FEAR OF THE LONGLIST by George Carroll
George Carroll is the World Literature Editor of Shelf Awareness and an independent publishers’ representative based in the Pacific Northwest.
None of the San Francisco Giants spoke with pitcher Madison Bumgartner in the dugout before he took the mound in the ninth inning of the seventh game of the World Series except for a brief exchange with his catcher Buster Posey. Partly due to superstition and partly because Bumgartner was intensely focused, was in the zone.
I’m currently in The Best Translated Book Award reading zone. Please do not distract.
This is so, in my mind, with longlist and the BTBA.
There’s an ultra-secret password-protected, for-your-eyes-only spreadsheet that the BTBA judges use that lists the title, author, translator, publisher, language, and country for each of the 2015 submissions. There is a column for each judge to place her notes or remarks. (Don’t try to access the spreadsheet, publishers, it will self-destruct quicker than Jim Phelps’ MI instructions.)
Fortunately my spreadsheet column is at the beginning of that section, just to the right of Katrine Osgaard Jensen’s. She uses a letter code, which I’m pretty sure I’ve cracked. But I scroll right no further, for therein lies the use of longlist, the word that assigns power, the word which can strip power. “Longlist contender, must longlist, short of longlist, no longlist.” It can draw you in (I better read this) or repel (I better move on to something else).
I just have a list. Books move around like the stairways at Hogwarts. (Did I mention I just watched all of the Harry Potter movies?) Books that I read early in the process that I thought were really good, were really good, but they’re not as really good in comparison with the other really good books that I’ve now read.
That doesn’t mean that some of the books I’ve read don’t keep popping up a like a literary Whac-a-Mole. But will they make it to l-word? I don’t know.
Milena Michiko Flasar’s I Called Him Necktie, Pascal Garnier’s How’s the Pain, Eduardo Halfon’s Monastery, both Bohumil Hrabal titles Harlequin’s Millions and Ramblin’ On, Carlos Labbe’s Navidad & Matanza, Michel Laub’s Diary of the Fall, Valeria Luiselli’s Faces in the Crowd, Scholastique Mukasonga’s Our Lady of the Nile, Andres Neuman’s Talking to Ourselves, Roderigo Rey Rosa’s Severina, Paulo Scott’s Nowhere People, Solvi Bjorn Sigurdsson’s The Last Days of My Mother, Goncalo Tavares’ A Man: Klaus Klump, Antoine Volodine’s Writers, Christa Wolf’s August.
All have much to love and I can do no better than to arrange them alphabetically.
Cesar Aira’s Conversations, Roberto Bolano’s A Little Lumpen Novelita, Hilda Hilst’s With My Dog-Eyes, Jorn Lier Horst’s The Hunting Dogs, Giulio Mozzi’s This is the Garden, Haruki Murakami’s Colorless Tsukuru Tazaki, Audur Ava Olafsdottir’s Butterflies in November, Antonio Skarmeta’s A Distant Father, Juan Pablo Villalobos’ Quesdillas, Urs Widmer’s The Blue Soda Siphon.
Again, only alphabetical, all flawed in little ways, but solid nonetheless.
Predicting the longlist is a bit like handicapping horses: consistency, class, form, and pace. Books get boxed, parked out, shuffled back. Fortunately, I have miles to read before I sleep and need not place my bets until March.