After a three day marathon of reading a seven-person panel of judges for the Festival of German-Language Literature announced Leif Randt as the winner of the Ernst Willner Prize for his novel Schimmernder Dunst uber CobyCounty (The Haze Over Coby County), translated by Stefan Tobler.
The Festival, formerly known as the Ingeborg Bachmann Prize, takes place yearly in Klagenfurt, Austria as a publicized event and since 2006 has been endowed yearly with EUR 25,000 in prize money. It is currently one of the most important awards for German literature. Submissions to the competition must be previously unpublished and have their original language as German, and during the judging process competitors must convince the public, the jury and its auditors of the quality of their pieces.
As part of this year’s Festival, Leif Randt was awarded the Ernst Willner Prize, so named after one of the Festival’s founders, for his work which has since been published.Schimmernder Dunst tuber CobyCounty has since been accepted by the BerlinVerlag publishing house and will be out in print in August. The book is Randt’s second novel to be published and follows his promising first _Leuchtspielhaus (Luminous Playhouse) which appeared in 2009 and won the Nicolas Born Debut Prize.
This is why I love Eurozine:
Though still routinely referred to as Germans, Austrian novelists have experienced a recent run of critical and commercial success. The “difficult” prose of the past has been replaced by a focus on story-telling, with women writers producing no less interesting work in the genre than the new male “narrative miracles”. Yet experimentalism is by no means out: darkly humorous and self-referential “writer’s novels” are also booming. In the latest essay in Eurozine’s series “Literary Perpsectives”, critic Daniela Strigl surveys a contemporary Austrian scene at the top of its game.
There’s a lot to digest here, and a lot to check out.
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .
Let’s not deceive ourselves, man is nothing very special. In fact, there are so many of us that our governments don’t know what to do with us at all. Six billion humans on the planet and only six or seven. . .
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .