Very kind review of my book
Today, in an unusually brief voting round, the winners of the four prizes plus the audience award were announced. If you feel you need to catch up with what’s happened in the past 3 days: I did a bit of daydrinking, I have a horrible sunburn from today’s Pride, my cat doesn’t like her new food, and, oh, yeah, three days of the Tage der deutschsprachigen Literatur (TDDL). Here is my summary of Day One. Here is my summary of Day Two. Here is my summary of Day Three and if you’re completely lost as to what the hell is going on, here is my general post about the event. If you want, you can read all the texts here, though you should hurry, they won’t be online forever.
That said: only TWO of these texts are worth keeping around (though some of the lesser texts will become parts of novels and collections): the stories by John Wray and Jackie Thomae. They are not equally good, but both are complex and interesting on the page and are worth rereading. John Wray’s story in particular is excellent. It is by far the best piece of prose in this year’s competition. But, as I said in my commentary on Day One:
Based on the text alone, he should win the whole competition, easily, but with the insurrection of the small minds and literature gatekeepers, one never knows.
And indeed, they picked Ferdinand Schmalz to win the big prize. Schmalz is part of the German literature business, he gives off, as we say in German, the right smell (der richtige Stallgeruch). He is a playwright, he knows all of these critics, if not directly then by a degree of separation no higher than two. And his native language is German. Klaus Kastberger’s huffing and puffing about not getting enough respect from these foreigners on day one truly showed the way. Wray won second place almost unanimously, which almost read like an admittance of guilt by the jury, who was really pulling for an insider but couldn’t credibly have placed Wray worse than second.
Which also explains why Eckhart Nickel won third place. His text is not, by any honest measure, the third best text. At least Schmalz’s text-cum-performance was really something, almost flawless for what it was. Nickel’s story was well made, but uninteresting au fond. Nickels biggest advantage was the fact that he is German literature royalty, a founding member of the Popliteratur scene, some of whose members went on to become influential titans of German literature. He definitely has the right smell. I suggested yesterday he might have a chance at getting one of the awards, but that’s because a similar writer had won a third award before, and because this resentment towards upstarts and foreigners had been in the air since day one. The reactions to the (much better) texts by Jackie Thomae and Barbi Markovic were sad and an indictment of the jury.
As was the fact that it took until the fourth and last award for a woman to win something. The field is split 50/50 between men and women, and on my score board, the four best writers were also similarly split 50/50. In a way, we were lucky Gianna Molinari won that fourth award because on the shortlist was, inexplicably, the unspeakable text by Urs Mannhart. Mannhart and Nickel were both nominated by Michael Wiederstein, who is exactly the worst person you want to be influential in judging literature: well off, white, male, and unaware of his privilege to a pathological degree.
There was also an audience award, but I’m not discussing it. A bad text won it, but the real issue was that Barbi Marcovic’s text, one of the three or four best ones in the competition, was temporarily blocked from public voting due to ‘technical’ issues. Icing on a very unpleasant cake.
And you know what? I have a pile of books by writers from the competition, and am slowly sobering up, and next year, you know where I’ll be? Right here: in front of the livestream, following the next, 42nd, Tage der deutschsprachigen Literatur. Did I get upset at this year’s awards? Sure. But you don’t stop watching basketball just because the fucking Warriors won the Finals like of fucking course they did.
Below is my list of posts about this year’s award:
Things are coming to an end. Day Three closed the active portion of the Bachmannpreis with a thoroughly underwhelming set of texts. Tomorrow prizes will be awarded. None of today’s writers should win one, but we’ll get to that. Meanwhile, here is my summary of Day One. Here is my summary of Day Two. Here is my general post about the event. If you want, you can read all the texts here. The writers today were Eckhart Nickel, Gianna Molinari, Maxi Obexer, Urs Mannhart.
I’m not going to dwell overmuch on this damp squib of a day. Two of the texts were good, but not as good as the four texts I already highlighted, and two of them were bad, but also, somehow, in an underwhelming way. The day came, passed, I ran out of alcohol, etc. Well, let’s get on with things: to the crapmobile!
Eckhart Nickel wrote a story that one of the judges correctly connected to Adalbert Stifter (I have a bad? review of his masterpiece Indian Summer here), but that, in the end, had more in common with that German master of awful short stories, Bernhard Schlink. This was regrettable because Nickel, who is German literature royalty (outside of Wray the “biggest” name in this year’s lineup) started his text with extraordinary skill. From top to bottom, the technical execution was clean and nice, but the payoff was uninteresting. In the ease and skill of execution he reminded me (despite no overlap in plot or themes) of last year’s third place winner Zwicky. It was the best text today and while I’d rate it a distant fifth overall, it’s the only of today’s texts that should be in a prize discussion at all.
Gianna Molinari offered a text based on a real life case where an unknown refugee fell from a plane and died, nameless. In her attempt to give him back some dignity, she uses photos, and a careful examination of the workers who found him and the way the state dealt with him. I liked much about the story, but not so much the story itself? Regretfully, she reminded readers of the many writers in German who did much of this better, particularly Sebald and Lenz. The story was so directionless and boring that the audience, when the writer took a sip, applauded in apparent relief for the story to be over. Alas, no dice.
Maxi Obexer – man. So Molinari did make use of the experience of a refugee to write a German story (to apply for a German story award), but she did it with care: she was interested in that person. Maxi Obexer however also wrote about the refugee crisis, but the story was blind to the author’s own privilege, degraded other foreigners, appropriated the difficult experience of thousands to tell a small story that moved a persona very similar to the white author, who had teaching gigs in Georgetown and Dartmouth, front and center. Obexer is talented enough for the writing to be solid, and smart enough to include some good observations, but the overall feeling was creepy and unpleasant. It came really close, as a story, to offer the same blindness as the jury did yesterday. She also kissed a girl.
Urs Mannhart closed out the day and the competition and, I mean, I don’t know what to say. Molinari and Obexer both used foreignness as a trope and foreigners as props, but Mannhart told a story about wolves and men and rugged nature and horses that was set in an unnamed country (Kirgizstan?), overloaded with foreign names, occasional flat out racism; the worst aspect of the story was the undeniable solid skill of the text. Written in a 19th century adventure novel tone, it had no obvious stylistic problems or weaknesses. Except, you know, for the, uh unimaginative racism and toxic masculinity.
Tomorrow, awards will be handed out. There will be a first award, the Bachmannpreis, a second award, the Kelag Preis, and a third award, the 3sat-Preis. There’s also an award voted on by the audience. As I said yesterday, the only two writers who are on an almost equal footing in competing for first place are John Wray and Ferdinand Schmalz. Barbi Markovic, Jackie Thomae and maaaaybe Eckhard Nickel should be competing for third place. That’s not to say that this sad spectacle of a jury will vote this way. I think that the unbearable Verena Dürr stands a real chance of beating one of the better texts. And the audience is a real wild card. My ideal order is Wray, Schmalz, Thomae. Fingers crossed?
So Day Two of the Bachmannpreis ended. Here is my summary of Day One. Here is my general post about the event. As I said yesterday, I’ll assume your German is not fluent enough to follow along, but if you want, you can read all the texts here. Today was exhausting to watch. Yesterday, we had 4 bad texts and one excellent one. Today we had 3 good texts and two awful ones. But if yesterday’s theme was the one of the adult competing with the children, today was the day of horrible jury discussions. I barely stressed the role of the jury yesterday, but each text is allotted roughly an hour: 25 minutes reading, 30 minutes discussion and a 5 minute short introductory film curated by the writers themselves. Sometimes, the jury discussions are about taste, about interpretation, issues like that. Sometimes, like today, they betray blind spots of the jury. Class and race are such blind spots. The jury, consisting of German, Swiss and Austrian critics had such a horrific performance today that I was embarrassed to be German myself (not that there isn’t recurring occasion to feel such shame). But first things first: the writers reading today were, in this order: Ferdinand Schmalz, Barbi Markovic, Verena Dürr, Jackie Thomae, Jörg-Uwe Albig.
