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 20th Century and Second
World War, into the later 20th Century and early 21st
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
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,”
For now, though Gentle Reader, we are expected to wait. Congratulations on all the authors for making it to the longlist.
Take Care
And As Always
Stay Well Read
M. Mary
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