The second quarterfinal matchup today features Mexican author Valeria Luiselli’s Faces in the Crowd up against Uruguay stalwart Mario Benedetti and his The Rest Is Jungle.
Luiselli got to this match by sliding past the Croatian representative Dubravka Ugresic and her Baba Yaga Laid an Egg 3-2 and then running rampant over Australia and Murnane’s Barley Patch by a score of 3-0.
Benedetti’s first-round matchup was against Costa Rica and Óscar Núñez Olivas’s Cadence of the Moon. He won by a score of 2-1. In the second round, The Rest Is Jungle triumphed over Allah Is Not Obliged by Ahmadou Kourouma by a score of 1-0.
Here we go!
Chad W. Post: Mexico
I said all I have to say about this book in my post on the second round. It’s brilliant in any context, and definitely deserves to move on to the semifinals.
Mauro Javier Cardenas: Mexico
It is exciting when a debut shows so much promise, so much wistfulness written in the kind of Spanish prose I prefer: an admixture of casual and literary, the American English of New York visiting paragraphs every now and again. No fue penal!
Katrine Jensen: Mexico
Everybody should read Faces in the Crowd. Read it for Luiselli’s language. Read it for the masterly translation by MacSweeney.
Nick Long: Mexico
Mexico (Faces in the Crowd) wins by its sheer pace, a literary zoetrope filled with allusions distilled into vignettes that dress up this boring match. The breadth and depth of Faces in the Crowd’s references are legion, and literature is just like soccer, in which things are always fluid and bribing the referee is usually the best plan of action. Mexico may not be able to win in Ohio, but calling upon the powers of d.a. levy was sufficient to bring victory to Faces in the Crowd (albeit not Dos a Cero).
Laura Radosh: Mexico
No match. Does Benedetti write well? Of course he does, he made it this far. Does it hold up to Luiselli’s fragmented wild ride through the (literary) ghosts of two cities? No. Win for Mexico.
Elianna Kan: Mexico
Mexico! A million times Mexico!
Kaija Straumanis: Mexico
I enjoyed Benedetti’s short stories—I really did. But not even 10 pages into Faces in the Crowd) I’m already so hooked, so much more interested in what the following pages will hold and what Luiselli will do with her novel that it already outshines most everything done in The Rest Is Jungle. Also, Luiselli is kind of hot and, well, Uruguayans bite people.
Well, that was rather convincing . . . Mexico annihilates Uruguay and cruised into the semifinals to play either France or America—we’ll find out if it’s Houellebecq or David Foster Wallace tomorrow . . .
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. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .