So, as you’ve probably noticed, with the announcement of the 2013 BTBA Fiction Longlist we’ve started running our annual Why This Book Should Win series featuring each of the 25 longlisted books and providing reasons why they should win.
Well, we do have a number titles that still need someone to champion them. So if you’re interested in writing any of these up, just let me know. First come, first serve, with one qualification—I need these very, very, very quick. Like, by last week sort of quick. If you’re still game, just email me at chad.post [at] rochester.edu.
Here are the titles we still need covered:
The Planets by Sergio Chejfec
The Colonel by Mahmoud Dowlatabadi
Atlas by Dung Kai-Cheung
Kite by Dominique Eddé
Basti by Initzar Husain
Mama Leone by Miljenko Jergović
My Struggle: Book One by Karl Knausgaard
With the Animals by Noëlle Revaz
Joseph Walser’s Machine by Gonçalo Tavares
Island of Second Sight by Albert Vigoleis Thelen
Dublinesque by Enrique Vila-Matas
Transit by Abdourahman Waberi
Just let me know which of these you love and would like to write up for us . . .
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. . .