Longtime Alfred A. Knopf editor and translator Carol Brown Janeway has passed away -- apparently rather suddenly; see Sonny Mehta's company-memo (warning ! dreaded pdf format !).
The fact that she was the first recipient of the annual Friedrich Ulfers Prize (for the promotion of German-language literature) in 2013, and the second recipient of the Ottaway Award for the Promotion of International Literature (2014) should give you some idea of the significance of her role in fostering foreign literature in the US.
Among her translations are also several works by Daniel Kehlmann, Thomas Bernhard's My Prizes -- and, in a near-unforgivable misstep, Márai Sándor's Embers.
The most recent addition to the complete review is my review of Pierre Senges' quite remarkable Fragments of Lichtenberg, due out shortly from Dalkey Archive Press (and, yes, this is a very 'Dalkey' title -- all for the best, to my mind).
In The Sun Henry Akubuiro has a Q & A with Tade Ipadeola, NNLG laureate: I have no time for literary zombies -- which is certainly a nice headline.
Admirable that he's translated (well, hmmm ... "more of 'traduction' in the sense of what translation means in a Romance language such as French. It was a whim" ...) Auden into Yoruba -- and disappointing that they're still:
unpublished translations of Daniel Fagunwa Yoruba classical novels, into English The Divine Cryptograph [Aditu] and The Pleasant Potentate of Ibudo [Ireke Onibudo].
The surprising problem arising in our culture is that good, active, creative reading is on the decline.
I'm not sure to what extent this isn't actually just another facet of the perennial problem/complaint, but, hey, I'm always up for some support of 'creative', careful, and engaged reading
So I'm certainly on board with her conclusion:
Letís not stop reading the kind of books that keep teaching us to read.
The August issue of Words without Borders, Myth and History: Writing from Indonesia, is now available online; it also includes the usual reviews, as well as 'Three Tibetan Short Stories'.
Great to see more Indonesian attention as we come up to the Frankfurt Book Fair, where it will be this year's Guest of Honour.
It's well-hidden at the official site -- certainly not to be found under 'Current Issue' (that would be much too easy ...) -- but the Volume 28, Summer 2015 issue of listBooks from Korea -- "a quarterly literary magazine [that] introduces Korean literature and authors to overseas reader" -- is now available online.
In the UK the 'TES and the National Association for the Teaching of English ran a survey to find teachers' top 100 fiction books all children should read' -- before leaving primary school and before leaving secondary school.
(There is some overlap.)
I am a bit shocked by how few books in translation feature, especially on the secondary school list (fewer than on the primary school list) -- all of three, as best I can tell: Around the World in Eighty Days by Jules Verne (53), I am David by Anne Holm (71) (and this one is also 29 on the primary school list), and One Day in the Life of Ivan Denisovich by Aleksandr Solzhenitsyn (89).
But it's a very mixed (up ?) list, in any case.
The organizers of one of China's top literary awards have set up a team to supervise the judging process and make sure it is fair and free of corruption.
I'm very curious as to how exactly they will do their monitoring -- corruption would seem hard to detect unless it's truly blatant (like a judge handing out money during deliberations to literally buy other judges' votes).
Still, I kind of like the idea of uniformed guards watching over the deliberating judges, billy clubs at the ready to thwack any argument or voicing of support they deem improper.
In The Moscow Times Anastasia Bazenkova reports that Russia's Book Industry Shrinks as Russians Stop Reading.
It's not that they've stopped reading entirely, but apparently there has been quite a decline (with the ever-popular explanations as supplied by experts, such as: "Young people see books as pure entertainment, and in that category they cannot compete with modern gadgets").
A real problem is certainly the decline in bookstores -- and, astonishing if true, Moscow apparently only has six used book stores.
Among the consequences: "The effect of bookstore closures has been to reduce the quantity of printed words"
And while there's no data to back up the claim, it's still an eye-catching one:
There are currently 10-12 people in the whole country that can earn their living only by writing books, and there will be even fewer of them in the future, Filimonov said
As longtime readers know, I hold Cao Xueqin's The Story of The Stone, in David Hawkes and John Minford's translation, to be one of the peaks of literature.
Interesting to learn now that, as Tang Yue reports in China Daily, in Lost in translation for more than 40 years, that the manuscript of an unpublished translation into English by Lin Yutang has been found in Japan.
Lin published widely in both Chinese and English, and was a widely-read popularizer of Chinese literature in English -- it would be interesting to know what kind of impact his translation of this towering work might have had.
This is yet another example of US/UK publishers opting to publish multiple works by an author in one volume -- several works by Patrick Modiano, whose works tend to come in at around a hundred pages, are getting the treatment now.
It's more justifiable here than in most cases (even as the title, Wind/Pinball, really isn't) but I reviewed them separately -- among other reasons: because there are already so many separate reviews of one or the other title to link to.
However, it's been annoying to see so much coverage which has dismissed the previous translations (by Alfred Birnbaum, published by Kodansha International) as if no one had ever seen them.
The Knopf jacket-copy has it about right -- "Widely available in English for the first time, newly translated" -- but much of the review coverage does not (as I have also repeatedly noted on Twitter (e.g.)).
The New York Times Book Review has Juan Gabriel Vásquez (The Informers, etc.) answer this week's 'By the Book' Q & A.
Like so many prominent foreinh-language-writing authors, he has also translated works into his mother tongue -- and one of the questions they ask him is: "Has translating changed your approach to reading fiction in translation ?"
I realize the column is about reading, but of course the really interesting question is how it's affected his writing.
(As longtime readers know, I'm a big proponent of writers at least dabbling in translation -- as far too few US/UK authors of fiction do ...).)
Some interesting answers, though -- worth a look.
As reported everywhere, they've now announced the thirteen-title-strong longlist for this year's Man Booker Prize.
They were selected from 156 submissions -- though, alas, the Man Booker folk don't reveal which titles were actually in the running.
(Publishers are limited as to how many titles they can submit, a complex formula determining how many each is allowed to submit, so it is likely prominent and promising titles were never even considered for the prize -- but they won't tell us which ones.
People should find this more disturbing than they seem to (most of you don't seem to mind at all).)
The Telegraph has the main points covered in various articles: American dominance of Man Booker Prize longlist 'confirms worst fears' and Men and women take equal share in the Man Booker Prize longlist pretty much sum things up.
Prominent authors whose books missed the cut (but, after all, may not have even been submitted ....) include those by Kazuo Ishiguro, Jonathan Franzen, Salman Rushdie, and Pat Barker.
Unsurprisingly, none of the longlisted titles are under review at the complete review -- sorry.
Via I'm pointed to Russell Williams' The Série Noire and Social Intervention at the Los Angeles Review of Books, a nice introduction/overview of Gallimard's 'grande collection de romans policiers', their Série Noire.
And, of course, it would be great to see more of the French works they publish in English translation.
The most recent addition to the complete review is my review of Muḥammad al-Muwayliḥī's turn of the (last) century What ʻĪsā Ibn Hishām told us, just out in a two-volume edition in Roger Allen's translation from the Library of Arabic Literature.
Yes, yes, I know; you already have your copy, why would you even need my review .....
In Flight of the Seagull in The Caravan Anjum Hasan looks at: 'How an Indian publisher brought Europe home', profiling Seagull Books, the Naveen Kishore-led, India-based publisher that is one of the leading publishers of literature-in-translation (especially French and German) in English.
(A lot of other publishers have great lists, but as far as number-of-(important-)titles go, it's really Dalkey Archive Press and Seagull way at the head of the pack.)
A fascinating story -- and a wonderful success story.
Lots of Seagull titles are under review at the complete review -- I wouldn't even know where to start -- and I hope you too are familiar with much of what they've published.
The infrastructure of the Indonesian publishing industry isn't yet fully developed. A potential market is there but the industry is still in a poor condition.
She also notes:
But regardless of that, we still see gems of literature and popular writings that have both market success and good intellectual reception such as the works of Ayu Utami, Seno Gumira Ajidarma or Eka Kurniawan.
As I've mentioned previously, this fall is seeing a double-dose of Eka Kurniawan in English, as two of his novels are being published in translation: Man Tiger, coming from Verso (see their publicity page, or pre-order your copy from Amazon.com), and Beauty is a Wound from New Directions (pre-order your copy from Amazon.com).
Publishers Weekly has the early reviews -- here and here -- and they're both starred; fully on board the Kurniawan-bandwagon, they also have a Writers to Watch: Fall 2015 profile of him.
At Scroll.in Ulka Anjaria finds: 'Choosing what to read is playing a crucial role in the uneasy conflict between the mother-tongue and English', in Reading Chetan Bhagat in Dhaka: the anxiety of English literature.
(Chetan Bhagat is of course the immensely popular (writing-in-English-)Indian author -- whose success hasn't quite ... translated to the US/UK (several of his titles are under review at the complete review; see, for example, One night @ the call center, which was actually published in US/UK editions as well).)
An interesting (beginning of a) discussion -- as is also the notion, re. Bhagat, that:
Without explicitly saying so, his works shift attention from the traumas of South Asiaís past to the shared anxieties of its future.
The shift in attention may be welcome, but I'm not sure his works are best suited for leading the way .....
Eight years after Amazon released the first Kindle, surviving independent bookstores are now selling e-books -- and finding that no one really wants the ones they're offering.
Of course, part of the convenience of buying e-books is that you don't actually have to go to a bookstore to do it.
But, as someone who will only suffer an e-book in extremis, I'm probably not the right person to speculate about e-book purchasing patterns.
In the Hindustan Times Aneesha Bedi looks at the phenomenon of 'young Indian authors whose writing is vibrant, personal and clicks instantly', in Literature in a hurry.
A nice touch at the end is having two established, older authors comment on the phenomenon -- the section introduced: 'What Seniors Say' ....
In The Hindu Mini Krishnan writes on literature in and from India -- especially in local languages --, in More than one life.
Well, the selfie of us with our Indian-language writers shows that the rest of the globe is fairly safe from us: our writers have not penetrated any other culture's consciousness deeply.
A major part of the problem seems (to me) that they haven't penetrated the markets yet -- paving the way for consciousness-entering.
I'm always on the lookout for translated-from-the-Indian-languages fiction here in the US, but there's essentially none to be found.
As she notes:
Both serious studies and hastily cobbled articles based on interviews with writers and publishers over the last two years reveal that outside India, very little of our huge literary output -- contemporary or otherwise -- is being read anywhere in the world.
We are a literary supercontinent but as dark as Krishna and as difficult to reach.
Again: a major part of the problem is that it's simply not (readily) available.
I'd read it if I could get my hands on it; I rarely can.
Which really shouldn't be quite this difficult, in this day and age.
(In just the past few days I have gotten review copies of a Malay novel from Singapore (e-version) and four paperbacks translated from the Galician (these from a publisher based in Sofia, Bulgaria, of all places -- check out Small Stations).
But she suggests that even within India -- where availability is less of a problem -- there hasn't been nearly enough engagement with literatures from other local languages/regions.
Murakami Haruki's early novels, Hear the Wind Sing and Pinball, 1973 are being published in new translations (by Ted Goossen) in the US/UK -- in one volume titled, sigh, Wind/Pinball -- at the beginning of August; see the publicity pages from Alfred A. Knopf and Harvill Secker, or pre-order your copy at Amazon.com or Amazon.co.uk.
Early reviews are already out -- Arifa Akbar's in The Independent and Matthew Adams' in The National (both notable also for being dismissive of Alfred Birnbaum's earlier translations, which were hardly anywhere near as obscure as they suggest; I can remember stumbling over them at New York bookstores frequently in the late 1980s and 1990s).
What I hadn't realized is that the Wind/Pinball phenomenon is apparently a global one: the novels aren't just being resurrected for English-reading audiences: this summer and fall also sees editions in, at least, German (see the DuMont publicity page for Wenn der Wind singt / Pinball 1973), Spanish (pre-order your copy of Tusquets' Escucha la canción del viento y Pinball 1973 at Amazon.es), and Catalan (see the Editorial Empúries publicity page for Escolta la cançó del vent i Pinball, 1973).
Why the concerted push to bring these to (all these) markets now ?
Surely not a cash-flow issue for Murakami.
But maybe a setting the (literary) record straight/on the table for posterity (and Nobel-angling) purposes ?
At BooksLive they have an overview of The Local Books to Look Forward to in 2015 (July-December), suggesting some of the more interesting publications forthcoming in South Africa in the coming months.
Some of this will make it to the US/UK sooner rather than later (the Deon Meyer, hurrah -- pre-order your copy at Amazon.com or Amazon.co.uk), some not quite so soon (the Zakes Mda ?).
Anyway, always interesting to see what is of local interest/prominence.
(And nice to see a re-issue of Thomas Mofolo's classic Chaka.)
I haven't seen Mani Rao's Kalidasa for the 21st Century Reader (see the Aleph Book Company publicity page, or get your copy at Amazon.com or Amazon.co.uk), but Vijay Nambisan's review in The Caravan is now (finally) fully freely accessible online, in which he considers: 'Revisiting Kalidasa in the modern age'.
(With several reviews at the complete review of both Sakuntala (four, including this one) and the Meghaduta (three, including this one), both of which are also translated anew in the Rao volume, I'm always curious about new takes on this Sanskrit master.)
The New York Times Book Review's 'By the Book'-column continues to be ... uneven, but this week's respondent is William T. Vollmann, and though I've never really taken to his work he offers up a pretty interesting set of answers.
The most recent addition to the complete review is my review of Simon Critchley's novella Memory Theatre -- which came out last year from Fitzcarraldo Editions in the UK, and is due out in the US (as Memory Theater ...) from Other Press in November (quite a while after the French translation was published, I can't help but note ...).
With the French 'rentrée littéraire' about to be unleashed -- 589 titles published over the course of just a couple of weeks -- any guidance is helpful; the prix du Roman Fnac offers a just-announced longlist of thirty top titles (see them, for example, at BibliObs; for some reason the Fnac site doesn't have a convenient overview) and, given their track record -- mixed,
but local favorite Where Tigers are at Home won in 2008, and widely acclaimed (if locally less appreciated) Purge (2010) as well as Vie Française (2004) have also taken the prize -- looks worth at least a closer look..
The presence of Marisha Pessl's Night Film would seem to be a big red flag, but new works by Claro (Crash-test; see the Actes Sud publicity page), Mathias Enard, and -- maybe -- Laurent Binet, among others, are certainly intriguing.
This week's German author prize is ... the Kranichsteiner Literaturpreis, the €20,000 prize that's gone to Rainald Goetz (this year's just-announced (see my mention) Georg-Büchner-Preis winner), in 1983, Wolfgang Hilbig (1987), Nobel laureate Herta Müller (1991), and Sibylle Lewitscharoff (2006).
No word yet at the official site, last I checked, but they've announced that Esther Kinsky will get to pick up this year's prize on 6 November; see, for example, the report at boersenblatt.
Her Summer Report is available in English (from Seagull Books, of course); get your copy at Amazon.com or (ridiculously cheaply, at this moment) at Amazon.co.uk.
The most recent addition to the complete review is my review of the final volume in Jeff Lindsay's serial-killer series, the just published Dexter is Dead.
Okay, not exactly my proudest reviewing accomplishment, but at some point my tidy, completist side kicks in -- hence you can find coverage of all eight Dexter-books at the site.
You probably don't need me to tell you, but, as widely reported, E.L.Doctorow has passed away; see, for example, Bruce Weber's obituary in The New York Times.
None of his work is under review at the complete review; among the best-known is, of course, Ragtime; get your copy at Amazon.com or Amazon.co.uk.
At Radio Bulgaria Desislava Ivanova briefly writes Of Bulgarians and books.
We are treated to not-quite-up-to-date 'statistics':
In figures from the National Statistical Institute, in 2011 fifty-one percent of Bulgarians did not read even a single book and only 19% of the population read more than 10 books.
Newer writers have made half an impression:
As to contemporary Bulgarian writers, more than half of respondents say they love to read books by them as well.
27% however claim present-day Bulgarian writers fail to offer worthy reads, and others believe reading their books is a fad.
The polled mentioned the names of Georgi Gospodinov, Donka Petrunova and Ivan Trenev.
There is no big demand for contemporary Bulgarian writers for adults. One notable exception is Stefan Tsanev from the older generation whose books are quite successful on the market.
As to children though, they most often prefer Bulgarian authors.
Adolescents read mostly fantasy and historical novels.
Among children's writers, one of the most popular is Yulka.
(Nothing by either Tsanev (Стефан Цанев) or Yulka (Юлка; actually Julia Spiridonova) seems to be available in English, but see, for example, some (Bulgarian) samples by Yulka at LiterNet.)
"Writing is kind of considered to be somewhat secondary to art at this point, maybe largely because things have become so visual with new media," she said, adding that the visual arts were also far easier to sponsor:
"It's sexier." Yamada said that when offers of funding did come in, they were often tied in ways that were unacceptable.
"Cambodia has been heavily influenced by Sanskrit," she said.
"And unlike Thai, they haven't separated their words.
When we started out, a whole page would have no paragraph breaks, no stops, no phrases."
Today, Yamada said, that's changing -- work is presented in a more legible form, and language is less repetitious.
Ah, well .....
But, yes, one hopes that they get over this 'development literature'-phase soon .....
Rather shamefacedly I note the awarding of the Premio Strega ... a full two weeks after they announced the winner.
(It's summer, news travels slowly ? But seriously, where's the English-language coverage of this, the best-known of the Italian literary prizes.)
No doubt you would have heard if finalist Elena Ferrante had won with The Story of the Lost Child -- forthcoming from Europa editions; see their publicity page, or pre-order your copy at Amazon.com or Amazon.co.uk -- but in the second and final round of voting it came a rather distant third, with 59 of the 368 votes cast.
The winner was: La ferocia by Nicola Lagioia; see the Einaudi publicity page.
(His Bringing It All Back Home is apparently available in English -- electronically; get you Kindle copy at Amazon.com or Amazon.co.uk.)
They also award a Premio Strega Europeo -- a best foreign book prize -- and German-Ukrainian author Katja Petrowskaja's Maybe Esther (the 2013 Ingeborg-Bachmann-Prize-winning title, forthcoming from Fourth Estate in English; see the Suhrkamp foreign rights page) beat out hot favorite Rafael Chirbes (and Alain Mabanckou, among others).
The most recent addition to the complete review is my review of Mushtaq Ahmed Yousufi's 1990 novel Mirages of the Mind; Random House India brought this translation out last year, and now New Directions has brought it stateside.
Good (though unusual -- really, it's not what you're used to reading) fun -- and lots of great observations and sentences.
I think my favorite is still the pithy:
There is no real harm in swimming against a river's current. I mean, none for the river.
In The Telegraph Jake Kerridge profiles Maj Sjöwall, in The couple who invented Nordic Noir (the other half being long-dead Per Wahlöö, with whom she co-authored the classic Martin Beck-series (Roseanna, The Man who went up in Smoke, etc.)).
Nice to see her/them get the attention -- though surely they always get their due, as no one can doubt they weren't: "the begetters of what we now know as Nordic Noir"
So they just handed out a bunch of literary prizes at the Semana Negra 2015, and the Premio Dashiell Hammett went to Yo fui Johnny Thunders by Carlos Zanón; see, for example, Carlos Zanón gana el premio Dashiell Hammett 2015 in El País.
I have to admit that I thought it was kind of sad that a prize for the best Spanish-language crime novel (well, 'novela negra') was named after a non-Spanish-writing author.
It has an impressive track-record, with winning titles by Paco Ignacio Taibo II (again and again), Leonardo Padura, Jorge Franco, Ricardo Piglia -- even Sergio Ramírez's Divine Punishment (just recently out in English translation) -- but still .....
Looking at what the body behind the prize is -- the Asociación Internacional de Escritores Policiacos/International Association of Crime Writers -- both clears up and muddies the question further: founded in 1986 in Havana, the founding authors consisting of: "Paco Ignacio Taibo II of Mexico, Julian Semionov of the then U.S.S.R., Jiri Prochazka (Czechoslovakia), Rafael Ramírez Heredia (Mexico), Daniel Chavarría (Uruguay), Alberto Molina and Rodolfo Perez (Cuba)", this looks very much to have been set up as a counter-weight to 'Western' mystery-writers organizations -- and so you can see why they'd go with Hammett (if they had to go with an English-writing author).
Yet its (few) international branches look pretty local-mainstream, and among them is the North American one -- which hands out its own Hammett Prize (also with a reasonably solid list of winners (though Alice Hoffman beating out Walter Mosley and Donald E. Westlake in 1992 is ... striking)).
(The German branch -- Das Syndikat -- sensibly went local-language: theirs is the Friedrich Glauser Preis.)
A bit confusing and murky ... but maybe appropriate for a noirish organization/prizes.
So there's something called The Novella Award -- "a writing competition that celebrates new fiction in the novella form" -- and they've now announced their shortlist, with the winner to be announced 7 October.
As the report by Katy Guest in the Independent on Sunday observes, it does at least answer that burning literary question of what the hell is a novella (or at least how long should it be) -- which they then manage to get wrong in the headline (Novella Award organisers have defined a novel as being a piece of fiction between 20,000 and 40,000 words).
Yes, apparently it's 'the Richard Ford solution'/definition:
"When a writer approaches the 20,000-word mark," Ford wrote in The Granta Book of the American Long Story, "he knows he's edging out of the country of the short story; likewise when he passes the 40,000-word mark, he's edging into the country of the novel."