The archives -- of the Nobel Prize deliberations from fifty years earlier, the official waiting period -- were opened at the beginning of the year, and newspaper reports already provided most of this information (which I summarized for you more than two weeks ago), but now the official Nobel site has finally posted their overview, Candidates for the 1966 Nobel Prize in Literature.
(The dateline on this is 4 January, but, strangely, it was not posted until yesterday.)
Nothing really new here, but a useful overview.
The 'Deutscher Krimi Preis' is all prestige, no cash, but with a solid, serious jury it is well-respected (and claims to be the oldest German mystery-book prize -- at a not very old 33 ...), and they've now announced the winners (and the two runners-up) in the two categories.
The best German mystery category was won by Die Mauer ('The Wall'), by Max Annas (see, for example, the Rowohlt publicity page).
Neither it, nor any other book by him -- or indeed the two runners-up -- appears to have been translated into English.
The international mystery category was won by a translation from the English -- indeed, the top three titles were all translated from the English, and two of them by the same translator (Peter Torberg) at that -- The Heavenly Table, by Donald Ray Pollock (get your copy at Amazon.com or Amazon.co.uk).
Books by Liza Cody and Garry Disher came in second and third.
The American University in Cairo Press launched their hoopoe-imprint last year, and among their first titles was Ibrahim Essa's The Televangelist.
I see now that a film version has come out -- listed as 'Mawlana' at IMDb -- the Arabic title, مولانا, transliterated.
But apparently it's being called 'The Preacher' in English, with AUC Press unable to make the film-book connection very clear -- a shame, given the (small, but still) advantages of movie tie-in PR.
So, for example, The Hollywood Reporter's (positive) review refers only to: "Issa's 2012 novel Mawlana/Our Master" -- spelling the author's last name differently than the publisher did, and providing a different English title (i.e. anyone asking for this in a US/UK bookstore is unlikely to be handed a copy of The Televangelist).
The review in Variety also spells the author's name differently, referring (only) to "journalist-novelist Ibrahim Eissa's bestselling book"; again, there's no way to make the leap from this to The Televangelist.
A shame -- a small but missed opportunity.
(This is the first I've heard of the film -- made aware of it through Hani Mustafa's less enthusiastic review in Al-Ahram Weekly (where the title of the novel is at least give as The Televangelist, even if the author's name is spelled: 'Ibrahim Eissa').)
They've announced the winners of the latest round of Akutagawa and Naoki prizes -- two of Japan's biggest; see, for example, Daisuke Kikuchi's report in The Japan Times, Sumito Yamashita claims 156th Akutagawa Prize.
Yes, Yamashita Sumito's (山下澄人) しんせかい ('New World') won the Akutagawa prize, while Onda Riku's (恩田陸) 蜜蜂と遠雷 ('A Honey Bee and a Distant Thunder') won the Naoki prize.
Neither author appears to have any book published in English translation yet.
The most recent addition to the complete review is my review of Vivek Shanbhag's Ghachar Ghochar.
HarperCollins India brought this out just over a year ago, but now Penguin Books is bringing it out in a US/UK edition -- a big deal.
With NYRB's re-issue of U.R.Ananthamurthy's Samskaratwo works translated from Kannada are being published in the US/UK within a month of each other !
Yes, both have been previously available in English -- Samskara has long been available in an OUP edition -- but these are much more likely to reach a bigger audience.
Will they ?
In Kanishka Gupta's 2016-overview article that I mentioned yesterday, Much hype, few sales, he notes that, in India:
One of Harper Perennial's big successes of the year, Vivek Shanbag's critically acclaimed Ghachar Ghochar, which sold more than 5,000 copies, was translated from Kannada.
But, hey, 5000 copies sold of a translation probably counts as (great) success in the US too.
They've announced the finalists for the 2017 PEN America Literary Awards -- and there are a whole lot of categories.
There's some good money on offer too -- the PEN/Jean Stein Book Award pays out US$75,000, which is many times over what the Pulitzer and National Book Award offer -- though even 'Literary Sports Writing' (US$5,000) pays out more than either of the translation prizes (US$3,000 apiece).
Meanwhile, the bar is set pretty loftily for some of these prizes: the PEN/Diamonstein-Spielvogel Award for the Art of the Essay is:
For a book of essays published in 2016 that exemplifies the dignity and esteem that the essay form imparts to literature.
Dignity ! Esteem !
The career achievement and manuscript categories don't name finalists, so we have no idea who is in the running for, for example, the PEN/Nabokov Award for Achievement in International Literature.
Two of the (prose) translation prize finalists are under review at the complete review: Kerri A. Pierce's translation of Iben Mondrup's Justine, and Deborah Smith's translation of Han Kang's The Vegetarian.
