Every culture seems to have its own set-up for literary awards. In France, there are millions. Literally. Bars give out prizes for the best work by a female author published between January and May. (Or so I’ve heard.) And these aren’t scoffed at prizes, but include ceremonies with glitz and celebrity.
In Spain and Latin America, most of the awards are given out by the publishing companies themselves. The Anagrama Essay Prize. The Planeta Prize. It’s pretty sweet marketing—the book you’re about to publish already won an award. This is what I believe marketing folks call “pre-publication buzz.” Buzz that you the publisher both created and get to reap the rewards of!
This isn’t meant to be facetious, it’s just a different system than our National Book Awards and Pulitzer Prizes. And like with any prize, some of the award-winning French/Spanish books that I’ve read are great, some are mediocre. That’s how it goes.
All this is a long prelude to announcing that yesterday Santiago Gamboa won the La Otra Orilla Literary Award for his novel Necropolis. La Otra Orilla is a literary imprint within Grupo Editorial Norma with an emphasis on Latin American literature. The Prize is awarded by an international jury of famous Spanish novelists (this year, it consisted of Jorge Volpi, Roberto Ampuero, and Pere Sureda), and the winner receives $100,000.
Gamboa is a young Colombian writer that I heard about not too long about, and whose work sounds pretty intriguing. In addition to Necropolis (more on that in a second), he’s the author of Turned Pages, To Lose Is a Question of Method, The Happy Life of a Youth Named Esteban, The Imposters, and Ulysses Syndrome. None of which have been translated into English. Of course. Although they have been translated into French, German, Italian, Portuguese, Greek (Greek!), Danish, Swedish, Norwegian, Czech, Russian, Polish, Basque, Rumanian, and Turkish.
He currently lives in New Delhi as the Colombian cultural attache (intriguing) and is considered one of the most innovative voices in new Colombian fiction. Manuel Vazquez Montalban (pretty impressive in his own right) actually declared that “Gamboa is, along with Garcia Marquez, the most important Colombian writer.” And the jury awarded Gamboa this prize for his “magnificent use of language, accomplishing the difficult task of bringing so many different voices to life whilst making each one authentic and unique.”
And here’s the description of Necropolis:
Following a long illness, a writer is invited to a biography conference in Jerusalem where the accounts of the odd lives of the conference participants come as a shock. These include the case of French bookseller and biographer Edgar Miret Supervielle, Italian adult film actress Sabina Vedovelli, and, above all, José Maturana, a former evangelical minister, ex-convict and recovering drug addict who, employing powerful language acquired on the most squalid streets, tells the story of his savior, a charismatic Latino messiah in Miami. Shortly thereafter, Maturana turns up dead in his hotel room. While everything points toward a suicide, certain doubts lie just beneath the surface. Who really was José Maturana?
In Necropolis, the narrator explores different versions of the same story while simultaneously listening to the shocking tales of the other attendees of the conference.
Always hard to tell what a book is like based on brief agent/publisher copy like this, but I’m personally interested in finding out more about Gamboa’s work. I’ve been reading fellow Colombian Juan Gabriel Vasquez’s The Informers (masterfully translated by Anne McLean, and a finalist for this year’s Independent Foreign Fiction Prize), and I’m getting the sense that Colombia has some really interesting young writers . . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .