#2021InternationalBooker: The War of the Poor by Éric Vuillard

This slim volume (under 100 pages) introduced me to an unfamiliar name from history: Thomas Müntzer, a preacher who became a leading figure in the German Peasants’ War of 1525. He opposed both the Roman Catholic Church and Martin Luther, and he went from questioning the prevailing theology to encouraging more general revolt against the ruling authorities. 

There’s a real sense in Vuillard’s prose of dynamic and open-ended societal change. For example, I loved this passage describing the effects of the printing press:

Fifty years earlier, a molten substance had flowed from Mainz over the rest of Europe, flowed between the hills of every town, between the letters of every name, in the gutters, between every twist and turn of thought; and every letter, every fragment of an idea, every punctuation mark had found itself cast in a bit of metal. 

Translation from french by mark polizzotti

Vuillard places Müntzer in a line of popular rebels and preachers, including Wat Tyler and Jan Hus. The restlessness of rebellion is reflected in the way Vuillard writes and structures his book (and, of course, Polizzotti’s translation). Ultimately, The War of the Poor may be a little too slight to really shine for me, but it certainly has powerful moments. 

Published by Picador.

Read my other posts on the 2021 International Booker Prize here.

#2021InternationalBooker: Summer Brother by Jaap Robben

I enjoyed Jaap Robben’s earlier novel, You Have Me to Love. Like that book, Summer Brother (translated from Dutch by David Doherty) is narrated by a boy who has to adapt to a new family situation. In this case it’s 13-year-old Brian Chevalier, who lives in a caravan with his divorced father Maurice. Life isn’t easy: Maurice will do what it takes to get by, which leads to frequent absences, a certain reputation, and pressure from the landlords to settle his debts.

Brian has a severely disabled brother, Lucien, who lives in an institution. At the start of the novel, Maurice is asked if he’ll take Lucien home for the summer while the institution is being renovated. He’s not keen at first, but soon changes his mind on learning that he’ll be paid for the trouble.

Brian then has to learn to live with and care for his brother, who’s unable to speak. There’s always a risk that a character like Lucien will exist for the edification of others, rather than being allowed their own dignity. I think Robben largely avoids this, though Summer Brother is definitely Brian’s story rather than Lucien’s.

Something I particularly like is the way that Brian can’t process or articulate the emotional changes he’s going through. We see him become more compassionate towards Lucien as he spends more time with him, and Brian even starts to have a crush on Selma, a girl living at the institution. But Brian doesn’t explain the changes it his feelings, if he even notices them all. In that way, Robben puts Brian in a position analogous to Lucien’s, of not being able to express his innermost thoughts. It’s quite touching to see Brian grow so close to Lucien.

Published by World Editions.

Read my other posts on the 2021 International Booker Prize here.

#2021InternationalBooker: the shadow panel’s view on the longlist

Last week saw the announcement of the 2021 International Booker Prize longlist, and after a particularly long wait this year, it was both a relief and a pleasure to finally see the list unveiled. It’s important to start off this response to that announcement, then, by acknowledging the hard work of this year’s judges. Thanks to them, we have a manageable overview of the best translated fiction published in the UK over the past year, and we look forward to getting to know more about these writers and books over the coming months.

If we examine the make-up of the list, we see that the geographical and gender split is fairly par for the course. Seven of the featured writers are women, while five of the longlisted authors hail from outside Europe. Many would prefer to see fewer European books chosen, but this ratio is unsurprising when you look at how many of the books published in the UK originally appeared in Europe.  It’s perhaps more suprising that only one title from Asia was selected, with nothing from Japan or the South Asia region, but there is a book from Africa on the longlist, which is a fairly rare occurrence for the prize.

In terms of the publishers, the longlist, as seems to be the case most years now, reflects the efforts of a host of wonderful small presses to broaden the UK’s literary horizons.  Fitzcarraldo Editions and Pushkin Press lead the way with two inclusions each, and stalwarts of translated fiction prize lists such as And Other Stories, Granta Books, MacLehose Press and Peirene Press also made the cut. It’s particularly pleasing to see newcomers Lolli Editions and World Editions rewarded for their efforts over the past year.

Of course, with a limited number of spots available, it’s inevitable that some publishers will miss out. The big surprise here is the absence of Charco Press, with several potential longlisters going unrewarded. Unfortunately, other independent presses, including Istros Books, Tilted Axis Press, Honford Star and Europa Editions, also failed to make the list. We remain hopeful that future years will see their turn in the spotlight arrive.

Looking at the books selected, one fairly striking feature emerges. The Booker Prizes pride themselves for championing the finest in fiction, yet this year’s panel seems almost to have gone out of its way to question what fiction is. As was the case in 2019, one of Fitzcarraldo Editions’ white-covered titles has made the cut, and several other inclusions appear to be pushing the boundaries of the Booker guidelines. We observe this move with interest, but also with caution, lest the prize begin to drift away from its core premise – fiction.

As a result, perhaps, of this focus, the make-up of the longlist is rather different to what many readers would have expected. When discussing possible longlisters before the announcement, books such as Andrés Neuman’s Fracture, Elena Ferrante’s The Lying Life of Adults, Jon Fosse’s I is Another and Luis Sagasti’s A Musical Offering were frequently mentioned, with Mieko Kawakami’s Breasts and Eggs thought most likely to appear on the list. While we did consider calling in one or more of these books, it was felt that given the judges’ deliberate shift away from the higher-profile works, we would respect their decision and focus instead on their selections. We trust this decision will be justified.

In any case, with the longlist now public, there’s a simple task ahead of us. It’s time to read the world, or at least that part of it the official judges have chosen to explore. We’ll be taking our time, though, so don’t expect the shadow judges to reveal their shortlist when the official panel does; it’s likely that we’ll give ourselves a few extra weeks to ensure we cover as much as possible. And, of course, there’s one more way in which our path may diverge from theirs. While we’re following in the official judges’ footsteps for the first stage of the journey, once we get to crafting a shortlist, we’ll be setting out on our own, regardless of what they may decide. Let’s see whether this year’s voyage of discovery will be smooth sailing or entail some rather bumpy roads. As always, the joy will lie in the journey, not the destination…

#2021InternationalBooker: the longlist

The International Booker Prize longlist for 2021 was announced on Tuesday, and here it is:

  • I Live in the Slums by Can Xue, translated from Chinese by Karen Gernant & Chen Zeping (Yale University Press).
  • At Night All Blood is Black by David Diop, translated from French by Anna Moschovakis (Pushkin Press).
  • The Pear Field by Nana Ekvtimishvili, translated from Georgian by Elizabeth Heighway (Peirene Press).
  • The Dangers of Smoking in Bed by Mariana Enríquez, translated from Spanish by Megan McDowell (Granta Books).
  • When We Cease to Understand the World by Benjamin Labatut, translated from Spanish by Adrian Nathan West (Pushkin Press).
  • The Perfect Nine: The Epic of Gikuyu and Mumbi by Ngugi wa Thiong’o, translated from Gikuyu by the author (Harvill Secker).
  • The Employees by Olga Ravn, translated from Danish by Martin Aitken (Lolli Editions).
  • Summer Brother by Jaap Robben, translated from Dutch by David Doherty (World Editions).
  • An Inventory of Losses by Judith Schalansky, translated from German by Jackie Smith (MacLehose Press).
  • Minor Detail by Adania Shibli, translated from Arabic by Elisabeth Jaquette (Fitzcarraldo Editions).
  • In Memory of Memory by Maria Stepanova, translated from Russian by Sasha Dugdale (Fitzcarraldo Editions).
  • Wretchedness by Andrzej Tichy, translated from Swedish by Nichola Smalley (And Other Stories).
  • The War of the Poor by Éric Vuillard, translated from French by Mark Polizzotti (Picador).

We’ll have an official response from the Shadow Panel in a few days. For now, I’ve linked above to the books I’ve already reviewed, and will add more as I read my way through the list. This is always something I look forward to, and I’m interested to see what I’ll find this year.

The Dancing Face by Mike Phillips

Bernardine Evaristo has curated a series called ‘Black Britain: Writing Back‘ with her publisher Hamish Hamilton, which aims to highlight works by Black British writers that have become overlooked. The Dancing Face is one of the six fiction titles launching the series (with six non-fiction books to follow later this year). It’s a thriller originally published in 1997.

Gus Dixon is a Black British university lecturer, and a member of the Committee for Reparations to Africa. He’s disillusioned with the Committee’s lack of action, and sets in motion the theft of a Beninese mask from an exhibition, all for the attention it will bring to the cause. 

But Gus is soon out of his depth, and finds himself entangled with others who have different ideas about the mask. One of the key players is Dr Okigbo, a Nigerian chief in exile who bankrolled the robbery, and wants the mask for personal leverage. In an attempt to keep it safe, Gus sends the mask to his younger brother Danny, a student – which ends up putting Danny in danger. 

Phillips explores issues of identity, and what the mask means to different people. Gus has considered his relationship to an African identity, and reached a conclusion. Danny is still thinking these issues through, and may have ideas of his own. The novel’s African characters offer further perspectives. Alongside this, The Dancing Face is a cracking thriller, with twists that I didn’t see coming and some fine action sequences. I would recommend it warmly.

International Booker Prize 2021: introducing the Shadow Panel

It’s that time of year again, when the International Booker Prize is almost with us (the longlist will be announced on Tuesday 30 March). Once again, I will be taking part in the Shadow Panel. We’ll be reading and reviewing the books, coming to our own conclusions about what’s good – and ultimately choosing our own shadow shortlist and winner.

This post is an introduction to the members of this year’s Shadow Panel. Without further ado, here they are:

***

Tony Malone (@tony_malone) is an occasional ESL teacher and full-time reader who has been publishing his half-baked thoughts on literature in translation at the Tony’s Reading List blog for just over twelve years now. One unexpected consequence of all this reading in translation has been the crafting of a few translations of his own, with English versions of works by classic German writers such as Eduard von Keyserling and Ricarda Huch appearing at his site. After a well-earned sabbatical year from all things shadowy, he’s returned with fresh energy in 2021, ready to discuss this year’s longlist and keep the ‘real’ judges honest.

Stu Allen (@stujallen), the everyman of translated fiction, has been blogging for twelve years and has reviewed over a thousand books from more than one hundred countries at his site, Winstonsdad’s Blog. He founded the original Shadow IFFP Jury back in 2012, as well as the Twitter hashtag #translationthurs. By day, he works for the NHS as a care support worker, helping people with learning disabilities on a ward in a learning disabilities hospitality centre in sunny Derbyshire. He’s married to Amanda, loves indie music, foreign films and real ale, and is pleased to be shadowing the prize for another year.

Meredith Smith (@bellezzamjs) has been writing about books at her site, Dolce Bellezza, since 2006. Now that she has retired from teaching, she has much more time to devote to her passion of reading translated literature. She has hosted the Japanese Literature Challenge for fourteen years and been a member of the Shadow Jury for seven. It is her great joy to read and discuss books from around the world with both the panel and fellow readers.

Oisin Harris (@literaryty), based in Canterbury in the UK, reviews books at the Literaryty blog. He earned an English degree from Sussex University and an MA in Publishing from Kingston University. He is a librarian at the University of Kent and a co-editor and contributor for The Publishing Post’s Books in Translation Team, as well as the creator of the Translator Spotlight series where prominent translators are interviewed to demystify the craft of translation. His work on Women in Translation was published in the 2020 research eBook of the Institute for Translation and Interpreting, entitled Translating Women: Activism in Action (edited by Olga Castro and Helen Vassallo).

Frances Evangelista (@nonsuchbook) works as an educator in Washington DC. She elected a career in teaching because she assumed it would provide her with lots of reading time. This was an incorrect assumption. However, she loves her work and still manages to read widely, remember the years she blogged about books fondly, chat up books on Twitter, and participate in lots of great shared reading experiences. This is her fourth year as a shadow panellist for the International Booker Prize.

Barbara Halla (@behalla63) is an Assistant Editor for Asymptote, where she has covered Albanian and French literature and the International Booker Prize. She works as a translator and independent researcher, focusing in particular on discovering and promoting the works of contemporary and classic Albanian women writers. She has lived in Cambridge (Massachusetts, USA), Paris, and Tirana.

Vivek Tejuja (@vivekisms) is a book blogger and reviewer from India, based in Mumbai. He loves to read books in Indian languages and translated editions of languages around the world (well, essentially world fiction, if that’s a thing). He is Culture Editor at Verve Magazine and blogs at The Hungry Reader. He is also the author of So Now You Know, a memoir of growing up gay in Mumbai in the 90s, published by Harper Collins India.

Areeb Ahmad (@Broke_Bookworm) recently finished an undergrad in English from the University of Delhi and is now pursuing a Master’s in the same subject from the University of Hyderabad. Although he is quite an eclectic bookworm, he swears by all things SFF. You can find him either desperately hunting for book deals to supplement his overflowing TBR pile or trying to figure out the best angle for his next #bookstagram picture while he scrambles to write a review. He impulsively decided to begin book blogging in 2019 and hasn’t looked back since.

And then there’s me…

David Hebblethwaite (@David_Heb) is a reader and reviewer originally from Yorkshire, UK. He started reading translated fiction seriously a few years ago, and now couldn’t imagine a bookish life without it. He writes about books at David’s Book World and on Instagram @davidsworldofbooks. This is his eighth year on the Shadow Jury, and it has become a highlight of his reading year. There are always interesting books to read, and illuminating discussions to be had.

***

So there we are. I’m not going to guess which books will be on the longlist, but whatever they are, I am sure it’s going to be another enjoyable year in the Shadow Panel. I hope you’ll join us for the journey.

Republic of Consciousness Prize 2021: A Ghost in the Throat by Doireann Ní Ghríofa

This is the first novel by poet Doireann Ní Ghríofa. It’s partly autobiographical, partly essayistic, often intensely felt. 

In 2012, our narrator is a young mother. Life is full of domestic routines, with repeated phrases in the prose to match. There’s a strong sense of how stifling this can be. When the narrator has to stay in hospital with her newly born child, it becomes downright terrifying – she doesn’t know how this will end, and we feel her fear from the inside. 

Ní Ghríofa’s protagonist is fascinated by the 18th century poem ‘Caoineadh Airt Uí Laoghaire’, composed by Eibhlín Dubh Ní Chonaill. The narrator resolves to uncover everything she can of Ní Chonaill’s life. (The original Gaelic poem and Ní Ghríofa’s translation ‘The Keen for Art Ó Laoghaire’ appear at the end of the volume.)

Something that really comes across to me in this book is how the act of researching and writing about Ní Chonaill is a means of self-expression and assertion for the narrator. There’s a similar effect in the prose, when passages about Ní Chonaill disrupt the everyday detail. At the same time, the sequences concerning the narrator’s motherhood and domestic life share something with the historical researches: they highlight women’s experiences that might otherwise be treated less seriously than they deserve, if not ignored. 

A Ghost in the Throat is a novel that takes us deeply into its narrator’s viewpoint, where we can experience for ourselves how much Ní Chonaill’s poem means to her.

Published by Tramp Press.

Read my other posts on the 2021 Republic of Consciousness Prize here.

Republic of Consciousness Prize 2021: Unknown Language by Hildegard of Bingen and Huw Lemmey

One thing I value the Republic of Consciousness Prize for is that it highlights books I would never have come across otherwise. This is such a book, and I’m so glad to have read it.

Unknown Language is a reimagining of the writings of Hildegard of Bingen, a 12th century German mystic. It’s mostly written by Huw Lemmey, but there’s also an introductory story by Bhanu Kapil and a closing essay by Alice Sprawls, which add their own dimensions to the book. 

Lemmey’s Hildegard lives in a version of reality which has elements of 21st century life, yet which nevertheless seems timeless. It feels like a place where profound transformations could happen at any moment. 

Divine judgement is visited upon Hildegard’s city, which forces her into exile. There’s danger beyond the city walls, but also the chance for Hildegard to begin anew. She’s looking for the unknown language to describe the all-encompassing visions she experiences, and the unknown language to articulate her own personal form of grace. 

Lemmey’s prose is always compelling and vivid, but I find it rises in intensity along with Hildegard’s experiences – such as when she meets and falls in love with a young woman. At those times, you really get a sense of the personal transcendence Hildegard is feeling. Unknown Language is a powerful book to experience. 

Published by Ignota Books.

Read my other posts on the 2021 Republic of Consciousness Prize here.

Republic of Consciousness Prize 2021: LOTE by Shola von Reinhold

Mathilda – Black, queer, working-class – is someone who knows how it feels to be an outsider. She has a periodic need to Escape her life: to reinvent herself, even taking on a new name. She has Transfixions, historical figures with whom she feels a deep spiritual connection. She’s also particularly interested in the Bright Young Things of 1920s London. 

A chance find in Mathilda’s volunteer role at the National Portrait Gallery leads her to a new Transfixion: Hermia Druitt, a Black modernist poet. Mathilda finds her way on to a residency in the European town of Sun, where Hermia eventually lived. There, Mathilda meets a kindred spirit named Erskine-Lily, and seeks to uncover what happened to Hermia and the cult that she founded. 

LOTE is a fun to read, with its central mystery to be solved, and the way Mathilda shows up the absurdities of the residency. It’s not clear at first whether the foundation behind the residency is for artists or business people. Their outlook is very different from Mathilda’s, but she finds that she can bluff her way through. 

Hermia Druitt is fictitious, but stands in for analogous marginalised or ‘forgotten’ figures from history. Shola von Reinhold expands on Mathilda’s story by including passages from an (also fictitious) academic text called Black Modernisms, and from what seems to be a direct account of the poet’s life. 

By looking into the story of Hermia Druitt, Mathilda is also able to remake herself. LOTE takes apart received views of art and history (and art history) to create its own space for other voices to be heard.

Published by Jacaranda Books.

Read my other posts on the 2021 Republic of Consciousness Prize here.

The Art of Losing by Alice Zeniter

It’s nine years since I last read Alice Zeniter: Take This Man was a compelling tale of a young Frenchwoman preparing to marry a friend in order to stop him being deported. The Art of Losing (translated from the French by Frank Wynne) is a longer novel on a bigger canvas: a saga tracing a line between the Algerian War of Independence and contemporary France, and inspired by the author’s own family history. 

Zeniter’s novel follows three generations, each with a different relationship to Algeria. In the 1950s, Ali is a landowner who fought on the side of France in World War Two. But when the National Liberation Front comes to his village, he is forced into a position of complicity, which leads him to a resettlement camp in France. 

Ali remains tied to Algeria, but his son Hamid turns his back on the country, determined to forge a life for himself in France. In turn, Hamid’s daughter Naïma has no knowledge of Algeria, nor the language to communicate with her grandparents. She has to make a journey of her own to uncover the past and make sense of her history. 

The Art of Losing highlights the personal histories that may fall through the gaps in official (colonial) accounts. It asks how people may carry on in the face of profound loss, and how they might regain what has been lost. 

Published by Picador.

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