25 May 16 | Kaija Straumanis | Comments

Last Thursday, May 19th, CLMP held the (new) 2nd Annual Firecracker Awards. Presented by the Community of Literary Magazines and Presses (CLMP) with the American Booksellers Association, the Firecracker Awards for independently and self-published literature are a revitalized iteration of the Firecracker Alternative Book Award originally established in 1996.

What we’re particularly pleased to announce is that Open Letter’s edition of The Things We Don’t Do by Andrés Neuman, translated from the Spanish be Nick Caistor and Lorenza Garcia, was announced the winner for the Fiction category!



The lineup of finalists for the Fiction category was amazing, and included such titles as American Meteor by Norman Lock (Bellvue Literary Press), The Sleep of the Righteous by Wolfgang Hibig (Two Lines Press), and Home by Leila S. Chudori (Deep Vellum). From the CLMP website:

At an Awards Ceremony hosted by Poets House in New York City featuring Master of Ceremonies Dorothea Lasky (Rome), CLMP’s esteemed panel of judges were pleased to reveal the winners of the 2016 Firecracker Awards for Independent Literary Publishing in four categories:

FICTIONThe Things We Don’t Do by Andrés Neuman, translated from the Spanish by Nick Caistor & Lorenza Garcia (Open Letter Books)

About this title, Brad Johnson, bookseller and manager for Diesel Bookstore (Oakland), writes: “At a time when so much of the world is talking about the policing of borders and the construction of walls, Andrés Neuman’s playful and philosophical stories in The Things We Don’t Do are refreshing. For Neuman, there is no simple divide between one self and another; love and hate; or even life and death. We find that what occurs ‘between’ two people is not so different from what occurs within one. The Things We Don’t Do is an achievement, and an extension of the Latin American tradition blazed by the likes of Cortázar and Bolaño.”


We are incredibly grateful to CLMP and the jury, and excited for Andrés, Nick, and Lorenza!

For more information on CLMP and the Firecracker Awards, as well as a full list of the finalists, and a full list of the winners, go here.

9 May 16 | Kaija Straumanis | Comments

The latest addition to our Reviews section is a piece by Lori Feathers on Peter Stamm’s All Days are Night, published last year by Other Press.

Here’s the beginning of Lori’s review:

As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of destruction. Gillian’s and Hubert’s struggles to understand the emotional basis of these incongruities provide dramatic tension in this taut and provocative novel.

Although Gillian survives an auto accident that kills her husband, the crash damages and permanently alters her face. As she convalesces, she recalls the weeks leading up to the accident, in particular her televised interview with Hubert, a local artist, and her post-interview request that he paint her portrait. Gillian shares with Hubert the hope that his painting of her will reveal truths to which she has been blind. All that she understands about herself is derivative of others’ impressions and reactions, and she longs for Hubert to interpret and reveal to her, her true self. Instead, Hubert soon becomes frustrated with his subject. “I don’t see anything in you. I’ll be pleased if I manage the exterior half decently,” he tetchily tells Gillian during a sitting. He accuses her of intentionally concealing her inner self, of “acting,” and of an unwillingness to reveal any vulnerability, an accusation that is not new to her.

For the rest of the review, go here.

5 May 16 | Chad W. Post | Comments

This week’s podcast opens with Chad and Tom discussing the 2016 Best Translated Book Award winners and their thoughts on how to evaluate books for the prize. Then, in a separately recorded podcast, Chad and visiting guest George Carroll talk with Juan Villoro about his new book on soccer, God Is Round.

Also, due to summer travel and other obligations, it looks like the podcast will go on a short hiatus. In the meantime, you can catch up on past episodes, and/or read a bunch of great books in translation. (Especially Open Letter titles!)

This week’s music is 1804 by The Range.

Also, just a reminder, since we changed our podcast feed, you may need to unsubscribe and resubscribe to the correct feed in iTunes at that link, or right here:
https://itunes.apple.com/us/podcast/three-percent-podcast/id434696686

Or, you can just put this feed link into whichever is your podcast app of choice:
http://threepercent.libsyn.com/rss

And, as always, feel free to send any and all comments or questions to: threepercentpodcast@gmail.com.



4 May 16 | Chad W. Post | Comments

May 4, 2016—The ninth annual Best Translated Book Awards were announced this evening at The Folly in New York City, and at The Millions with Yuri Herrera’s Signs Preceding the End of the World, translated from the Spanish by Lisa Dillman, winning for fiction, and Angélica Freitas’s Rilke Shake, translated from the Portuguese by Hilary Kaplan, winning for poetry.

This is the ninth iteration of the BTBA and the fifth in which the four winning authors and translators will receive $5,000 cash prizes thanks to funding from the Amazon Literary Partnership program.

“As it nears its tenth year, the Best Translated Book Awards has become an annual literary highlight, shining an important spotlight on great international works that deserve to be introduced to U.S. readers,” said Neal Thompson, Amazon’s director of Author and Publishing Relations. “The Amazon Literary Partnership is proud to support international authors and their translators and to have contributed more than $100,000 over the past five years to the Best Translated Book Awards.”



Despite the prevelance of Spanish-language authors published in translation—and who have made the BTBA longlist—Yuri Herrera is the first Spanish-language writer to win the award for fiction. According to BTBA judge Jason Grunebaum, “Translator Lisa Dillman has crafted a dazzling voice in English for Yuri Herrera’s Signs Preceding the End of the World, a transformative tale of a young woman’s trip on foot from Mexico to the U.S. to deliver a package and find a brother. This novel of real pathos and unexpected displacement in self, place, and language achieves a near perfect artistic convergence of translator and author, while giving readers an urgent account from today’s wall-building world.”



Lisa Dillman has translated almost a dozen books over the past few years, including works by Andrés Barba and Eduardo Halfon, and teaches Spanish at Emory College. Her translation of Herrera’s next novel, The Transmigration of Bodies (also published by And Other Stories), comes out in July.



With Rilke Shake taking home the poetry award, Phoneme Media becomes the first press to win for poetry in back-to-back years. (Diorama by Rocío Cerón, translated from the Spanish by Anna Rosenwong, won last year). Hilary Kaplan also received a PEN/Heim Translation Fund grant to work on this collection.



BTBA judge Tess Lewis praised the collection, saying, “[Kaplan] has done the grant and Freitas’s poems justice, capturing the many shifts in tone in and between the lines, from playful to wry to sardonic to pathetic, even sentimental, to deadpan and back to playful, sometimes within a single poem. For all of Freitas’s lyric clowning, it’s clear she takes poetry too seriously not to dismantle it and use it to her own purposes.”

Next Wednesday, May 11th, from 5-6:30pm, 57th Street Books in Chicago will be hosting a BTBA party at the store. The event—which will feature a number of BTBA judges—is free and open to the public.

This year’s fiction jury is made up of: Amanda Bullock (Literary Arts, Portland), Heather Cleary, (translator, co-founder of the Buenos Aires Review), Kevin Elliott (57th Street Books), Kate Garber (192 Books) Jason Grunebaum (translator, writer), Mark Haber (writer, Brazos Bookstore), Stacey Knecht (translator), Amanda Nelson (Book Riot), and P. T. Smith (writer and reader).

And this year’s poetry jury is made up of: Jarrod Annis (Greenlight Bookstore), Katrine Øgaard Jensen (Council for European Studies), Tess Lewis (writer and translator), Becka McKay (writer, translator), and Deborah Smith (writer, translator, founder of Tilted Axis).

For more information, visit the official Best Translated Book Award site and the official BTBA Facebook page, and follow the award on Twitter.

3 May 16 | Chad W. Post | Comments

It took a bit longer than planned, but we did it! There are now “Why This Book Should Win” write-ups for all 35 books that were longlisted for the 2016 Best Translated Book Award. Browse through these, find a few to read, and tune in to The Millions tomorrow at 7pm to find out who won.

To make it easier to catch up on all the entries in this series, listed below are all of the titles, linked to their WTBSW post. (I’ll keep updating this as more of the pieces go up.)

These pieces are a great way to handicap the field, to get a sense of what the particular juries were paying attention to this year, and to find a handful of titles to check out for your own reading pleasure.

Enjoy!

BTBA 2016 Fiction Longlist


A General Theory of Oblivion by José Eduardo Agualusa, translated from the Portuguese by Daniel Hahn (Angola, Archipelago Books)

Arvida by Samuel Archibald, translated from the French by Donald Winkler (Canada, Biblioasis)

Nowhere to Be Found by Bae Suah, translated from the Korean by Sora Kim-Russell (South Korea, AmazonCrossing)

The Meursault Investigation by Kamel Daoud, translated from the French by John Cullen (Algeria, Other Press)

French Perfume by Amir Tag Elsir, translated from the Arabic by William M. Hutchins (Sudan, Antibookclub)

The Story of the Lost Child by Elena Ferrante, translated from the Italian by Ann Goldstein (Italy, Europa Editions)

Sphinx by Anne Garréta, translated from the French by Emma Ramadan (France, Deep Vellum)

The Physics of Sorrow by Georgi Gospodinov, translated from the Bulgarian by Angela Rodel (Bulgaria, Open Letter)

Signs Preceding the End of the World by Yuri Herrera, translated from the Spanish by Lisa Dillman (Mexico, And Other Stories)

The Sleep of the Righteous by Wolfgang Hilbig, translated from the German by Isabel Fargo Cole (Germany, Two Lines Press)

Moods by Yoel Hoffmann, translated from the Hebrew by Peter Cole (Israel, New Directions)

Beauty Is a Wound by Eka Kurniawan, translated from the Indonesian by Annie Tucker (Indonesia, New Directions)

The Complete Stories by Clarice Lispector, translated from the Portuguese by Katrina Dodson (Brazil, New Directions)

The Story of My Teeth by Valeria Luiselli, translated from the Spanish by Christina MacSweeney (Mexico, Coffee House Press)

Tram 83 by Fiston Mwanza Mujila, translated from the French by Roland Glasser (Democratic Republic of the Congo, Deep Vellum)

The Body Where I Was Born by Guadalupe Nettel, translated from the Spanish by J. T. Lichtenstein (Mexico, Seven Stories Press)

The Things We Don’t Do by Andrés Neuman, translated from the Spanish by Nick Caistor and Lorenza Garcia (Argentina, Open Letter)

I Refuse by Per Petterson, translated from the Norwegian by Don Bartlett (Norway, Graywolf Press)

War, So Much War by Mercè Rodoreda, translated from the Catalan by Maruxa Relaño and Martha Tennent (Spain, Open Letter)

One Out of Two by Daniel Sada, translated from the Spanish by Katherine Silver (Mexico, Graywolf Press)

Berlin by Aleš Šteger, translated from the Slovene by Brian Henry, Forrest Gander, and Aljaž Kovac (Slovenia, Counterpath)

The Big Green Tent by Ludmila Ulitskaya, translated from the Russian by Polly Gannon (Russia, FSG)

Murder Most Serene by Gabrielle Wittkop, translated from the French by Louise Rogers Lalaurie (France, Wakefield Press)

The Four Books by Yan Lianke, translated from the Chinese by Carlos Rojas (China, Grove Press)

Mirages of the Mind by Mushtaq Ahmed Yousufi, translated from the Urdu by Matt Reeck and Aftab Ahmad (India, New Directions)


BTBA 2016 Poetry Longlist


A Science Not for the Earth: Selected Poems and Letters by Yevgeny Baratynsky, translated from the Russian by Rawley Grau (Russia, Ugly Duckling Presse)

Minute-Operas by Frédéric Forte, translated from the French by Daniel Levin Becker, Ian Monk, Michelle Noteboom, and Jean-Jacques Poucel (France, Burning Deck)

Rilke Shake by Angélica Freitas, translated from the Portuguese by Hilary Kaplan (Brazil, Phoneme Media)

Wild Words: Four Tamil Poets, edited and translated from the Tamil by Lakshmi Holmström (India, HarperCollins India)

Empty Chairs: Selected Poems by Liu Xia, translated from the Chinese by Ming Di and Jennifer Stern (China, Graywolf)

Load Poems Like Guns: Women’s Poetry from Herat, Afghanistan, edited and translated from the Persian by Farzana Marie (Afghanistan, Holy Cow! Press)

Silvina Ocampo by Silvina Ocampo, translated from the Spanish by Jason Weiss (Argentina, NYRB)

The Black Flower and Other Zapotec Poems by Natalia Toledo, translated from the Spanish and Isthmus Zapotec by Clare Sullivan (Mexico, Phoneme Media)

The Nomads, My Brothers, Go Out to Drink from the Big Dipper by Abdourahman A. Waberi, translated from the French by Nancy Naomi Carlson (Djibouti, Seagull Books)

Sea Summit by Yi Lu, translated from the Chinese by Fiona Sze-Lorrain (China, Milkweed)

3 May 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series, is by Katrine Øgaard Jensen, BTBA judge, journalist, writer, and translator from the Danish. She previously served as editor-in-chief of Columbia: A Journal of Literature and Art and as blog editor at Asymptote and Words without Borders. She is currently an editor at the Council for European Studies and teaches creative writing at Columbia University. We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



Silvina Ocampo by Silvina Ocampo, translated from the Spanish by Jason Weiss (Argentina, NYRB)

“There is in Silvina a virtue usually attributed to the Ancients or the people of the Orient and not to our contemporaries: that is clairvoyance.” This high praise of Argentinian Silvina Ocampo’s writing came from Jorge Luis Borges, who also made the distinction that it was her condition as a poet which exalted her prose. To the English-speaking world, Ocampo has become known through her short stories as a writer of the surreal, the fantastic, and the grotesque—while Silvina Ocampo, published by New York Review Books and translated by Jason Weiss, is Ocampo’s first collection of poems to appear in English.

Upon reading this collection—and “discovering” Ocampo’s poetry for the very first time—I was struck by the ease with which Ocampo shifts between the quotidian and the dreamlike. These shifts sometimes occur between poems, sometimes within poems—even within lines—guiding the reader through equal amounts of personal desperation and wild mythology. In “The Infinite Life”, for instance, the poem begins in a seemingly realistic present where the speaker ponders the meaning of life as well as life after death—but soon enough, the reader meets Atropos, the Greek goddess of fate and destiny “with her black butterfly face”; a winged horse which “passes like a beam of light through glass”; the distant empire of China and the monks in Tibet; victims of witchcraft, and the “lustrous Mediterranean.” Then, the reader is suddenly pulled back into a familiar reality:

It will not be the same river over the mud,
the burning of trash nor the cart,
the dogs in the suburban nights that
lose their way beside a cruel blond boy.


Yet just as the reader thinks she’s back on solid ground, Ocampo takes her on a new journey in the very next couplet:

There will be no queens of Egypt, nor coins
preserving their likeness, nor will there be silks.


The poems that enchanted me most, however, were Ocampo’s earlier work from 1942—arranged in the first section of this collection under the title “Enumeration of My Country.” This entire section consists of poems describing Argentina’s vast and stunning landscapes in such rich detail—and with such a powerful, almost forceful, voice—that the reader might be led to believe these poems were, in fact, written by some kind of deity. The result? I am left awestruck by both Ocampo’s Dickensonian authority as a poet (I was pleased and not at all surprised to discover in Weiss’s introduction that Ocampo’s final book of poetry was not her own writing but translations of six hundred poems by Emily Dickinson) as well as Weiss’s capacity to render Ocampo’s utterly unique poetic voice.

26 April 16 | Chad W. Post | Comments

In this week’s podcast Tom and Chad talk about the recently released Best Translated Book Award shortlists, before moving on to discussion of the two Reading the World Conversation Series books for April: The Vegetarian by Han Kang and Diorama by Rocío Cerón.

Additional articles and books discussed include, Porochista Khakpour’s review of The Vegetarian in the NY Times, Don DeLillo’s Zero K, Gabriella Coleman’s Hacker, Hoaxer, Whistleblower, Spy, and A.J. Somerset’s Arms: The Culture and Credo of the Gun.

They also discussed switching up the RTWCS as a whole, with Dirty Dust and Graveyard Clay—two translations of the same book by Máirtín Ó Cadhain—in May, followed by Liu Xia’s Empty Chairs in June. This does deviate from the plan posted here a few months ago, but given the struggles we’ve had keeping up—and the opportunity to look at two translations of the same book—it seemed worthwhile to shift things a bit, alternating from fiction to poetry each month, and giving everyone participating a little bit more time to read.

This week’s music is “A Tale Told by an Idiot” by John Congleton and the Nighty Nite.

Also, just a reminder, since we changed our podcast feed, you may need to unsubscribe and resubscribe to the correct feed in iTunes at that link, or right here:
https://itunes.apple.com/us/podcast/three-percent-podcast/id434696686

Or, you can just put this feed link into whichever is your podcast app of choice:
http://threepercent.libsyn.com/rss

25 April 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series, is by Becka Mara McKay, BTBA judge, author (A Meteorologist in the Promised Land, Happiness Is the New Bedtime), translator (Laundry, Blue Has No South, Lunar Savings Time), and director of the Creative Writing MFA at Florida Atlantic University. We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



Minute-Operas by Frédéric Forte, translated from the French by Daniel Levin Becker, Ian Monk, Michelle Noteboom, and Jean-Jacques Poucel (France, Burning Deck)

In 2005, shortly after the publication of his innovative, entrancing collection Opéras-minute, the French writer Frédéric Forte was elected a member of the OULIPO—the innovative and entrancing Ouvroir de Litterature Potentielle (Workshop of Potential Literature). Reading Minute-Operas, with its masterful translations (and transformations) by Daniel Levin Becker, Ian Monk, Michelle Noteboom, and Jean-Jacques Poucel, it’s quite easy to see both the necessity and vitality of Forte’s membership in the group, and the difficulty and pleasure that translating this book must have presented.

As the title states, Forte’s poems are miniature performances enacted on every page. With a vertical line running down each poem’s face, Forte creates areas that he terms “stage” and “wings,” and uses an extraordinary variety of typographic techniques—erasure, diagram, blank space, symbols, and much more—to write the poems. Each opera, then, can be read in a number of ways, from a number of directions. For me, these are not so much poems that have moved from French to English—they are boldly original creations in one poem-language that are recreated in a new poem-language. The results are infinitely engaging. Forte’s poem-language takes the form of stage directions, lists of props and other materials, and process notes, among the more recognizable gestures. Yet these gestures and typographic techniques never overwhelm or overshadow the words that Forte (and his translators) choose. The writing remains meticulously original, tightly crafted, yet still ludic and lyrical. While some of my favorite of these poems are difficult to reproduce here, the following excerpt gives a sense of Forte’s mischievous mixture of the playful and the grim:

A wall
erected for tennis
and what if we changed
it to something else
to handball
headball
o sacrificial

Ceaseless games       Interchangeable massacres
Dismal demigod


Minute-Operas is divided into Phase 1 and Phase 2 (each phase consists of five twelve-page sections). Phase 2 draws on dozens of existing poetic forms (listed in a brief appendix—the book’s only paratext) from the very traditional (triolet, villanelle) to much newer forms (including the minute-opera itself), some invented by earlier Oulipians. The work of the translators on this section of the book is most interesting to me, as form is so clearly integral to the text that it, too, must be translated. There is something quite sculptural in these efforts, as though Forte’s text were three-dimensional and the translators needed to find its new language on a number of axes.

I have spent hours combing through the layers of this book, reading the poems in order, reading them at random, reading them aloud, and I have yet to grow tired of what Forte and his translators have achieved. Minute-Operas is meant to resound loudly in the readers’ heads and then force us to grapple with the uncomfortable, uncomforted silence that follows.

25 April 16 | Chad W. Post | Comments

This entry in the Why This Book Should Win series, is by Becka Mara McKay, BTBA judge, author (A Meteorologist in the Promised Land, Happiness Is the New Bedtime), translator (Laundry, Blue Has No South, Lunar Savings Time), and director of the Creative Writing MFA at Florida Atlantic University. We will be running two (or more!) of these posts every business day leading up to the announcement of the finalists.



Sea Summit by Yi Lu, translated from the Chinese by Fiona Sze-Lorrain (China, Milkweed)

In his excellent essay on translation “Anonymous Sources,” Eliot Weinberger posits “There is a cliché in the U.S. that the purpose of a poetry translation is to create an excellent new poem in English. This is empirically false: nearly all the great translations in English would be ludicrous as poems written in English, even poems written in the voice of a persona.” I have always only half-agreed with Weinberger on this point, or perhaps I only agree with half of his point: yes, it is a cliché (and a danger) to believe that the purpose of translating poetry is to simply create a new poem in English; yes, to measure an English translation of a poem against a poem written in English is a useless and fruitless exercise. But I nonetheless object to the appearance of the word ludicrous among the rest of Weinberger’s sensible assessment. And in the case of the poems of Sea Summit, which are vibrant and crystalline in Fiona Sze-Lorain’s remarkable translation, I would replace ludicrous with luminous. No, these do not sound like poems written in English, nor should they. They represent a carefully crafted intersection between the original Chinese and the English, a prismatic lens through which the original Chinese sparkles, transforms, and insistently sings. These are nature poems that defiantly employ an urban vocabulary—or perhaps they are urban poems seeking the solace of nature through the only language they know. In either case they are utterly original and absorbing, forcing us to rethink how we perceive objects and moments we might otherwise deem mundane. The ending of the poem “A Bouquet of Cauliflower” is a meditation on many things—the vegetable in question is only the beginning of a disquisition on the requirements of patience, the passing of the seasons, and the mystery of the world beneath our feet:

a string of buds awaits the bloom
like a thousand Buddha hands with palms closed
only a cauliflower with a thin stem
places a huge spring on its body


Many of Yi Lu’s poems examine the natural world with this mixture of serenity and compassion, sorrow and sly humor. Here is the beginning of “By the Maple Woods”:

Here are the millionaires of autumn
balding elders
yellow leaves scattered like torn pieces of manuscript
only silver gray branches
can hold the sky palace


Fiona Sze-Lorain is, according to her biography on the book’s cover, “an acclaimed zheng harpist,” and her ear for the music of poetry is evident throughout the book. The rattles, roars, and hums of the natural world are deftly reproduced in exquisite moments of internal rhyme and alliteration—techniques which never call attention to themselves but simply serve as elegant vehicles for these equally elegant poems.

19 April 16 | Chad W. Post | Comments

Ten works of fiction and six poetry collections remain in the running for this year’s Best Translated Book Awards following the announcement of the two shortlists at The Millions website this morning.

These sixteen finalists represent an incredible array of writing styles and reputation, and include the likes of Clarice Lispector, Elena Ferrante, Georgi Gospodinov, Gabrielle Wittkop, Liu Xia, Abdourahman Waberi, and more. These titles were selected from the nearly 570 works of fiction and poetry published in English translation in 2015.

The sixteen titles on these two shortlists are translated from nine different languages (French, Portuguese, and Spanish having the most finalists, with three a piece) and thirteen different countries (Brazil, China, and Mexico have two authors each). Ten of the shortlisted titles are by women, including Load Poems Like Guns, which features the work of eight Afghani women poets. Fourteen different presses, with only New Directions and Open Letter Books being responsible for more than one shortlisted title, published the finalists.

As in recent years, the Best Translated Book Awards are underwritten by the Amazon Literary Partnership program, which allow both winning authors and winning translators to receive $5,000 cash prizes. Thanks to this gift, Three Percent at the University of Rochester will have awarded $100,000 in cash prizes to international authors and translators since 2011.

The finalists for both the fiction and poetry awards will be announced on The Millions (www.themillions.com) on Tuesday, April 19th, and the winners will be announced on Wednesday, May 4th at 7 p.m., simultaneously on The Millions and at a live event at The Folly in New York City. There will also be a celebration during BookExpo America at 5 p.m. on May 11th at 57th St. Books in Chicago.

This year’s fiction jury is made up of: Amanda Bullock (Literary Arts, Portland), Heather Cleary, translator from the Spanish, co-founder of the Buenos Aires Review), Kevin Elliott (57th Street Books), Kate Garber (192 Books), Jason Grunebaum (translator, writer), Mark Haber (writer, Brazos Bookstore), Stacey Knecht (translator), Amanda Nelson (Book Riot), and P.T. Smith (writer and reader).

The poetry jury includes: Jarrod Annis (Greenlight Bookstore), Katrine Øgaard Jensen (Council for European Studies), Tess Lewis (writer and translator), Becka McKay (writer and translator), and Deborah Smith (writer, translator, founder of Tilted Axis).

For more information, visit the official Best Translated Book Award site and the official BTBA Facebook page, and follow the award on Twitter.

All Days Are Night
All Days Are Night by Peter Stamm
Reviewed by Lori Feathers

As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .

Read More >

The Seven Good Years
The Seven Good Years by Etgar Keret
Reviewed by Vincent Francone

It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .

Read More >

Human Acts
Human Acts by Han Kang
Reviewed by J.C. Sutcliffe

Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .

Read More >

Nowhere to Be Found
Nowhere to Be Found by Bae Suah
Reviewed by Pierce Alquist

It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .

Read More >

La paz de los vencidos
La paz de los vencidos by Jorge Eduardo Benavides
Reviewed by Brendan Riley

Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .

Read More >

Souffles-Anfas: A Critical Anthology
Souffles-Anfas: A Critical Anthology by Various
Reviewed by Emma Ramadan

Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .

Read More >

Berlin
Berlin by Aleš Šteger
Reviewed by Vincent Francone

Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .

Read More >

The Gun
The Gun by Fuminori Nakamura
Reviewed by Will Eells

Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .

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This Place Holds No Fear
This Place Holds No Fear by Monika Held
Reviewed by Lori Feathers

Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .

Read More >

The Room
The Room by Jonas Karlsson
Reviewed by Peter Biello

If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .

Read More >