(And no, I still don't know -- and can't fathom -- why John E. Woods' translation of Arno Schmidt's Bottom's Dream didn't just win this category by default (with all due respect for the other translators, this should be: no contest).)
At DNA Kanishka Gupta 'looks back at what's happened in the world of fiction in the past year' in India, in Much hype, few sales.
Actually, commercial fiction apparently did do well -- it's the literary stuff that's lagging, as, depressingly:
(T)here has been a decline in the sales of literary fiction and translations.
Even the latest releases by giants of Indian Writing in English, including a former Booker winner, have missed sales estimates by a significant mark or sold at a slower pace than expected.
There has hardly been any breakout debut literary fiction in terms of sales, making some publishers rethink their strategy for acquiring fiction
Apparently: "monetarily, the genre makes little sense".
Worse: "Most multinational publishers are scaling back on translations" -- though it's good to see that some of the less-widely translated local languages do seem to be getting more attention.
Meanwhile, literary prizes -- other than the Man Booker or Pulitzer -- apparently don't help with book sales, and: "Most of the top Indian prizes have no sway whatsoever over readers".
(Of course, what is a 'top Indian prize' ? I'd be surprised if -- outside India -- more than a handful of my well-read readers could name even one.)
The most recent addition to the complete review is my review of Madeleine Bourdouxhe's 1937 novel, La Femme de Gilles.
First translated into English a quarter of a century ago, this also came out in Northwestern University Press' excellent European Classics-series in 1994 but didn't seem to attract much notice back then.
It was recently reissued by Melville House -- and, I hope, will enjoy more success now.
It is very, very good (despite the awfulness of the underlying story).
The finalists for the (American) National Book Critics Circle Awards have been announced.
There are quite a few categories -- fiction, 'general nonfiction', biography, autobiography, criticism, and poetry -- but I'm afraid that none of the titles are under review at the complete review.
(I do sometimes worry about my apparent disconnect from the contemporary (US/UK) literary scene, at least as reflected by what's in the running for various English-language literary awards (at least the ones that aren't primarily or significantly translation-oriented).)
Via I'm pointed to Olivia Ho's piece in The Straits Times which finds Local books going global, as: "Singapore fiction continues to make headway on international bookshelves this year".
English-language fiction totally dominates, but at least some of it is being translated to reach other markets.
Interesting also to hear that Epigram Books is opening a London-branch:
Epigram founder Edmund Wee took out a six-figure bank loan for the venture, which he hopes could put a Singaporean novel in the running for the prestigious Man Booker Prize.
Books must be published in Britain to be eligible.
At the Princeton Alumni Weekly Carrie Compton talks to Shelley Frisch *81 on Voice in Translation; you can either listen to the 'podcast' or read the transcript.
The third and final volume of Frisch's translation of Reiner Stach's Kafka-biography came out a few months ago -- and she notes:
Many people have asked me if I've used published translations of Kafka's works, and I have not.
I've retranslated everything I see there.
The translation situation of Kafka's works is very spotty, and we're also finding out, with each passing year, new things about what Kafka intended.
The newer translations tend to be philologically correct but a little bit sort of dead in the water.
And so, I thought it's important for me to retranslate all these texts.
Also, there are copyright issues, which is a whole other kettle of fish.
If you get permissions for all off these things, it can be very cumbersome and possibly expensive.
So, I did all of them myself.
At Radio Praha David Vaughan commemorates what would have been Ewald Oser's hundredth birthday, in Ewald Osers and the chemistry of translation, talking to Ivana Bozděchová about him, and also presenting excerpts from a 2001 interview with Osers himself.
They've announced the longlist (and the judges, only revealed now) for this year's International Prize for Arabic Fiction -- sixteen novels selected from 186 entries from 19 countries.
Several of the longlisted authors have had previous books translated into English, so some of these names should be familiar.
As always, Arabic Literature (in English) has a good overview (noting also some of the big titles/authors that didn't make the cut).
The shortlist will be announced 16 February, and the winning title on 25 April.
The January issue of Asymptote is now up, and there's just an incredible variety and amount of material for you to enjoy.
Go look for yourselves -- and free up a couple of hours so you can check it all out.
American president Obama has been giving any number of exit-interviews, and now there's also an agreeably bookish one with The New York Times' book reviewer Michiko Kakutani.
They wrote this up in article form, but of course the Q & A transcript -- even in its adulterated form (yes, it's: "edited and condensed", for unfathomable reasons) -- is what you want to check out.
Obama shows again that he is a real reader (of novels, even !).
(I am sort of looking forward to the Kakutani's exit-Q & A about books with president-defect elect Trump -- presumably available within a year, after the surely inevitable impeachment/Pence-enthronement proceedings.
