The wait is over. Listed below are the twenty-five titles on this year’s Best Translated Book Award Fiction Longlist.
Over the next few weeks, we’ll be highlighting each and every one of these as part of the annual “Why This Book Should Win the BTBA” series. It’s a fun way of learning about all of these diverse titles, and hopefully finding a handful that you personally want to read.
Speaking of diverse, I want to use this post to point out a couple of interesting facts about this year’s list:
That’s a pretty solid spread. Not to mention the vast differences between these books: On the one hand there’s Nobel Prize-winner Elfriede Jelinek’s Her Not All Her, a slim, exquisitely crafted Cahier; on the other, there’s Antonio Muñoz Molina’s gigantic In the Night of Time. There’s the two-volume slipcased A True Novel by Minae Mizumura and Stig Dagerman’s short story collection, Sleet. There’s a very unconventional Arabic work from the nineteenth century just now being translated for the first time, and there’s a novel about an execution from Mo Yan, the other Nobel Prize winner on the list.
Overall, it’s an excellent list, one that will be really tough to pare down . . . But that’s the job for this year’s brilliant judges: George Carroll, West Coast sales rep; Monica Carter, Salonica; Scott Esposito, Conversational Reading and Center for the Art of Translation; Sarah Gerard, Bomb Magazine; Elizabeth Harris, translator; Daniel Medin, American University of Paris, Cahiers Series, Quarterly Conversation, and the White Review; Michael Orthofer, Complete Review; Stephen Sparks, Green Apple Books; and, Jenn Witte, Skylight Books. I want to personally thank them all for their hard work.
But this is just the beginning—on April 15th we’ll announce the finalists for both fiction and poetry, and in the meantime, stay tuned to read about each and every one of the following “best translated books” of 2013.
Also, a special thanks has to go out to Amazon’s giving program, for once again making $20,000 of prize money available for the winning authors and translators.
I’ll post information about any and all celebrations for the BTBA 2014 here as soon as things are arranged. In the meantime, here we go . . .
Horses of God by Mahi Binebine, translated from the French by Lulu Norman (Morocco; Tin House)
Blinding by Mircea Cărtărescu, translated from the Romanian by Sean Cotter (Romania; Archipelago Books)
Textile by Orly Castel-Bloom, translated from the Hebrew by Dalya Bilu (Israel; Feminist Press)
Sleet by Stig Dagerman, translated from the Swedish by Steven Hartman (Sweden; David R. Godine)
The Story of a New Name by Elena Ferrante, translated from the Italian by Ann Goldstein (Italy; Europa Editions)
Tirza by Arnon Grunberg, translated from the Dutch by Sam Garrett (Netherlands; Open Letter Books)
Her Not All Her by Elfriede Jelinek, translated from the German by Damion Searls (Austria; Sylph Editions)
My Struggle: Book Two by Karl Ove Knausgaard, translated from the Norwegian by Don Bartlett (Norway; Archipelago Books)
Seiobo There Below by László Krasznahorkai, translated from the Hungarian by Ottilie Mulzet (Hungary; New Directions)
Autobiography of a Corpse by Sigizmund Krzhizhanovsky, translated from the Russian by Joanne Turnbull (Ukraine; NYRB)
The Missing Year of Juan Salvatierra by Pedro Mairal, translated from the Spanish by Nick Caistor (Argentina; New Vessel Press)
The Infatuations by Javier Marías, translated from the Spanish by Margaret Jull Costa (Spain; Knopf)
A True Novel by Minae Mizumura, translated from the Japanese by Juliet Winters (Japan; Other Press)
In the Night of Time by Antonio Muñoz Molina, translated from the Spanish by Edith Grossman (Spain; Houghton Mifflin Harcourt)
The African Shore by Rodrigo Rey Rosa, translated from the Spanish by Jeffrey Gray (Guatemala; Yale University Press)
Through the Night by Stig Sæterbakken, translated from the Norwegian by Seán Kinsella (Norway; Dalkey Archive)
Commentary by Marcelle Sauvageot, translated from the French by Christine Schwartz Hartley & Anna Moschovakis (France; Ugly Duckling Presse)
Leg Over Leg Vol. 1 by Ahmad Faris al-Shidyaq, translated from the Arabic by Humphrey Davies (Lebanon; New York University Press)
The Whispering Muse by Sjón, translated from the Icelandic by Victoria Cribb (Iceland; FSG)
The Forbidden Kingdom by Jan Jacob Slauerhoff, translated from the Dutch by Paul Vincent (Netherlands; Pushkin Press)
The Devil’s Workshop by Jáchym Topol, translated from the Czech by Alex Zucker (Czech Republic; Portobello Books)
The End of Love by Marcos Giralt Torrente, translated from the Spanish by Katherine Silver (Spain; McSweeney’s)
Red Grass by Boris Vian, translated from the French by Paul Knobloch (France; Tam Tam Books)
City of Angels, or, The Overcoat of Dr. Freud by Christa Wolf, translated from the German by Damion Searls (Germany; FSG)
Sandalwood Death by Mo Yan, translated from the Chinese by Howard Goldblatt (China; University of Oklahoma Press)
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. . .