The International Rivers Interview Series was born of two unrelated events. The first was a Roni Horn exhibit I saw some years back in New York featuring the work Still Water (The River Thames, For Example). Horn framed multiple close-up shots of the Thames passing through central London and approached the river with a number of questions. I remember Horn asking, ‘What is the color of water?’ and the elegant simplicity of that question struck me. One answer is that it has no color, that water is a body that either reflects its surroundings by throwing back a visual reply or absorbing organic matter. Water is, Horn later said, “a master chameleon. Or the ultimate mime.” Could rivers like the Thames, I wondered, reflect more than mud, trees and bridges, but history and culture too?
An idea that’s definitely worth keeping up with.
The longlist for the Independent Foreign Fiction Prize has (finally!) been announced. Here you go:
There’s only two points of contact with the Best Translated Book Award longlist, Celine Curiol’s Voice Over (which made our shortlist) and perennial Independent Foreign Fiction Prize longlister, and sometime prizewinner, José Eduardo Agualusa, whose Book of Chameleons we nominated—My Father’s Wives has yet to find an American publisher, I think.
Overall, it’s a strong list, and if you want more info we have reviews of a few of the books from the longlist:
Only two! Looks like we have some work to do.
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .