories in an Almost Classical Mode)