The International Booker Prize Shortlist

Hello Gentle Reader
 
The International Booker Prize has announced this year’s shortlist. The six writers who have made it to this year’s shortlist are as follows: [in no particular order]
 
Maria Stepanova – Russia – “In Memory of Memory,”
David Diop – France – “At Night All Blood is Black,”
Mariana Enríquez – Argentina – “The Dangers of Smoking in Bed,”
Benjamín Labatut – Chile – “When We Cease to Understand the World,”
Olga Ravn – Denmark – “The Employees,”
Éric Vuillard – France – “The War of the Poor,”
 
The shortlist is one of both surprises, disappointments, and delights. It is not necessarily surprising to see Can Xue’s absence on the shortlist. She is extraordinarily experimental which often leads her making it to the longlist, but unfortunately for Can Xue this does not equate the shortlist. In this, Can Xue is once again the bridesmaid (if she is still part of the wedding party!) and has no chance of being courted as the bride. The omission of Can Xue is not entirely shocking, though it is disappointing. There truly is no writer working in the same capacity as Can Xue; so bold, daring, and extravagantly unconventional. One cannot help but admire Can Xue, but also see how alienating her work maybe for a literary prize.
 
More disappointing then Can Xue’s predictable (if albeit disappointing) omission is that Adania Shibli was also omitted from the shortlist with her novel:” Minor Detail.” It is not difficult to see why though. One-word Gentle Reader: Politics. “Minor Detail,” is by all accounts an extraordinarily political novel. Politics are a dirty business, and at times literature provides sobering perspective; however contrary and uncomfortable they may be. “Minor Detail,” is a novel that recounts the brutality that was exercised against the Palestinians in the 20^th Century, by recounting the rape and murder of a Palestinian woman after the War of 1948, by Israeli soldiers. “Minor Detail,” is a sharply observed novel that unflinchingly examines the horrors of history, its censor and denial, to provide a social critique of an otherwise complicated geopolitical situation. The author herself, is noted for having a highly understated and lyrical style. Her short, beautiful novel: “Touch,” is a remarkable testament to this, as it too recounted a massacre’s lingering repercussions from the perspective of a little girl, who is more absorbed in her own world, then the one around her. Regardless of the novel’s merits, the discomfort of politics inevitably weights heavily on “Minor Detail,” and Adania Shibli. It would have been a daring choice, but worthy on merit.
 
Perhaps one of the biggest omissions from this year’s shortlist is Ngũgĩ wa Thiong'o and his epic novel in verse: “The perfect nine: the epic of Gĩkũyũ and Mũmbi.” As a first for the International Booker Prize, Ngũgĩ wa Thiong'o is both the original author of the novel and the translator. His inclusion on the longlist was marked with jovial praise by readers and critics alike. After all Ngũgĩ wa Thiong'o is one of the most celebrated writers heralding from the African continent, and is considered a giant on the international literary, rumored as a perennial candidate for the Nobel Prize for Literature. With an impressive literary resume behind him, coupled with critical acclaim and praise, the absence of Ngũgĩ wa Thiong'o is paradoxically surprising and predictable. Being considered one of the most cultural important and vital voices of contemporary and postcolonial African literature, there are expectations that Ngũgĩ wa Thiong'o will be nominated and considered for a literary prize. On the contrary, however, to award the author because of their impressive reputation, critical acknowledgements, and literary achievements, will lead to the award being considered predictable and stagnant in its perspective. This is inevitably the situation that Ngũgĩ wa Thiong'o faces when he is nominated and listed for a literary award. This years judges decided not to saunter down the road of predictability, and have omitted Ngũgĩ wa Thiong'o from being inducted into this years shortlist.  
 
It is no surprise, however, to see Maria Stepanova on the shortlist with: “In Memory of Memory,” a unique blend of genealogy, memoir, and personal historical fiction. In Russia, Maria Stepanova has been praised as one of the most important younger writers working in the Russian language to date. The judges for this year’s International Booker Prize stated that they were drawn to writers who blurred the lines between fiction and nonfiction, meaning Maria Stepanova certainly took the cake on that account. Her novel “In Memory of Memory,” recounts her family’s history through the 20^th Century, through photographs, diary entries, letters, and imagination. To deny Maria Stepanova a place on the shortlist would have been a mistake, one which the judges for this year’s prize would never hear the end of. Though as precedence through the years recounts, mistakes can be made, as in the case when neither: Annie Ernaux or Yōko Ogawa won the prize in which they were shortlisted for (2019 and 2020 respectively).
 
In continuing with the theme of writers shortlisted who blend both essay and fiction with their shortlisted work, one does not need to look any farther than Éric Vuillard and his novella: “The War of the Poor,” and Benjamín Labatut “When We Cease to Understand the World.” “The War of the Poor,” is a short novel that traces the historical account of the religious reformer and preacher, Thomas Muntzer, through the course of the Protestant Reclamation. “The War of the Poor,” recalls very contemporary topics of money, influence, power, and hypocrisy, and reflects them through the 16^th century lens of Thomas Muntzer who revolted against class division. This parallels the continued and current class conflict that persists, leaving one to wonder if it has never ended, and only became more sophisticated; or perhaps more frighteningly so: more pacified. Benjamín Labatut on the flipside questions the path that was blazed to get us to our current societal position, in which case the author questions the scientific breakthroughs, and their ethical, moral, and philosophical dilemmas, as well as questionable acts. “When We Cease to Understand the World,” examines the lives and works of scientists throughout the 20^th Century, and the achievements they have left on the world, and still influence it.
 
Both Mariana Enríquez and Olga Ravn explore tropes, themes, and settings usually populating genre fiction. Yet in turn, they exhume and expand on these tropes with a literary flare that explores the human condition. With “The Dangers of Smoking in Bed,” Mariana Enríquez employees both horror and gothic imagery to explore an otherwise complicated and violent history of Argentina; from homeless ghosts and witches, to abandoned children. In doing so Mariana Enríquez explores the trauma and tragedy of Argentinian history, and its lingering violent effects that ripple in to the present. Olga Ravn’s novel “The Employees,” is a novel set-in space that is framed by the witness statements of employees on a spaceship. The novel questions the notion of humanity, as well as the concept of identity in relation to programmed function and the sense of purpose, as it equates to meaning. The science fiction setting provides Ravn the basis to explore these themes and preoccupations within an environment free from the comparison to current sociopolitical influences, as well as breathing fresh perspective into themes that have otherwise already been established within the literary canon.
 
This leaves David Diop and his novel: “At Night All Blood is Black,” which is perhaps by all accounts the most ‘conventional,’ novel listed on this year’s shortlist. “At Night All Blood is Black,” is about two Senegalese soldiers who fight for France on the Western Front during the First World War. The novel explores themes of conflict, survival, friendship, and guilt; while bringing to light the overlooked elements of history, recalling the diverse impact and narrative history has, but is often denied showcasing because of the authors of the official version.
 
The International Booker Shortlist certainly has its hits and a few misses. The most promising and paramount author to watch on this year’s shortlist is of course: Maria Stepanova. There can be no denying that Maria Stepanova is perhaps the favoured writer to win this year’s International Booker Prize. An established sharp and brilliant writer in Russia, Maria Stepanova’s emergence in the English language is herald with a double debut with a book of prose and a collection of poetry. Despite being the favourite to win this years International Booker Prize, precedence states this may hinder the works chances of success; as in the case of Anne Ernaux in 2019 and Yōko Ogawa in 2020.
 
Congratulations to the writers who have been shortlisted for this year’s International Booker Prize.
 
Thank-you For Reading Gentle Reader
Take Care
And As Always
Stay Well Read
 
M. Mary

The International Booker Prize Longlist 2021

Hello Gentle Reader,
 
The International Booker Prize has released their longlist for 2021. Last years winner was the otherwise underwhelming champion, Marieke Lucas Rijneveld with their novel, “The Discomfort of Evening.” Its difficult to not view the winning novel within the perplexing and otherwise demanding social situation facing the world, one which promotes and tolerates cancel culture; refuses the notion that the imagination is a free spirited concept, one that is not obliged by legislation or laws to fit with social agendas; and a place where social structures and norms are in a state of fluctuation, and any denial of appeasement results in cyber lynching’s, demands for cancellation and ostracization. Not to say that Marieke Lucas Rijneveld fits within this classification or is the sole pinnacle for this preposterous petulant behaviour; but it can be conceded on the superficial level that her personal characteristics played a component to her winning the prize (then again that is speculation). I do not doubt that Marieke Lucas Rijneveld is a rising star in the Dutch literary scene, who just happened to make a spectacular debut within English with their debut novel; I do question its maturity in thematic nuances when compared to Yōko Ogawa and her novel: “The Memory Police,” which I suspect was denied the prize because of its misinterpretation of being ‘topical,’ in the years of the COVID-19 Pandemic, which saw entire normal aspects of life disappeared. This truly misses the point of the novel that provides a poignant dissertation on memory, absence, loss and the philosophical emptiness that resides within these ellipses ridden spaces. Then of course there was Daniel Kehlmann with his historical epic novel, “Tyll.” Yet, in the end, there’s always a new year and a new prize.
 
