Following on the announcement of the Poetry Longlist earlier today, below you’ll find the Fiction Longlist, which I know a lot of you have been waiting for.
As with the Poetry list, these twenty-five titles will be narrowed down to a select group of finalists on Tuesday, May 5th, and the winner will be announced at a panel during BEA on Wednesday, May 27th. As always, thanks to Amazon.com’s grant, the winning author and translator will each receive a $5,000 cash prize.
Here are the books:.
Baboon by Naja Marie Aidt, translated from the Danish by Denise Newman (Denmark, Two Lines Press)
The Author and Me by Éric Chevillard, translated from the French by Jordan Stump (France, Dalkey Archive Press)
Fantomas Versus the Multinational Vampires by Julio Cortázar, translated from the Spanish by David Kurnick (Argentina, Semiotext(e))
Pushkin Hills by Sergei Dovlatov, translated from the Russian by Katherine Dovlatov (Russia, Counterpoint Press)
1914 by Jean Echenoz, translated from the French by Linda Coverdale (France, New Press)
Street of Thieves by Mathias Énard, translated from the French by Charlotte Mandell (France, Open Letter Books)
Those Who Leave and Those Who Stay by Elena Ferrante, translated from the Italian by Ann Goldstein (Italy, Europa Editions)
Things Look Different in the Light by Medardo Fraile, translated from the Spanish by Margaret Jull Costa (Spain, Pushkin Press)
Monastery by Eduardo Halfon, translated from the Spanish by Lisa Dillman and Daniel Hahn (Guatemala, Bellevue Literary Press)
Letters from a Seducer by Hilda Hilst, translated from the Portuguese by John Keene (Brazil, Nightboat Books)
Harlequin’s Millions by Bohumil Hrabal, translated from the Czech by Stacey Knecht (Czech Republic, Archipelago Books)
Rambling On: An Apprentice’s Guide to the Gift of the Gab by Bohumil Hrabal, translated from the Czech by David Short (Czech Republic, Karolinum Press)
The Woman Who Borrowed Memories by Tove Jansson, translated from the Swedish by Thomas Teal and Silvester Mazzarella (Finland, NYRB)
Works by Edouard Levé, translated from the French by Jan Steyn (France, Dalkey Archive Press)
Faces in the Crowd by Valeria Luiselli, translated from the Spanish by Christina MacSweeney (Mexico, Coffee House Press)
Adam Buenosayres by Leopoldo Marechal, translated from the Spanish by Norman Cheadle and Sheila Ethier (Argentina, McGill-Queen’s University Press)
Last Words from Montmartre by Qiu Miaojin, translated from the Chinese by Ari Larissa Heinrich (Taiwan, NYRB)
Winter Mythologies and Abbots by Pierre Michon, translated from the French by Ann Jefferson (France, Yale University Press)
Our Lady of the Nile by Scholastique Mukasonga, translated from the French by Melanie Mauthner (Rwanda, Archipelago Books)
Talking to Ourselves by Andrés Neuman, translated from the Spanish by Nick Caistor and Lorenza Garcia (Argentina, FSG)
Granma Nineteen and the Soviet’s Secret by Ondjaki, translated from the Portuguese by Stephen Henighan (Angola, Biblioasis)
La Grande by Juan José Saer, translated from the Spanish by Steve Dolph (Argentina, Open Letter Books)
Paris by Marcos Giralt Torrente, translated from the Spanish by Margaret Jull Costa (Spain, Hispabooks)
Snow and Shadow by Dorothy Tse, translated from the Chinese by Nicky Harman (Hong Kong, East Slope Publishing)
The Last Lover by Can Xue, translated from the Chinese by Annelise Finegan Wasmoen (China, Yale University Press)
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. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
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. . .