I suspect it will be considerably shorter, and less focused on fiction.
Or maybe not -- possibly all he'll have to talk about is his own (ghost-written) works, which might not be traditional fiction but sure as hell aren't non, either.)
This is only coming out in May, from Other Press, but, sorry, I couldn't resist.
A lot about this that I didn't like, but it's easily among the most notable of my reads of the past few months; she really is a very interesting writer, and I hope we get to see more of her work soon (私小説 from left to right, please ! (see e.g. the publisher's publicity page)).
The worldwide PEN centres admirably work: "to promote literature and defend freedom of expression around the world", and their regional centres lead the local way -- unless they don't: as widely noted, things seem to have gone south in Putin-stained Russia; as, for example, Radio Free Europe/Radio Liberty reports, Russia's PEN Center Fractures Over Creeping Kremlin Control, with notable writers including Boris Akunin, Nobel laureate Svetlana Alexievich, Lyudmila Ulitskaya, and Vladimir Voinovich abandoning the Русский ПЕН-Центр.
In the openDemocracy piece by Anna Kachurovskaya, Writers against Russia's PEN-center several writers explain the situation and their stands.
Most PEN centres seem to be on considerably more secure footing -- for now.
Whether that lasts ... well, we can hope.
"The sales spree of Please Look after Mom in the U.S. did not spill over to other works," he said, adding that "Korean literature remains unappealing and peripheral at best to American readers."
I had felt miserable about the situation Korean literature faced before The Vegetarian's winning of the Man Booker Prize because despite the efforts made to export Korean literature overseas, its reputation did not increase.
But with The Vegetarian winning the award, I felt hopeful for the future of Korean literature.
It was an opportunity to introduce the value of Korean literature overseas
He also adds some interesting (disturbing ?) comments about the translation of the Han Kang novel:
Deborah Smith's translation boldly reduced, simplified or exaggerated meanings, hence creating or adding different feelings to the text.
"Smith added emotional adverbs in descriptions and amplified the emotional context by making something ordinary more special," he said.
It will be interesting to see whether or not there is The Vegetarian-trickle-down effect; as is, much of the other Korean fiction recently published in translation (and there has been quite a bit) hasn't gotten that much attention (or found that many readers, I fear).
See also the Korean literature under review at the complete review.
The most recent addition to the complete review is my review of Miguel Anxo Fernández's A Niche for Marilyn, recently published by estimable Small Stations Press.
Anxo Fernández writes in Galician, and this 2002 novel was the first in his private detective series featuring Frank Soutelo; interestingly, he chose not to take advantage of local color/exoticism, and instead has Frank work in Raymond Chandler-territory, as the book is set in Los Angeles.
In The Guardian Richard Lea tackles the always interesting phenomenon of writers who catch on more abroad than in domestic markets, in Found in translation: the English-language writers who succeed abroad -- while admirably avoiding two of the most often-cited examples of this phenomenon, Jonathan Coe and Paul Auster.
Some interesting explanations on offer, including the effect of: "the different structures of the publishing industry in the UK and the US" -- which are dominated by a very few conglomerates -- compared to a more diverse publishing culture in continental Europe.
And then there's how Donna Leon sees it:
"I think Europeans read less crap," Leon says, "and most of [the crap] they read, they get from the US.
Since this is true about food and entertainment, why should it not be true about books ?
Europeans, especially Germans, read serious fiction, read it in great numbers, and it is common to hear people speak in social situations seriously and at length about literature."
They've announced the shortlist for the 2017 Jewish Quarterly-Wingate Prize, a prize: "awarded to the best book, fiction or non-fiction, to translate the idea of Jewishness to the general reader".
Impressively, three of the five finalists are works in (actual) translation -- though none are under review at the complete review.
The winning title will be announced on 23 February.
They've announced the winner of the 2016 Saif Ghobash Banipal Prize for Arabic Literary Translation, and it's Jonathan Wright, for his translation of The Bamboo Stalk, by Saud Alsanousi; get your copy at Amazon.com or Amazon.co.uk.
Admirably, this prize lists all: "The books that were entered for the 2016 Prize" -- something that every literary prize should do (otherwise you have no idea what is actually being considered).
There were "19 eligible entries" -- two poetry titles, the rest fiction.
Several of the books are under review at the complete review -- though not nearly as many as I'd like; I hope to get, and get to, a few more.
The titles under review are
I mentioned the initial fuss about Pablo Katchadjian's 2009 remix of a Jorge Luis Borges story when The Guardian first wrote about it, and now they have a follow-up, as Uki Goñi reports that the Case of 'fattened' Jorge Luis Borges story heads to court in Argentina.
