Some English samples of the German Book Prize finalists are now available online at Signandsight.com. Specifically, they have samples available from:
Hopefully they’ll have excerpts of the other three finalists online soon.
The longlist for the 2007 German Book Prize was announced yesterday. (See the full list after the jump.)
Here’s what spokesperson for the judges, Felicitas von Lovenberg had to say about the selection of these 20 books from the 117 submitted titles:
“Without allowing ourselves to be seduced by celebrity or distracted by the pressure of originality, we have chosen twenty titles that reflect the unusual diversity and vitality in German-language literature as it presents itself this autumn in particular.”
Good to know that they stood up to the pressure of originality. It’s always a bad sign with originality counts for something.Read More...
Too bad directors aren’t always up to the task. Via signandsight.com:
Thomas Bernhard wrote his first full-length play “Ein Fest für Boris” ( A party for Boris) in 1966 for the Salzburg Festival, however the then president considered the grotesque drama about legless cripples “too dreary”: “We must take the nerves of our more sensitive guests into consideration.” Consequently the play was never performed there. Ulrich Weinzierl finds it fitting that it is opening the festival – which has proven capable of “swallowing much heavier fare” – this year, but is not entirely convinced of the approach of the young Berlin director Christiane Pohle. “In an attempt to do everything differently, she does a lot of damage. Pohle halves the number of cripples; the six of them loll about in lounge chairs, a combo plays in the background. The scene in which ‘Good’ gives the amputated Boris riding boots is eliminated, not replaced. And Boris doesn’t drum himself into death; he practices weebles until he dies, with Johannes’ help. It’s no wonder that ‘Good’ doesn’t ‘break out in horrible laughter’ – as Bernhard wanted it – but in fact is fighting back tears. And the sobbing finale is a massive belittlement, borderline kitsch.”
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. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .