In addition to Leif Randt’s Ernst Willner prize, the Festival of German-Language Literature has also announced its Ingeborg Bachmann, Kelag, 3sat, and for the first time ever, Audience Award for its submissions of new German literature.
The Ingeborg Bachmann Prize, one of the most prestigious that the Festival awards, was given this year to Maja Haderlap for her Im Kessel (In the Kettle). The prize, named after famed Austrian writer and playwright Ingeborg Bachmann, was awarded by the provincial capital of Klagenfurt for EUR 25,000.
Also taking home an award was Steffen Popp with the Kelag Prize for his Spur einer Dorfgeschichte (Trace of a Village History). The Kelag Prize was donated by the Kärntner Elektrizitäts und Aktiengesellschaft (a local electric company) and worth a handsome EUR 10,000.
As well as the the Kärntner Elektrizitäts und Aktiengesellschaft, another corporate sponsor also awarded a prize. 3sat, a German-Austrian cultural broadcasting company, gave its 3sat Prize to Nina Buβmann for Große Ferien (Long Holidays) and a cash prize of EUR 7500.
Beginning this year at the Festival’s 36th inception VILLIglas sponsored the a new annual prize, the VILLI Audience Award. The award, donated by VILLIglas owner Phillip Daniel Merckle, was voted on by the public exclusively through the internet and given to Thomas Klupp for his 9to5 Hardcore.
“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. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .