All 25 titles on the 2014 Fiction Longlist are spectacular, so I’m sure this was a pretty brutal decision making process. Anyway, here are your final ten books:
Horses of God by Mahi Binebine, translated from the French by Lulu Norman (Morocco; Tin House)
Blinding by Mircea Cărtărescu, translated from the Romanian by Sean Cotter (Romania; Archipelago Books)
The Story of a New Name by Elena Ferrante, translated from the Italian by Ann Goldstein (Italy; Europa Editions)
Tirza by Arnon Grunberg, translated from the Dutch by Sam Garrett (Netherlands; Open Letter Books)
My Struggle: Book Two by Karl Ove Knausgaard, translated from the Norwegian by Don Bartlett (Norway; Archipelago Books)
Seiobo There Below by László Krasznahorkai, translated from the Hungarian by Ottilie Mulzet (Hungary; New Directions)
A True Novel by Minae Mizumura, translated from the Japanese by Juliet Winters (Japan; Other Press)
The African Shore by Rodrigo Rey Rosa, translated from the Spanish by Jeffrey Gray (Guatemala; Yale University Press)
Leg Over Leg Vol. 1 by Ahmad Faris al-Shidyaq, translated from the Arabic by Humphrey Davies (Lebanon; New York University Press)
The Forbidden Kingdom by Jan Jacob Slauerhoff, translated from the Dutch by Paul Vincent (Netherlands; Pushkin Press)
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. . .
“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. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .
On that September 11th I had a conversation with a professor friend who was teaching a creative writing class that evening. He questioned, “What can I possibly teach when all of this has happened?” While the dismay and grief were. . .