It’s here! The twenty-five best translations of 2015 according to our esteemed panel of judges. As mentioned in the earlier post, we will be highlighting each of these titles on the site starting this afternoon, and finishing just in time for the April 19th announcement of the ten finalists.
Before getting into the books, I want to praise our group of judges one more time. This is a huge undertaking and they’ve done a marvelous job reading dozens and dozens of books and winnowing down all that was published last year into this stunningly good longlist. This year’s judges are: Amanda Bullock (Literary Arts, Portland), Heather Cleary, translator from the Spanish, co-founder of the Buenos Aires Review), Kevin Elliott (57th Street Books), Kate Garber (192 Books), Jason Grunebaum (translator from the Hindi, writer), Mark Haber (writer, Brazos Bookstore), Stacey Knecht (translator from Czech and Dutch), Amanda Nelson (Book Riot), and P.T. Smith (writer and reader).
And now, onto the books!
A General Theory of Oblivion by José Eduardo Agualusa, translated from the Portuguese by Daniel Hahn (Angola, Archipelago Books)
Arvida by Samuel Archibald, translated from the French by Donald Winkler (Canada, Biblioasis)
Nowhere to Be Found by Bae Suah, translated from the Korean by Sora Kim-Russell (South Korea, AmazonCrossing)
The Meursault Investigation by Kamel Daoud, translated from the French by John Cullen (Algeria, Other Press)
French Perfume by Amir Tag Elsir, translated from the Arabic by William M. Hutchins (Sudan, Antibookclub)
The Story of the Lost Child by Elena Ferrante, translated from the Italian by Ann Goldstein (Italy, Europa Editions)
Sphinx by Anne Garréta, translated from the French by Emma Ramadan (France, Deep Vellum)
The Physics of Sorrow by Georgi Gospodinov, translated from the Bulgarian by Angela Rodel (Bulgaria, Open Letter)
Signs Preceding the End of the World by Yuri Herrera, translated from the Spanish by Lisa Dillman (Mexico, And Other Stories)
The Sleep of the Righteous by Wolfgang Hilbig, translated from the German by Isabel Fargo Cole (Germany, Two Lines Press)
Moods by Yoel Hoffmann, translated from the Hebrew by Peter Cole (Israel, New Directions)
Beauty Is a Wound by Eka Kurniawan, translated from the Indonesian by Annie Tucker (Indonesia, New Directions)
The Complete Stories by Clarice Lispector, translated from the Portuguese by Katrina Dodson (Brazil, New Directions)
The Story of My Teeth by Valeria Luiselli, translated from the Spanish by Christina MacSweeney (Mexico, Coffee House Press)
Tram 83 by Fiston Mwanza Mujila, translated from the French by Roland Glasser (Democratic Republic of the Congo, Deep Vellum)
The Body Where I Was Born by Guadalupe Nettel, translated from the Spanish by J. T. Lichtenstein (Mexico, Seven Stories Press)
The Things We Don’t Do by Andrés Neuman, translated from the Spanish by Nick Caistor and Lorenza Garcia (Argentina, Open Letter)
I Refuse by Per Petterson, translated from the Norwegian by Don Bartlett (Norway, Graywolf Press)
War, So Much War by Mercè Rodoreda, translated from the Catalan by Maruxa Relaño and Martha Tennent (Spain, Open Letter)
One Out of Two by Daniel Sada, translated from the Spanish by Katherine Silver (Mexico, Graywolf Press)
Berlin by Aleš Šteger, translated from the Slovene by Brian Henry, Forrest Gander, and Aljaž Kovac (Slovenia, Counterpath)
The Big Green Tent by Ludmila Ulitskaya, translated from the Russian by Polly Gannon (Russia, FSG)
Murder Most Serene by Gabrielle Wittkop, translated from the French by Louise Rogers Lalaurie (France, Wakefield Press)
The Four Books by Yan Lianke, translated from the Chinese by Carlos Rojas (China, Grove Press)
Mirages of the Mind by Mushtaq Ahmed Yousufi, translated from the Urdu by Matt Reeck and Aftab Ahmad (India, New Directions)
Back in a bit with the first entries in the “Why This Book Should Win” series!
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. . .