This years International Booker Prize Longlist is as follows: [in no particular order]
 
Adania Shibli – Palestine – “Minor Detail,”
Benjamín Labatut – Chile – “When We Cease to Understand the World,”
Judith Schalansky – Germany – “An Inventory of Losses,”
Ngũgĩ wa Thiong’o – Kenya – “The Perfect Nine: The Epic of Gikuyu and Mumbi,”
Maria Stepanova – Russia – “In Memory of Memory,”
David Diop – France – “At Night All Blood is Black,”
Can Xue – China – “I Live in the Slums,”
Andrzej Tichý – Czech/Polish (Swedish Language) – “Wretchedness,”
Olga Ravn – Denmark – “The Employees,”
Jaap Robben – The Netherlands – “Summer Brother,”
Mariana Enríquez – Argentina – “The Dangers of Smoking in Bed,”
Éric Vuillard – France – “The War of the Poor,”
Nana Ekvtimishvili – Georgia – “The Pear Field,”
 
Europe dominates this year’s longlist, with a couple writers from Latin America; one from the Middle East; and one from Asia. With the exception of Can Xue, this is the first time any of the other twelve writers have been included on the International Booker Prize Longlist. The books longlisted change in form, theme, preoccupation and delivery. From short story collection, to epic novel in verse, to testimonials on absence, to postmodern memoirs, and epistolary novel from the near-future space again, there is no lacking in unique perception that only cements the notion that translated literature is by all accounts, some of the greatest works of literary value being produced in the world today.  
 
Can Xue was previously longlisted with her novel: “Love in the New Millennium,” in 2019. This time around, the Chinese Kafka is nominated with her short story collection: “I Live in the Slums.” “I Live in the Slums,” is the first short story collection that Can Xue has published in a decade. It is riddled with the authors well regarded and renowned complicated, uncompromising, and dream like stores. In her usual fashion, Can Xue eschews the conventional notions of narrative such as characterization and plot. In lie she weaves a world of sublime poeticism that distorts the reasonable confines of reality in favour of intense psychological and emotional landscapes, riddled with the poignant lyricism, spiritual and philosophical exploring the vestibule that exists between oblivion and consciousness.  The short stories of “I Live in the Slums,” once again showcase Can Xue’s cracking form as one of the most daring, innovative, and original writers of todays world, who has neither competitor, rival, contender. This daring, explorative and willful experimentation in literary form is to be applauded, though it appears to make conventional critics of literature (especially in China) more concerned if vehemently vitriolic in their vindication. Thankfully through continued translation, Can Xue is able to transcend the pettiness of otherwise parochial provincial concerns and criticisms. Regardless, this blatant disregard and rebellion has made literary awards fretful and hesitant in awarding the author any award, as if pinning any such medal or award to her name would be seen as defilation as it is endorsement.
 
Its hard to forget Adania Shibli. Her debut novel “Touch,” at a mere 70 some pages, was so slight, but beautiful in the poignant poetic vignettes that make up the novel, which circle political tragedy from the vantage point of the innocent and naïve child, who fails to comprehend the catastrophe that has invaded her home and disrupted the normal routines of life. Now, Adania Shibli returns with her novel: “Minor Detail,” which is herald once again as a powerful historical novel that recounts the tragedy that has be fallen Israel. The novel utilizes detail to provide a human example of the struggles that the Palestinian people have endured since 1949. Through massacre, displacement, rape and murder, Adania Shibli writes about how history—however intangible—touches and influences the present; haunts the contemporary; and shadows those who live in the present day. These very minor details; these all but forgotten consequences become the catalyst of our becoming time and time again. Despite being or even considered an overtly political writer, Adania Shibli is a masterful writer. The politics of the situation, be it they are historical or otherwise, will inevitably be a sensitive topic that the judges will want to delicately approach and consider in evaluating the novel. Still, “Minor Detail,” proves itself to be one of the most potent novels on the list.
 
It is the first time that Ngũgĩ wa Thiong’o has been nominated for the International Booker Prize, and in a continued first, he is both writer and translator for his novel: “The Perfect Nine: The Epic of Gikuyu and Mumbi,” which in a continued series of firsts, is the first novel to be nominated for the International Booker Prize that is written in verse. “The Perfect Nine: The Epic of Gikuyu and Mumbi,” is an epic novel; which comes as no surprise, as it’s written by Ngũgĩ wa Thiong’o, whose literary career has been devoted the epicist experience that traces the absurdities, injustices, and tragedies of the African continent. His novels are always large in scope, and blend magical realism to depict the continent influx between tradition, tribalism, colonialism and postcolonialism. Throughout the past decades, Ngũgĩ wa Thiong’o has received praise from all literary reviewing publication; from former President Barack Obama; and has been a perennial contender for the Nobel Prize for Literature. “The Perfect Nine: The Epic of Gikuyu and Mumbi,” takes the epicist form utilized in ancient Greek texts such as “The Odyssey,” and the “The Iliad,” and creates one fitting within the anthropological context of the African experience. The Perfect Nine: The Epic of Gikuyu and Mumbi,” traces the inception of the Gĩkũyũ people of Africa, from a unique feminist perspective. Through a blend of folklore, mythology, poetry, adventure and allegory, Ngũgĩ wa Thiong’o crafts the foundry of the Gĩkũyũ language and people, in a contemporary manner.
 
The blend of memoir and fiction has precedence in being included on the International Booker Prize. In 2019, Annie Ernaux was shortlisted with her magnum opus: “The Years.” A fluid memoir turned autofiction, which traced the sociological landscape of Post-War France from the vantage point of Annie Ernaux (who remains nameless, even anonymous throughout the book), as French society, culture, values and ideals begin to shift, change, and evolve through the concluding early 20^th Century and Second World War, into the later 20^th Century and early 21^st Century. Annie Ernaux at the time was considered the strongest candidate on the shortlist, and was favored to win, the prize it ended up going to, Jokha Alharthi and her novel: “Celestial Bodies.” Now once again, Fitzcarraldo Editions finds itself longlisted for the International Booker Prize with their memoir like novel, “In Memory of Memory,” by the rising literary star of Russian Letters, Maria Stepanova. Unlike Annie Ernaux’s memoir and social studies review, criticism, and sociological overview turned historical cartography of French societies attitudes, soul and perspective from the observations of the singular as a reflection of the plural; “In Memory of Memory,” is a postmodern memoir of the personal that becomes universal, in the same fashion of W.G Sebald, there is nothing but an abundance of curiosity about ones family, which provides reflection and understanding of the changing Russian society over the past century. Truly one of the most discussed books included on the longlist, and by far one of the more unique inductions, which should surlily sate any curious reader, who is hankering for something that is both personal, poetic, and highly original in its own right.
 
Continuing on the thread of unique, original and by all accounts gender defying, one cannot ignore Judith Schalansky and her book: “An Inventory of Losses.” Judith Schalansky is not a ‘typical writer,’ in the sense that her work encompasses novel or non-fiction or poetry, but rather a more unique and niche space of being beautiful. For Judith Schalansky, books are not just a accumulation of words and sentences that create a narrative or loosely seek to provide a depiction of a moment that ruminates on philosophical components of existence within the few lines and stanza’s a poem can afford to allocate. Rather, books for Schalansky, are pieces of art work that define and redefine the conventional notions of novel and book. “An Inventory of Losses,” is of no exception. A novel recounting the twelve absent details that once existed in the world, but have since fallen into ruin or disappeared. The twelve chapters within the novel beckon forth from oblivion, these loss treasures which elapsed into non-existence without witness. Testimonials of their existence, their memories, their purpose now fading into the immaterial. Through twelve vignettes and a different style for each, Schalansky recounts and immortalizes them on the page, documenting, recording and archiving their existence and history, providing testament to their tangibility in their absence. “An Inventory of Losses,” is truly a beautiful book, and a worthy inception of the prize.
 
This years International Booker Prize has once again accumulated a unique blend of writers, from varying backgrounds; a plethora of perspectives; an enchanting exploration of different themes; discussions and dissertations on the human experience. This year’s International Booker Prize has some stalwart and strong contenders for the shortlist, it’ll certainly be a prize to watch. I expect we will see for sure: Judith Schalansky and Maria Stepanova on the shortlist. I personally hope to see Adania Shibli included on the shortlist as well; though I wonder about Can Xue, she’s experimental, unconventional and not known for compromising, which may deter the judges this year. By convention and the fact that he’s often considered a potential Nobel Laureate in contention for the award, Ngũgĩ wa Thiong’o is almost expected to be included on this year’s shortlist. As for the others, time will tell, though Nana Ekvtimishvili and her novel “The Pear Field,” does look increasingly interesting and compelling.
For now, though Gentle Reader, we are expected to wait. Congratulations on all the authors for making it to the longlist.
 
Thank-you For Reading Gentle Reader
Take Care
And As Always

Stay Well Read

M. Mary