The immense longlist for the 2009 IMPAC award was announced yesterday. As always with the IMPAC, the list is all over the place and almost too long (146 novels!) to really mean something.
The process for awarding the IMPAC goes on for almost a year, with the shortlist being announced on April 2nd, and the winner on June 11th.
Nominations for the list come from 157 libraries in 117 cities and 41 countries worldwide. On the IMPAC site, there’s a bit about how this longlist breaks down:
“The 156 authors [sic — or 146, it’s hard to keep track] hail from 41 countries. The books span 18 languages, 29 of which are translated from languages such as Arabic, Japanese, Russian, Slovenian and Hebrew. 19 [sic] of them are first novels. These are books that might not otherwise come to the attention of Irish readers”, says Deirdre Ellis-King, Dublin City Librarian. “The spread of languages and the number of books in translation continues to grow”.
Translated authors include Peter Høeg, Jan Echenoz, Lars Saabye Christensen, Laura Restrepo and Haruki Murakami.
Afghan/American writer, Khalid Hosseini is the libraries favorite with 18 nominations for A Thousand Splendid Suns. Divisadero by Australian Michael Ondaatje [sic — maybe they meant this Michael Ondaatje was nominated by 13 libraries and Ian McEwan’s On Chesil Beach received 10 nominations.
Despite the significant money that comes with this award (€100,000 that is split between author and translator if the book is in translation), I have a hard time paying much attention to this award. It’s cool in theory, but would be better served by having a shorter longlist (you could release a list of all nominated books separately), and a shorter time between events so as to build some momentum for the prize. There should be a word for something like this . . . something brilliant in concept, but fucked in execution.
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. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .