Following on the announcement of the poetry shortlist, here’s the list of the ten titles that made this year’s shortlist.
As mentioned elsewhere, the two winning books will be announced at BookExpo America at 2:30pm on Wednesday, May 27th, at the Eastside Stage in the Jacob Javitz Center.
Following that, we will be gathering at 5pm at The Folly on 92 West Houston St. Anyone interested in celebrating the BTBA and all the authors and translators who published books last year should definitely come out for this. Great way to kick off your BEA party times . . .
On with the announcement! Here are the ten fiction finalists for the 2015 Best Translated Book Award:
The Last Lover by Can Xue, translated from the Chinese by Annelise Finegan Wasmoen (China, Yale University 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)
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)
Harlequin’s Millions by Bohumil Hrabal, translated from the Czech by Stacey Knecht (Czech Republic, Archipelago Books)
The Woman Who Borrowed Memories by Tove Jansson, translated from the Swedish by Thomas Teal and Silvester Mazzarella (Finland, NYRB)
Faces in the Crowd by Valeria Luiselli, translated from the Spanish by Christina MacSweeney (Mexico, Coffee House Press)
La Grande by Juan José Saer, translated from the Spanish by Steve Dolph (Argentina, Open Letter Books)
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. . .
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. . .