After a three day marathon of reading a seven-person panel of judges for the Festival of German-Language Literature announced Leif Randt as the winner of the Ernst Willner Prize for his novel Schimmernder Dunst uber CobyCounty (The Haze Over Coby County), translated by Stefan Tobler.
The Festival, formerly known as the Ingeborg Bachmann Prize, takes place yearly in Klagenfurt, Austria as a publicized event and since 2006 has been endowed yearly with EUR 25,000 in prize money. It is currently one of the most important awards for German literature. Submissions to the competition must be previously unpublished and have their original language as German, and during the judging process competitors must convince the public, the jury and its auditors of the quality of their pieces.
As part of this year’s Festival, Leif Randt was awarded the Ernst Willner Prize, so named after one of the Festival’s founders, for his work which has since been published.Schimmernder Dunst tuber CobyCounty has since been accepted by the BerlinVerlag publishing house and will be out in print in August. The book is Randt’s second novel to be published and follows his promising first _Leuchtspielhaus (Luminous Playhouse) which appeared in 2009 and won the Nicolas Born Debut Prize.
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. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .