And with Germany’s defeat of BiH the semifinals for the World Cup of Literature are all set.
You can download a PDF version here.
Here’s a bit of a breakdown on these two match ups:
By Night in Chile by Roberto Bolaño, translated from the Spanish by Chris Andrews
Originally published in 2000—making it just barely eligible for our competition—By Night in Chile is best described by Richard Eder of the New York Times as “a 130-page rant—part confession, part justification, part delirium—by a dying man, representative of an intellectual class that the author depicts as alternately tugging its leash and licking it.”
Bolaño is one of the authors that literary hipsters love most, although many seem to prefer 2666 or The Savage Detectives. By Night in Chile is more condensed and precise though (and more about Chile the country Bolaño chose to represent in this competition), and that might help him out against Sebald’s longer, more erudite Austerlitz.
Also worth pointing out that Columbia University Press is brining out Roberto Bolaño’s Fiction: An Expanding Universe by Chris Andrews later this month.
Austerlitz by W.G. Sebald, translated from the German by Anthea Bell
Austerlitz came out in German in 2001, literally a month before Sebald’s tragic passing. It went on to win the National Book Critics Circle Award for Fiction in 2001 and the Independent Foreign Fiction Prize in 2002. And for her translation, Anthea Bell received the 2002 Helen and Kurt Wolff Translator’s Prize. That’s a lot of prize winning.
Sebald is renowned for his particular style, which combines fact with fiction, images with text, and often revolves around ideas of memory, history, and decay. Here’s a bit from a review of Austerlitz in the Observer:
Sebald describes a universe which is peculiar but recognisable, the way experience of the world can be shaped by a strongly academic and historical intelligence. I can’t really comprehend his prose style, so distinctive in the length of his sentences and the slight archaism of manner, the monotony of its cadences probably due to the fact that it was originally written in German and then translated. But I would strongly recommend anyone who has not experienced his writing to do so, because it succeeds in communicating issues of great importance concerning time, memory and human experience.
Of the remaining four books, Austerlitz is probably the betting man’s favorite.
Faces in the Crowd by Valeria Luiselli, translated from the Spanish by Christina MacSweeney
The only living author still in the competition, Luiselli also comes to the competition with the most recently published book—Faces in the Crowd came out in 2011, and was published in the U.S. by Coffee House Press (along with Luiselli’s essay collection _Sidewalks__ earlier this year.
It’s received some great literary praise, mostly for its unique structure and interweaving of various viewpoints, all of which keep readers on their proverbial toes, having to figure out who’s writing and what is (or isn’t) “true.” From the L.A. Times:
Faces in the Crowd is itself a highly original work of many parts—but one that does, in its own unique way, add up to a satisfying “whole.” At the heart of this engaging and often hauntingly strange novel is a wildly original character: Luiselli’s protagonist lies to her boss, commits literary fraud and assorted acts of adultery, all while raising a baby and a toddler son.
Or maybe she doesn’t do all those things — we can’t be certain, since it’s clear Luiselli’s protagonist isn’t just an unreliable employee and spouse, she’s also an unreliable narrator.
DFW is a formidable opponent, but the fact that Faces is a truly finished book, and that this is a first novel (instead of a posthumous one), might help her through to the finals.
The Pale King by David Foster Wallace
By now, I suspect everyone knows the story behind The Pale King: In 2008, after DFW committed suicide, editor Michael Pietsch pieced together the unfinished novel and writings that DFW left behind and produced The Pale King. A novel about boredom and the IRS—the only government agency designed to make money, therefore one that should be efficient in modern corporate ways—The Pale King was widely praised, including by World Cup of Literature judge Tom Roberge, in this review for Deadspin. Over at New York, Garth Risk Hallberg also nailed it:
Under the hood, though, what’s remarkable about The Pale King is its congruity with Wallace’s earlier ambitions. Recent generations of Americans have, with a few notable exceptions, been allergic to what used to be called “the novel of ideas.” Information we love, and the more the better. Memes? By all means. But inquiries into ontology and ethics and epistemology we’ve mostly ceded to the science-fiction, self-help, and Malcolm Gladwell sections of the bookstore. A philosophy-grad-school dropout, Wallace meant to reclaim them. _Infinite Jest_ discovered in its unlikely milieu of child prodigies and recovering addicts less a source of status details than a window onto (in Wallace’s words) “what it is to be a fucking human being.” And The Pale King treats its central subject—boredom itself—not as a texture (as in Fernando Pessoa), or a symptom (as in Thomas Mann), or an attitude (as in Bret Easton Ellis), but as the leading edge of truths we’re desperate to avoid. It is the mirror beneath entertainment’s smiley mask, and The Pale King aims to do for it what Moby-Dick did for the whale.
David Foster Wallace was one of the greatest writers of the second half of the twentieth century (or the twentieth century as a whole? or of all time?), but the phrase “unfinished novel” will likely discount this in the minds of some judges, so maybe the mighty American isn’t as unbeatable as he seems at first glance.
That’s it. Stay tuned to find out who’s going through to Monday’s Championship.
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .