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)
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. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .