Alex Zucker

Translator from Czech

Photo: Beowulf Sheehan


Alex Zucker is an award-winning translator from Czech. He also works in editing and nonprofit communications, and currently serves as cochair of the PEN America Translation Committee.

His translation of Jáchym Topol’s The Devil’s Workshop (2013, Portobello Books) was recently nominated for the International IMPAC Dublin Literary Award. In addition the novel won an English PEN Award for Writing in Translation, the Typographical Translation Award, and was named to the Fiction Longlist for the Best Translated Book Award.

Alex’s most recent translations appear in Contemporary Czech Prose: Not Necessarily About Politics, the November 2014 issue of Words Without Borders, for which he also served as guest editor.

His essay “O Pioneer! Michael Henry Heim and the Politics of Czech Literature in English Translation,” appeared in The Man Between: Michael Henry Heim and a Life in Translation, ed. Esther Allen, Sean Cotter, and Russell Scott Valentino, published in October 2014 by Open Letter Books.

Earlier this year, he created new subtitles for the digitally restored version of Closely Watched Trains, the 1966 classic based on the Bohumil Hrabal novella, which premiered at the Karlovy Vary Film Festival in July.

His current translation projects include the novels Innocence, or, Murder on Steep Street by Heda Margolius Kovály (Soho Press; forthcoming June 2015), Love Letter in Cuneiform by Tomáš Zmeškal (Margellos World Republic of Letters at Yale University Press), and Midway on Our Life’s Journey by Josef Jedlička (Karolinum Press).

In addition, Alex is coeditor of a volume on mass atrocity prevention, forthcoming from Cambridge University Press.

He lives and works in Greenpoint, Brooklyn.

Selected Works

“. . . should help to cement Jáchym Topol’s reputation as one of the most original and compelling European voices at work today.”
Times Literary Supplement
“. . . a gleeful skewering of the Czech national character and a character-rich, dialogue-sassy send-up colored by a lingering Communist legacy.”
Publishers Weekly
“. . . an acutely observed account — compelling despite its grimness — of the lives of its semi-nomadic subjects.”
Times Literary Supplement