At some point while I’m housebound thanks to the Colossal Snowpocalypse of the Century tm I’ll finish tweaking the write-up of the speech I gave in Amsterdam at the Nonfiction Conference, post part of that and write up some stuff about how fantastic this conference was. (If you look at the list of speakers you’ll immediately see why it was so interesting.)
Anyway, one of the random cool things that happened: At the coffee break on Saturday, moderator Maarten Asscher tole me about the “European Literature Prize,” a brand new award honoring the best Dutch translations of European literary novels—a prize modeled after the Best Translated Book Awards and the Independent Foreign Fiction Prize. It’s so, so cool that the IFFP spawned the BTBA, which led to the ELP . . .
This past Sunday they met to decide the twenty book longlist, which is printed below, along with their press release. (There are a few books here I’m really interested in—especially the Robles. And David Mitchell is one of my favorites . . .):
The longlist for the European Literature Prize was announced today. Thirteen independent Dutch and Flemish bookshops have selected the twenty best titles from among the European literary novels published in Dutch translation in 2010. The prize will be presented in early September during Manuscripta, the opening of the new Dutch book season.
The following twenty titles have been nominated (in alphabetical order by author):
The European Literature Prize will be awarded in 2011 for the first time, recognizing the best novel translated into Dutch from another European language and published in 2010. The winning author will receive the sum of €10,000. The prize is unusual in that it is also awarded to the translator of the chosen book; he or she will receive €2,500.
The professional jury is as follows:
Frans Timmermans, member of the House of Representatives, former Secretary of State for European Affairs (chairman)
Marja Pruis, writer and literary critic for De Groene Amsterdammer
Guido Snel, university lecturer University of Amsterdam, department of European Studies, writer and literary translator
Herm Pol, Athenaeum booksellers Amsterdam
Edith Aerts, bookstore De Groene Waterman, Antwerp
The jury will announce the shortlist at the end of April 2011. The European Literature Prize is an initiative of the Academic-Cultural Centre SPUI25, the Dutch Foundation for Literature, the weekly magazine De Groene Amsterdammer and Athenaeum Booksellers. The prize is sponsored in part by the following independent bookshops, which have also participated in the selection process:
Athenaeum Boekhandel, Amsterdam
Boekhandel de Groene Waterman, Antwerpen
Boekhandel De Omslag, Delft
Boekhandel H. de Vries, Haarlem
Boekhandel Het Martyrium, Amsterdam
Boekhandel Krings, Sittard
Literaire Boekhandel Lijnmarkt, Utrecht
Boekhandel Paagman, Den Haag
Boekhandel van Gennep, Rotterdam
Boekhandel Verkaaik, Gouda
Eerste Bergensche Boekhandel, Bergen N-H
Linnaeus Boekhandel, Amsterdam
Boekhandel Van Rossum, Amsterdam
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .
One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .