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)
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .
While looking back at an episode in his life, twenty-year-old Taguchi Hiro remembers what his friend Kumamoto Akira said about poetry.
Its perfection arises precisely from its imperfection . . . . I have an image in my head. I see. . .
The central concern of Sorj Chalandon’s novel Return to Killybegs appears to be explaining how a person of staunch political activism can be lead to betray his cause, his country, his people. Truth be told, the real theme of the. . .
Spoiler alert: acclaimed writer Stefan Zweig and his wife Lotte kill themselves at the end of Lauren Seksik’s 2010 novel, The Last Days.
It’s hard to avoid spoiling this mystery. Zweig’s suicide actually happened, in Brazil in 1942, and since then. . .
To call Kjell Askildsen’s style sparse or terse would be to understate just how far he pushes his prose. Almost nothing is explained, elaborated on. In simple sentences, events occur, words are exchanged, narrators have brief thoughts. As often as. . .
After a mysterious woman confesses to an author simply known as “R” that she has loved him since she was a teenager, she offers the following explanation: “There is nothing on earth like the love of a child that passes. . .