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 . . .
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .