Following last week’s announcement that the Best Translated Book Awards won “The International Literary Translation Initiative Award”: as part of the inaugural LBF Book Excellence Awards, today we’re announcing the 2014 finalists for both poetry and fiction.
There’s a lot to consider with these longlists, but rather than overload these posts with commentary and observations, I’ll save that for other entries and just let the final twenty books stand on their own.
First up, the poetry selections, which were decided up by an amazing committee of poets and translators: Stefania Heim, Bill Martin, Rebecca McKay, Daniele Pantano, and Anna Rosenwong.
In alphabetical order:
Relocations: 3 Contemporary Russian Women Poets by Polina Barskova, Anna Glazova, and Maria Stepanova, translated from the Russian by Catherine Ciepiela, Anna Khasin, and Sibelan Forrester (Russia; Zephyr Press)
The Guest in the Wood by Elisa Biagini, translated from the Italian by Diana Thow, Sarah Stickney, and Eugene Ostashevsky (Italy; Chelsea Editions)
The Unknown University by Roberto Bolaño, translated from the Spanish by Laura Healy (Chile, New Directions)
White Piano by Nicole Brossard, translated from the French by Robert Majzels and Erin Mouré (Canada; Coach House Press)
Murder by Danielle Collobert, translated from the French by Nathanaël (France; Litmus Press)
In the Moremarrow by Oliverio Girondo, translated from the Spanish by Molly Weigel (Argentina; Action Books)
Paul Klee’s Boat by Anzhelina Polonskaya, translated from the Russian by Andrew Wachtel (Russia; Zephyr Press)
Four Elemental Bodies by Claude Royet-Journoud, translated from the French by Keith Waldrop (France; Burning Deck)
The Oasis of Now by Sohrab Sepehri, translated from the Persian by Kazim Ali and Mohammad Jafar Mahallati (Iran; BOA Editions)
His Days Go By the Way Her Years by Ye Mimi, translated from the Chinese by Steve Bradbury (Taiwan; Anomalous Press)
“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. . .
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. . .