10 April 13 | Chad W. Post | Comments

I’m really excited about this year’s list of finalists—it’s a pretty loaded list that includes works from eight different countries, ranging from Russia to Argentina to Djibouti. All ten books have a valid chance of winning the award depending on what criteria you want to emphasize. (Click here to see all the various arguments for why each of these books should win.)

We’ll be posting more commentary about this over the next few weeks, building up to the announcement of the winning title on May 3rd at 5:30pm the PEN World Voices/CLMP Fest taking place at the Washington Mews in New York.

Also, the finalists for poetry are going to be announced on the Poetry Foundation blog, and will be reproduced here as soon as that goes live.

The 2013 Best Translated Book Award Fiction Finalist

The Planets by Sergio Chejfec, translated from the Spanish by Heather Cleary (Open Letter Books; Argentina)

Prehistoric Times by Eric Chevillard, translated from the French by Alyson Waters (Archipelago Books; France)

The Colonel by Mahmoud Dowlatabadi, translated from the Persian by Tom Patterdale (Melville House; Iran)

Satantango by László Krasznahorkai, translated from the Hungarian by George Szirtes (New Directions; Hungary)

Autoportrait by Edouard Levé, translated from the French by Lorin Stein (Dalkey Archive Press; France)

A Breath of Life: Pulsations by Clarice Lispector, translated from the Portuguese by Johnny Lorenz (New Directions; Brazil)

The Hunger Angel by Herta Müller, translated from the German by Philip Boehm (Metropolitan Books; Romania)

Maidenhair by Mikhail Shishkin, translated from the Russian by Marian Schwartz (Open Letter Books; Russia)

Transit by Abdourahman A. Waberi, translated from the French by David Ball and Nicole Ball (Indiana University Press; Djibouti)

My Father’s Book by Urs Widmer, translated from the German by Donal McLaughlin (Seagull Books; Switzerland)

Special thanks needs to go out to all of our fine judges: Monica Carter, Salonica; Tess Doering Lewis, translator and critic; Scott Esposito, Conversational Reading and Center for the Art of Translation; Susan Harris, Words Without Borders; Bill Martin, translator; Bill Marx, Arts Fuse; Michael Orthofer, Complete Review; Stephen Sparks, Green Apple Books; and Jenn Witte, Skylight Books.

And we want to thank Amazon.com once again for underwriting the award and providing $25,000 allowing us to give $5,000 cash prizes to both winning authors and translators, along with providing a small honorarium for the judges.

12 March 13 | Chad W. Post | Comments

As in years past, we will be highlighting all 25 titles on the BTBA Fiction Longlist, one by one, building up to the announcement of the 10 finalists on April 10th. A variety of judges, booksellers, and readers will write these, all under the rubric of “Why This Book Should Win. You can find the whole series by clicking here. And if you’re interested in writing any of these, just get in touch.

Prehistoric Times by Eric Chevillard, translated from the French by Alyson Waters and published by Archipelago Books

This piece is by translator, critic, and BTBA judge, Tess Lewis.

For sheer narrative inventiveness and luxuriant delight in the seductive power of fiction, you can do no better than pick up a book by Eric Chevillard. Chevillard is one of France’s most mercurial and impish contemporary writers. He has written more than twenty idiosyncratic books that push Big Questions to absurd extremes and his Prehistoric Times is an intellectual roller coaster and fun house mirror gallery in one.

The unnamed narrator, an archeologist by training, was “derailed” by a fall while excavating a cave with dozens of Paleolithic paintings. He has been demoted to guardian and guide in the site, a position he is as unsuited to fill as the uniform that goes with it, his predecessor having been much shorter and fatter. In his meandering monologue, the narrator justifies his delay in taking up his duties despite increasingly menacing threats of dismissal.

The narrator’s reflections swing from the abstract to the concrete and back again. Sometimes his progress is logical, sometimes associative, but the connective tissue, Chevillard’s antic, slightly off-kilter, acrobatic prose, virtuosically rendered into English by Alyson Waters, makes the web of his thoughts seem inevitable and coherent even at its most absurd.

The size of his uniform’s cap leads the narrator to meditate on the genesis of thought and to formulate a series of hypotheses about how the shape of the skull might affect the quality of the thinking done in it. Would thoughts develop more freely in a dome-shaped brainpan or would they get lost or confused? Alternatively, would a turnip-shaped skull engender sharper, more focused thoughts or simply constrict them? Then he segues to recollections of his childhood, to wondering whether Homo Sapiens had usurped the place of more intelligent ancestors, Homo Sapiens Sapiens, to man’s need for rituals, to speculation on the aesthetic ideas of troglodyte painters and how imagination changes man’s relation to world. He zigzags over a great deal of territory, assuring the reader that he is not wasting time, though by now the reader feels as if he has been led by the nose in random circles and U-turns.

There is indeed a method to his meandering. His ruminations have all been preparation for his grand ambition, to create a work of art that will endure, like his beloved cave paintings, outside of recorded history. In Chevillard’s hands, the novel of ideas is as exhilarating as a metaphysical fairground. Strap yourselves in and enjoy the ride.

....
Autobiography of a Corpse
Autobiography of a Corpse by Sigizmund Krzhizhanovsky
Reviewed by Simon Collinson

One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .

Read More >

A Musical Hell
A Musical Hell by Alejandra Pizarnik
Reviewed by Vincent Francone

The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .

Read More >

Astragal
Astragal by Albertine Sarrazin
Reviewed by Tiffany Nichols

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. . .

Read More >

Live Bait
Live Bait by Fabio Genovesi
Reviewed by Megan Berkobien

When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .

Read More >

The Skin
The Skin by Curzio Malaparte
Reviewed by Peter Biello

“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. . .

Read More >

Love Sonnets & Elegies
Love Sonnets & Elegies by Louise Labé
Reviewed by Brandy Harrison

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”. . .

Read More >

Conversations
Conversations by César Aira
Reviewed by Tiffany Nichols

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. . .

Read More >