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)
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. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .