The shortlist for the Prêmio Portugal Telecom de Literatura em Língua Portuguesa was recently announced and is made up of the following books:
Bom dia camaradas, Ondjaki (Agir)
Cantigas do falso Alfonso el Sábio, Affonso Ávila (Ateliê Editorial)
História natural da ditadura, Teixeira Coelho (Iluminuras)
Jerusalém, Gonçalo M. Tavares (Companhia das Letras)
Macho não ganha flor, Dalton Trevisan (Record)
O outro pé da sereia, Mia Couto (Companhia das Letras)
O paraíso é bem bacana, André Sant´Anna (Companhia das Letras)
O roubo do silêncio, Marcos Siscar (7letras editora)
O segundo tempo, Michel Laub (Companhia das Letras)
Por que sou gorda, mamãe?, Cintia Moscovich (Record)
Aside from the e-mail I got from the Ray-Gude Mertin Agency (which represents six of these titles), I’m having a hard time finding any coverage of this Prize in English. (No surprise.)
The rules of this Prize are a bit complicated as well . . . Seems that this Prize is awarded to the best book written in Portuguese and published in Brazil last year, that was originally published outside of Brazil between Jan 1, 2003 and Dec 31, 2006. The winner receives approx. 56,000 euros.
The link above does have descriptions of all the shortlisted titles, and I highly recommend using the Google translator to check these out. I’m particularly intrigued by this book:
Why I am fat, mother? – Cintia Moscovich
It deals with the auto-image crises of the gordinhos. It hates the food that the fattening, but loves the food that gives pleasure to it. These ambiguities are exceeded gradually, gram the gram, garfada the garfada one, chapter the chapter.
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. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
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. . .