Following up on yesterday’s posts, here’s a piece on the Russian Debut Prize that I also wrote for Publishing Perspectives. Interesting project and seems crazy in its scope—30,000+ entries a year?!
Back in 2000, the “Debut Prize” was established by the Pokolenie (Generation) Foundation to support Russian writers under the age of 25. Ten years later, the best works generated by this competition will be made available to English and Chinese readers.
According to Olga Slavnikova, winner of the Russian Booker Prize and director of the Debut Prize, “The Debut inspires young Russian writers to complete that first book. The Debut prompts them to commit to literature their unique experience, what might be described as the shock of their first encounter with grown-up life.”
By setting the age limit at 25, this prize is helping engender novels by authors who were children when the USSR collapsed, who escaped the Cold War, and are coming of age in a world that their parents could never have predicted. In the words of Ms. Slavnikova, “One may say without exaggeration that this is the most ingenuous and honest literature in Russia since 1917, the year of the deplorable October coup.”
Although tens of thousands of manuscripts are submitted for the award every year, virtually none of these “ingenuous” works makes it out of Russia. To help promote this new generation of Russian authors, the Pokolenie Foundation is launching an international program. This year anthologies of the “Best of the Debut Prize Winners” will appear in both Chinese and English.
GLAS — one of the most successful and well-respected English-language publishers of Russian literature — recently published Squaring the Circle, which includes pieces from Aleksei Lukyanov, a two-time Debut Prize finalist; Gulla Khirachev, who is mostly known for her avant-garde children’s tales, but won the Debut Prize in 2009 for her first work of fiction for adults; Polina Klyukina, who was a finalist in 2008; and Olga Yelagina, who was a finalist in 2005, among others.
These pieces have been selected from all of the winners from the past decade. The 30,000+ entries are first whittled down into a 100 author “shortlist,” and the 20-25 Debut finalists are brought to Moscow for “Debut Week” — a week of lectures, classes, talks, and an award ceremony in which winners in various categories receive 200,000 rubles (approx. £4,000 or $7,500).
In addition to GLAS’s Squaring the Circle, a Chinese anthology will also be produced. And over the next few years, collections will appear in French, German, Italian, Spanish, and Japanese, in addition to annual anthologies in English. Along with promoting Russian culture, an underlying hope is that these anthologies will entice more foreign publishers to bring out translations of contemporary Russian authors.
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. . .