The Borges-widow, María Kodama, is apparently intent on seeing this through (and don't forget that in the background lurks the estate agent, Andrew Wylie), and it will be interesting to see how the courts see this intellectual property case.
Meanwhile, Dalkey Archive Press just recently came out with a different Pablo Katchadjian title in translation, the not quite as fun What to Do; see their publicity page, or get your copy at Amazon.com or Amazon.co.uk.
Not many details available yet, but publisher Shinchosha has announced that a new, two-volume novel by Murakami Haruki, 騎士団長殺し, is due out on 24 February.
In the English-language press the title is variously presented as, among other things, 'Murder of the Knight Commander' (The Asahi Shimbun) and 'Killing Commendatore' (Kyodo); no word yet on a US/UK publication date (or title).
They've announced the winners of the 2017 Schweizer Literaturpreise/Prix suisses de littérature/Premi svizzeri di letteratura/Premis svizzers da litteratura -- not to be confused with the German-only Swiss Book Prize.
They give out several awards, for works by authors writing in Switzerland's various languages (though, yeah, German and French usually come out on top); see the announcement in French and German.
It's good money -- CHF25,000 for each author -- and they get to pick up the prizes 16 February, when the 'Grand Prix'-winner (the annual big author award) will also be announced.
I have to say, I am really curious about Annette Hug's Wilhelm Tell in Manila -- a (El Filibusterismo-author) José Rizal story (!) about his time in Europe -- and his translating Schiller into Tagalog !
Please tell me Filipino publishers aren't waiting for US/UK publishers to take the lead on this and have already commissioned a translation .....
The always entertaining 'Great American Novel' debate resurfaces at the Literary Hub, where Emily Temple offers A Brief Survey of the Great American Novel(s) -- though I'd also point you to The Modern Novel's compact but extensive overview.
And, yes, my vote is still for Melville's The Confidence Man.
More than ever, I'd suggest.
In Al Jazeera Swati Sanyal Tarafdar finds: 'The second-hand book stalls at the Vijayawada Book Festival intrigue customers with a dose of nostalgia', in considering India: For the love of second-hand books.
The most recent addition to the complete review is my review of Raduan Nassar's very short novel, A Cup of Rage
This (finally) came out in English translation (by Stefan Tobler) last year, from Penguin Modern Classics, and was longlisted for the 2016 Man Booker International Prize; now the US edition is coming out, from New Directions.
(The US 2017 publication date also means that it will also only be in the running for the Best Translated Book Award in 2018 .....)
In Le Monde diplomatique Jonathan Guyer finds: 'Much connects art and comics in Egypt and the wider Middle East, even if publishing houses keep fine art and graphic narratives on different shelves', in the well-illustrated piece, On the Arab page.
In the Southeast Asia Globe Dene Mullen examines Lost in translation: why the world is missing out on Indonesia's best writers.
Most of the usual stuff -- including a focus that is almost entirely on translation-into-English (which, as I have often noted, is not necessarily the be-all and end-all authors seem to believe) -- but also some interesting observations, such as translator Jennifer Lindsay's, that:
"The novel as a form is such a European fixation, and it's not necessarily where the best writing is.
It skews what kinds of things are translated, it skews people's view of the variety of writing in other languages," she says.
"I would say that a lot of Indonesia's best writing, really good writing, is in short forms and also in plays ... not necessarily the forms that are going to get them the big attention in the Western world.
(On the other hand: she's completely wrong about Joyce.)
Quite a few -- though far from enough -- Indonesian works are under review at the complete review; see the index of South East Asian literature under review.
They've announced the three titles left in the running for the Etisalat Prize for Literature, a: "pan-African Prize that celebrates debut African writers of published book-length fiction".
The three are:
Certainly, without [Murakami's] ascent to the pantheon of global writers, the careers in translation of every other Japanese writer (...) would be unimaginable, and the fact that Mizumura's A True Novel and her polemic against Murakami's brand of fiction gained attention outside of Japan is itself a function of publishers and readers and critics caring about the state of Japanese fiction -- a concern that would be unlikely without Murakami.
I think Japan is too large a literary market(place) that its writing would have been so much more neglected sans Murakami; indeed, I still think there's an argument to be made for Murakami being a too-dominant (would-be-)representative, overshadowing so much else.
(What other major language/nation has a similarly, single (globally) dominant figure ? The few potential examples -- Ferrante ? maybe Knausgaard (if we include decidedly minor languages) ? -- are more recent, and it's unclear (and I think unlikely) that their dominance will last anywhere near as long.)
I suspect the interest in the state of Japanese fiction has always been there -- but that Murakami's front-and-center, larger than life presence has also kept a great deal from coming to the fore (abroad).