The first round of the inaugural World Cup of Literature is complete! Over the past two weeks, we’ve seen sixteen books eliminated from the competition for a variety of reasons. (Click here to read all of the pieces from the first round.)
The second round starts—and finishes—next week, so for those of you following along at home, here’s an updated bracket:
And you can download a PDF version here.
Looking ahead to next week, here are the match-ups (and judges) for Round Two:
Brazil vs. Chile 6/30 – Jeff Waxman
Japan vs. Italy 6/30 – Rhea Lyons
Honduras vs. Bosnia & Herzegovina 7/1 – Stephen Sparks
Germany vs. Algeria 7/1 – Florian Duijsens
Mexico vs. Australia 7/2 – Chad W. Post
Ivory Coast vs. Uruguay 7/2 – Elianna Kan
France vs. Argentina 7/3 – Tom Roberge
USA vs. Belgium 7/3 – Lori Feathers
And once again, here’s the updated bracket:
Which matches are you most excited about? Bunch of intriguing match-ups this round: Houellebecq vs. Aira is definitely one, but so is Buarque against Bolaño. Ferrante—who has become a Twitter favorite to win it all—is taking on 1Q84. Will upstart Australian entry Barley Patch continue its winning streak? Or will Mexican Valeria Luiselli put a stop to that? No one knows. (Actually, I do, since I’m judging that match.)
Come back on Monday for four days of second round action!
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
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We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
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. . .