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.
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
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“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .