At Forbes David Nikel reports that Norway Crime Author Jo Nesbø Earns $5.1 Million Book Royalties In 2019, as he takes advantage of the fact that in Norway tax information is a matter of public record, and the numbers are in for Nesbø's "two publishing-related companies" for 2019 (though not yet his personal accounts).
I wonder if they tally up all the prominent writers' numbers in Norway; it would be interesting (and probably a bit depressing) to see what they earn.
(Seven Nesbø titles are under review at the complete review -- most recently his Macbeth-variation.)
They've announced the twenty-title strong longlist for this year's German Book Prize, selected from 206 (unfortunately and outrageously not revealed) entries.
One author who has previously won the prize -- Frank Witzel, whose Die Erfindung der Roten Armee Fraktion durch einen manisch-depressiven Teenager im Sommer 1969 took the prize in 2015 -- made the list.
Noteworthy titles include Anne Weber's Annette, ein Heldinnenepos -- a novel in verse; see the Matthes & Seitz publicity page -- and, oh dear, Robert Seethaler's Gustav Mahler-novel; see the Hanser foreign rights page.
The Fox and Dr. Shimamura-author Christine Wunnicke is also on the list -- again with something a foreign-exotic locale; see the Berenberg publicity page.
Good to see the variety of publishers that placed books on the list -- and especially nice to see the Urs Engeler title, Arno Camenisch's Goldene Jahre; see their publicity page; Dalkey Archive Press has brought out two of his works in English (e.g. The Alp).
The shortlist will be announced 15 September.
They've announced the six finalists for this year's John Dos Passos Prize -- famously (?): "the oldest literary award given by a Virginia college or university" -- which: "honors one of America's most talented but underappreciated writers".
These six -- Alexander Chee, Aleksandar Hemon, Gish Jen, Dana Johnson, Hari Kunzru, Valeria Luiselli -- hardly seem very underappreciated; indeed they all seem pretty well-known to me, and several have gotten a whole lot of media-attention in recent years .....
But then this prize has always seemed to have a little trouble meeting its mandate -- Graham Greene (?!??) won the inaugural prize, in 1980 .....
See also all the previous winners.
The prize winner will be announced next month.
They've announced the five-title shortlist for this year's Read Russia Prize, awarded: "for works of Russian literature published in new English translations".
Only one of the titles still in the running is under review at the complete review: Betsy Hulick's translation of Alexander Griboedov's Woe from Wit.
The winners will be announced next month.
The French 'rentrée littéraire' -- when a huge number of fiction titles flood the book market over the course of just a few weeks -- will start soon -- but this year, with the many publication-dates being pushed back in the UK (as also in the US), it looks like there will be competition elsewhere too: as Alex Clark reports in The Observer, in the UK: Literary world overwhelmed by 600 books to be published on one day.
Hard for most titles to stand out or get much attention in such a crowded field; it'll be interesting to see what the consequences are.
At SGGP Quynh Yen reports on how in Viet Nam there is a Scarcity of good translators for literary translation.
While translators from English "are abundant [...] there has been a serious shortage of translators of these other languages"; among the consequences are that translations-from-the-English dominate publishers' lists.
Among the perhaps surprising issues:
Last but not least, famous translator Tran Tien Cao Dang complained that many young people are good at English but they are weak at Vietnamese.
Translations have displayed a worrying poverty of using Vietnamese language amongst young translators
Another book-list, as at LiveMint, to celebrate Indian independence day, they offer: "a curated list of 50 must-read books in English by Indian and Indian-origin writers -- narratives that capture the diversity, dreams and dejections of the country since 1947", with The Lounge guide to India in 50 books.
It's extremely disappointing that: "we had to let go of the works in translation" -- i.e. they only include works originally written in English -- but at least they promise they'll include these in their next effort, as: "we decided to make this a separate list entirely, one that will come to you soon".
(I'm not holding my breath, but one can hope .....)
See also the Indian literature under review at the complete review.
At Al-Fanar Media M. Lynx Qualey finds Arab Women Writers Struggle to Get the Readers They Deserve -- noting that as far as translations from the Arabic go, the usual (terrible) trends hold -- far more works by men than women get translated -- and: "Women's books that are translated from Arabic to English also face an additional set of obstacles".
She also looks at the situation in reverse, noting that as far as translation into Arabic the selection also tends to be significantly male-weighted.
In the past, we failed to take full care of our writer's feelings and support them adequately through our incentive program.
And some of our writers expressed concerns about the previous version of the writers' contract.
Writers are the cornerstone of the China Literature's platform, and we need to do more to enhance their trust.
I would have thought the lock-down time would have been ideal for this business model, but apparently they were not able to take advantage.
It will be interesting to see whether they can turn things around.
On the occasion of the publication of the English translation -- by Jeremy M. Davies and Anna Fitzgerald -- of Pierre Klossowski's The Suspended Vocation by Small Press Ryan Ruby writes about Pierre Klossowski, Brilliant Brother of Balthus at The New York Review of Books NYR Daily weblog.
Meanwhile, at Music & Literature they published Brian Evenson's Introduction to the new translation a few months ago.
(And, if you want more, see for example John Taylor on Reading Pierre Klossowski.)
Certainly an interesting author, and good to see him getting some attention again.
According to some authors, prior to the new policies, it was common sense among them that stories that depicted suicide in a positive light were strictly forbidden on the platform.
But the new regulations are troubling because they target any description of the act itself, regardless of the intention or purpose behind it.
But I was amused by the wag who pointed out:
Now when we read detective fiction on Jinjiang, we can be 100% confident that someone's death is murder rather than suicide
The complete review went online twenty-one years ago, in 1999, but this Literary Saloon weblog part of it was only added in 2002 -- the first post appearing 11 August, exactly eighteen years ago today.