The Queue by Basma Abdel Aziz, translated from the Arabic by Elisabeth Jaquette (Egypt, Melville House)
The Young Bride by Alessandro Baricco, translated from the Italian by Ann Goldstein (Italy, Europa Editions)
Wicked Weeds by Pedro Cabiya, translated from the Spanish by Jessica Powell (Dominican Republic, Mandel Vilar Press)
Chronicle of the Murdered House by Lúcio Cardoso, translated from the Portuguese by Margaret Jull Costa and Robin Patterson (Brazil, Open Letter Books)
On the Edge by Rafael Chirbes, translated from the Spanish by Margaret Jull Costa (Spain, New Directions)
Eve Out of Her Ruins by Ananda Devi, translated from the French by Jeffrey Zuckerman (Mauritius, Deep Vellum)
Zama by Antonio di Benedetto, translated from the Spanish by Esther Allen (Argentina, New York Review Books)
A Spare Life by Lidija Dimkovska, translated from the Macedonian by Christina Kramer (Macedonia, Two Lines Press)
Doomi Golo by Boubacar Boris Diop, translated from the Wolof by Vera Wülfing-Leckie and El Hadji Moustapha Diop (Senegal, Michigan State University Press)
Night Prayers by Santiago Gamboa, translated from the Spanish by Howard Curtis (Colombia, Europa Editions)
Angel of Oblivion by Maja Haderlap, translated from the German by Tess Lewis (Austria, Archipelago Books)
War and Turpentine by Stefan Hertmans, translated from the Dutch by David McKay (Belgium, Pantheon)
Umami by Laia Jufresa, translated from the Spanish by Sophie Hughes (Mexico, Oneworld)
Last Wolf and Herman by László Krasznahorkai, translated from the Hungarian by George Szirtes and John Batki (Hungary, New Directions)
Oblivion by Sergei Lebedev, translated from the Russian by Antonina W. Bouis (Russia, New Vessel Press)
Thus Bad Begins by Javier Marías, translated from the Spanish by Margaret Jull Costa (Spain, Knopf)
In the Café of Lost Youth by Patrick Modiano, translated from the French by Chris Clarke (France, New York Review Books)
Ladivine by Marie NDiaye, translated from the French by Jordan Stump (France, Knopf)
Among Strange Victims by Daniel Saldaña París, translated from the Spanish by Christina MacSweeney (Mexico, Coffee House Press)
Moonstone by Sjón, translated from the Icelandic by Victoria Cribb (Iceland, FSG)
Memoirs of a Polar Bear by Yoko Tawada, translated from the German by Susan Bernofsky (Japan, New Directions)
Vampire in Love by Enrique Vila-Matas, translated from the Spanish by Margaret Jull Costa (Spain, New Directions)
My Marriage by Jakob Wassermann, translated from the German by Michael Hofmann (Germany, New York Review Books)
Moshi Moshi by Banana Yoshimoto, translated from the Japanese by Asa Yoneda (Japan, Counterpoint Press)
Super Extra Grande by Yoss, translated from the Spanish by David Frye (Cuba, Restless Books)
A Greater Music is the first in a line of steady and much-anticipated releases by Bae Suah from key indie presses (this one published by Open Letter). Building off of the interest of 2016 Best Translated Book Award longlist nominee. . .
The dislocation of individuals from the countries of their birth has long been a common theme in contemporary literature. These two short novels recently translated into English appear firmly rooted in this tradition of ex-pat literature, but their authors eschew. . .
In Melancholy, Hungarian author, critic, and art theorist László Földényi presents a panorama of more than two thousand years of Western historical and cultural perspectives on the human condition known as melancholia. In nine chapters, Földényi contrasts the hero worship. . .
Pascal Quignard’s __The Hatred of Music_ is the densest, most arcane, most complex book I’ve read in ages. It’s also a book that covers a topic so basic, so universal—almost primordial—that just about any reader will be perversely thrilled by. . .
In Gustave Flaubert’s Madame Bovary, Flaubert attempted to highlight the ordinary, tired, and often crass nature of common expressions by italicising them within the text. When Charles, Emma Bovary’s mediocre husband, expresses himself in a manner akin to that of. . .
Eliot Weinberger takes big strides across literary history in his genuinely breathtaking short work, 19 Ways of Looking at Wang Wei, tracking translations of a short ancient Chinese poem from the publication of Ezra Pound’s Cathay in 1915 to Gary. . .
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. . .