Getting a jump on the Man Booker -- which announces its winner today -- the Premio Planeta, the world's richest book- (as opposed to author- (like the Nobel)) prize, worth a cool €601,000, has announced its 2017 winner -- and despite there even being a piece on the world's richest book prizes out yesterday (Alessandro Speciale writing at Bloomberg on How to Make a Buck Writing Novels (Tip: Use Spanish)) there appears to be, as I write this, not a single English-language mention of who won .....
As widely reported -- in other languages -- the winning entry (out of 634 !) was Javier Sierra's manuscript of a Holy Grail-novel, El fuego invisible; see, for example, the El Mundoreport.
No, none of his work is under review at the complete review -- but even I couldn't get around giving him a one-sentence, two-title mention in my The Complete Review Guide to Contemporary World Fiction (yes, I am that conscientiously thorough).
What can I say ?
Let's just say ... El Confidencial sums it up in there (off-by-a-1000-euros) headline, Javier Sierra, el Dan Brown español, se lleva los 600.000 euros del premio Planeta
He is very popular, and quite a few of his works have been translated into English.
But I really can't recommend any of them.
And I'm not holding out high hopes for this one, when it gets translated.
Margaret Atwood picked up the Friedenspreis des Deutschen Buchhandels (Peace Prize of the German Book Trade) yesterday, and her acceptance speech, Stories in the World, is now available online; you can also watch the entire prize ceremony here (English-speakers should feel free to jump ahead to the ca. 46 minute mark for the prize hand-over and then her speech -- though, while after an impressive German opening she switches to English, there's a German simultaneous translation rendering it almost English-incomprehensible).
The most recent addition to the complete review is my review of Ross Macdonald's 1966 novel, Black Money, now also collected in the most recent Library of America Macdonald collection, Four Later Novels.
Some really great writing here; interesting to see that, while of course always popular in the US/UK, many of the foreign editions are long out of print -- only the Germans (thanks to Diogenes) really seem on top of things -- with this one out just last year in a new translation).
Getting the voice right might be part of it -- though he doesn't seem to be that hard to translate, once you get the hang of it.
"If you want me to be to totally frank, I will say that, yes, we have many publishers in the Arab world but for many, their motivations are wrong.
They don't operate with the ideals that powers the most esteemed international publishing houses in Europe or the United States.
"The goals are mostly financial and profit-driven.
The idea of pushing the culture forward is not really there and that is a sad thing."
It is a sad thing -- but I'm afraid most European and US houses also have goals that are: "mostly financial and profit-driven".
And while I'm all for any encouragement to get to the works of Peter Weiss ...:
Other German works that are important to translate are the 18th-century poetry of Friedrich Schiller or the more modern 20th-century poetry of Peter Weiss.
(I guess you could say all his work is 'poetic' -- but he didn't publish any poetry .....)
France is this year's 'guest of honour' at the Frankfurt Book Fair (see their Frankfurt in French-site), but next year it's Georgia's turn -- and there web-presence is now up: Georgia Made by Characters.
I'm hoping for a flood (well, trickle, in(to) English ...) of translations, but I note that the Three Percent translation databases list no US translations from the Georgian for 2018 yet.
And none for 2017.
And none for 2016.
There are a few Georgian title under review at the complete review, but I really would like to be able to add more .....
They read 222 page 111s, came up with an eleven-title (page ?) longlist, read and discussed the finalists in a 111-minute podcast, and have now announced that Roi. by Mika Biermann takes the prize.
(They don't seem to have an official page, just one on the Facebook, so forget that, but see, for example, the Livres Hebdo report.)
As is often the case with French literary prizes, it's more about the honor than the cash: the payout is a mere 111 centimes (in 1-centime coins).
See also the Anacharsis publicity page for Roi., or get your copy at Amazon.fr.
I have to admit that I disagree with his spin; indeed, I was more heartened by the European examples he cites:
It's also heartening that there is such a burgeoning interest in creative writing education here, for in this respect, Singaporeans might be pleasantly surprised to hear they're ahead of many developed Western countries.
Continental Europe remains so disinterested in creative writing that, according to Lasalle MA student and debut novelist Olivier Castaignede, his native France counts just one such master's programme.
A Spanish professor was quoted as saying that he's first trying to launch a creative writing master's programme in English (at a Spanish university) in hopes of then branching out into Spanish.
(I (grudgingly) accept that there's something to be said for (some) creative writing MFA programmes -- yes, maybe even/particularly in the case of a place/literature such as (contained, but multi-lingual) Singapore's -- but on the whole think writing is better placed (as well as both learnt and practiced) outside the academy.)
In the Tehran Times Seyyed Mostafa Mousavi Sabet reported that local authors were on board with the Swedish Academy's choice this year, in Iranian writers welcome Nobel prize for Kazuo Ishiguro -- which includes one of my favorite reactions (though this is presumably due in no small part to how it was translated), by Ahmad Puri:
"Ishiguro is his due to receive the prize," he said and added, "Bon appetite !"
A reader also points me to the more detailed Iranwire story by Arash Azizi, Reading Ishiguro in Tehran.
Among the observations of interest:
[Ishiguro] is also very well known in Iran, where he can perhaps be counted as one of the most-read novelists in the country.
Every single novel by Ishiguro has been translated into Persian, often more than once, and not just by anybody, but by the giants of Persian literature and translation.
Maybe the Germans, he said, should specialize in sophisticated pornography as a chance to keep the literature industry up and running.
And good to see him note:
Houellebecq argued that literary translators in Europe need to be paid more.
European translation, he pointed out, is the only way to make sure that European nations read more than just their own books and translations from English.
They've announced the shortlist for the Warwick Prize for Women in Translation, selected from 58 eligible entries (admirably revealed !).
A UK prize, not all these are US-available -- indeed, I've only seen one, Susan Bernofsky's translation of Memoirs of a Polar Bear by Tawada Yoko.
The winner will be announced 15 November.
The prix Goncourt has announced its deuxième sélection -- not yet the final shortlist, as a troisième will follow (on 30 October) before the winner is announced (on 6 November) -- yes, after their starting longlist, the Goncourt has a short and then a shorter list .....
As widely noted, they've announced the 2017 MacArthur Fellows -- the US$625,000 "no-strings-attached award".
As usual, there are a few writers in the crowd -- Viet Thanh Nguyen and Jesmyn Ward, as well as playwright Annie Baker.
With France this year's 'guest of honour' at the (ongoing) Frankfurt Book Fair there's even more attention than usual to what's going on there (at least in Germany ...), and at Deutsche Welle Jochen Kürten suggests 8 French heavyweight authors to check out at the Frankfurt Book Fair -- which includes a Q & A with prominent literary critic Iris Radisch, who just published a book called: Warum die Franzosen so gute Bücher schreiben ('Why the French write such good books') -- see also the Rowohlt foreign rights page.
Among Radisch's explanations:
It is connected with libertinage, with the experimental love lives of the French
The most recent additions to the complete review are my reviews of two Tony Duvert titles -- both originally published in French in 1978, and just out in English in beautiful little pocket-sized editions from Wakefield Press:
These are very short books -- fifty pages and less -- but both enjoyable (with Odd Jobs the more obviously entertaining).
Duvert seems to be having a moment: Semiotext(e) have brought out several of his other books -- most recently Atlantic Island; get your copy at Amazon.com or Amazon.co.uk.
They've announced the winners of the Jomo Kenyatta Prize for Literature -- James Murua's weblog has a run-down of the various category winners (because there doesn't appear to be an official one yet ...) -- with Henry Ole Kulet's The Elephant Dance winning the English fiction category (see also, for example, Why Ole Kulet, a winner yet again, deserves more respect from critics by Goro wa Kamau in the Daily Nation), and Tom Olali's promising-sounding Mashetani wa Alepo winning the Kiswahili category.
The most recent addition to the complete review is my review of a another posthumous Donald E. Westlake novel from Hard Case Crime, Forever and a Death -- which apparently started out as a treatment for a possible James Bond movie.
(No Bond, or Bond-like character left over, however.)