Without further ado, here are the books that our nine1 judges selected for this year’s Best Translated Book Award Fiction Longlist.
The Planets by Sergio Chejfec, translated from the Spanish by Heather Cleary (Open Letter Books; Argentina)
Prehistoric Times by Eric Chevillard, translated from the French by Alyson Waters (Archipelago Books; France)
The Colonel by Mahmoud Dowlatabadi, translated from the Persian by Tom Patterdale (Melville House; Iran)
Atlas by Dung Kai-Cheung, translated from the Chinese by Anders Hansson and Bonnie S. McDougall (Columbia University Press; China)
Kite by Dominique Eddé, translated from the French by Ros Schwartz (Seagull Books; Lebanon)
We, The Children of Cats by Tomoyuki Hoshino, translated from the Japanese by Brian Bergstrom and Lucy Fraser (PM Press; Japan)
The Map and the Territory by Michel Houellebecq, translated from the French by Gavin Bowd (Knopf; France)
Basti by Intizar Husain, translated from the Urdu by Frances W. Pritchett (New York Review Books; Pakistan)
Mama Leone by Miljenko Jergović, translated from the Croatian by David Williams (Archipelago Books; Croatia)
Awakening to the Great Sleep War by Gert Jonke, translated from the German by Jean M. Snook (Dalkey Archive Press; Austria)
My Struggle: Book One by Karl Knausgaard, translated from the Norwegian by Don Bartlett (Archipelago Books; Norway)
Satantango by László Krasznahorkai, translated from the Hungarian by George Szirtes (New Directions; Hungary)
Autoportrait by Edouard Levé, translated from the French by Lorin Stein (Dalkey Archive Press; France)
A Breath of Life: Pulsations by Clarice Lispector, translated from the Portuguese by Johnny Lorenz (New Directions; Brazil)
The Lair by Norman Manea, translated from the Romanian by Oana Sanziana Marian (Yale University Press; Romania)
The Hunger Angel by Herta Müller, translated from the German by Philip Boehm (Metropolitan Books; Romania)
Traveler of the Century by Andrés Neuman, translated from the Spanish by Nick Caistor and Lorenza Garcia (Farrar, Straus, and Giroux; Argentina)
Happy Moscow by Andrey Platonov, translated from the Russian by Robert Chandler and Elizabeth Chandler (New York Review Books; Russia)
With the Animals by Noëlle Revaz, translated from the French by Donald W. Wilson (Dalkey Archive Press; Switzerland)
Maidenhair by Mikhail Shishkin, translated from the Russian by Marian Schwartz (Open Letter Books; Russia)
Joseph Walser’s Machine by Gonçalo M. Tavares, translated from the Portuguese by Rhett McNeil (Dalkey Archive Press; Portugal)
Island of Second Sight by Albert Vigoleis Thelen, translated from the German by Donald O. White (Overlook; Germany)
Dublinesque by Enrique Vila-Matas, translated from the Spanish by Rosalind Harvey and Anne McLean (New Directions; Spain)
Transit by Abdourahman A. Waberi, translated from the French by David Ball and Nicole Ball (Indiana University Press; Djibouti)
My Father’s Book by Urs Widmer, translated from the German by Donal McLaughlin (Seagull Books; Switzerland)
As in recent years, we will be awarding $20,000 in cash prizes thanks to support from Amazon.com.
On April 10th, we’ll announce the finalists in both the fiction and poetry categories, with the award ceremony taking place in New York City on Saturday, May 4th. (More details to come.)
1 This year’s fiction judges are: Monica Carter, Salonica; Tess Doering Lewis, translator and critic; Scott Esposito, Conversational Reading and Center for the Art of Translation; Susan Harris, Words Without Borders; Bill Martin, translator; Bill Marx, Arts Fuse; Michael Orthofer, Complete Review; Stephen Sparks, Green Apple Books; and Jenn Witte, Skylight Books.
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. . .
On that September 11th I had a conversation with a professor friend who was teaching a creative writing class that evening. He questioned, “What can I possibly teach when all of this has happened?” While the dismay and grief were. . .
In a story of two emotionally distant people, Japanese author Takashi Hiraide expertly evokes powerful feelings of love, loss, and friendship in his novel The Guest Cat. The life of the unnamed narrator and his wife, both writers, is calm. . .
I have wanted to read Persian poetry ever since having heard so many good things about it from my Palestinian friend. Sohrab Sepehri’s collection, The Oasis of Now: Selected Poems, however, sounded quite new-agey—as if the poetry was canned lyricism. . .
“I am honored to have ushered Mario Bellatin’s biography of the great Shiki Nagaoka, a writer and artist almost entirely unknown to English-language readers, into English for the first time, and it is my hope that this new translation begins. . .
We have all observed and appreciated art. However, when we experience art, it is generally in a bubble of our own experiences and preferences. More often than not, we may know the artist only in name and that he or. . .