Ferdinand Schmalz opened proceedings and it seemed like the day was going to be much better than yesterday. Schmalz is a nom de plume, and appears to be a character. The whole reading was like a performance. A little pork-pie hat, unwashed hair and an excited voice: a reading that elevated a text that was already pretty good. Everything in it worked as needed, sounds, rhythms, plot. This text wasn’t as good as Wray’s story yesterday, but it was good enough that I wouldn’t be upset if it did win the award. A fantastic, greasy, behatted, positively Bernhardian beginning to day two.
Next up was Barbi Markovic, who I had been looking forward to. Markovic, a writer from Serbia, had been doing interesting things with language and literature for a few years now and I was rooting for her. However, the text wasn’t quite as good as it could have been. It was good, it was interesting, and it was relevant, but it needed a good and gentle editor. The story itself, about a family found dead in an apartment, was clearly a metaphor. For what? Well, maybe the way nation states relate to each other or for the way smaller states are subjugated in larger, vaguely totalitarian confederation. The fact that the author is Serbian and her work circles around Serbian topics, seems relevant here. However, one of the judges, Michael Wiederstein, who comes from the area where I currently live, but lives in Switzerland now, proclaimed that texts should not be seen in any such contexts. “I don’t care that the author is Serbian!” he exclaimed, squinting with Germanic self righteousness.
Lucky for him, the next writer was Verena Dürr. Dürr is, I think, an experimental poet who uses the dry and repetitive language of rules and handbooks. As it turns out, when turned into a prose narrative, this is horrifyingly dull. She offered a text about art dealers that was basically a list of expensive objects and of high culture associations. Everybody I follow on Twitter was stunned by the bland and deathly dull nature of the text. It was well made, I mean truly carefully and very precisely done. It’s just utterly uninteresting. However, the real gem was the jury discussion afterwards. Suddenly, judges who complained about a lack of relatable characters in Markovic’s story barely found enough breath to praise this shiny polished turd of a prose narrative. Michael Wiederstein exclaimed how he had so many art dealers among his friends and he was going to show them this story! Suddenly, the possibility of identifying literature and experience appeared, bright (dare I say white?) and shiny on the horizon. Everybody broke for lunch, and I hoped for a better afternoon.
In the afternoon, everything went from bad to worse and I suddenly found myself running out of white wine. Next person up was Jackie Thomae, a writer of color from East Germany. Her story was light but precisely written. It was about a young man of unnamed background who is read by his environment as a Muslim. It’s not relevant for the story which ethnicity he is, because the story’s theme is how his identity is constructed by the power relations around him. He works for a company called Cleanster that offer cleaning services. This is the seventh time working for the company; he’s got a routine, but he’s not a ‘pro’ yet. As he enters the apartment, a few things go wrong and he ends up only partially cleaning the apartment. Wracked with guilt and shame, he flees, onto the next job. The woman who contracted him to clean is unhappy and slips into a strange discourse about how of course these young Muslim men cannot expected to clean, I mean they learned a totally different set of gender roles in their culture. The text is not subtle about its topics: how whiteness and class intersects and constructs subjects in our society. Thomae is incredibly clear about it. It’s a strong story, very clear, very relevant, the writing unflashy but calibrated perfectly. Well, as it turns out that’s not how the jury saw it.
No. The jury collapsed in their own Germanic whiteness to an extent that should be part of a curriculum in a critical whiteness course. It was almost like a performance. Klaus Kastberger, who teaches in Graz, said: “we have to learn how to use servants again properly. They used to have rules for that and how we are lost without the rules.” He also asked to be explained the foreigner’s motivation because it wasn’t entirely clear to him. Why would he be intimidated by a washing machine (the story, again, incredibly unsubtle, says, literally: he didn’t want to break another expensive machine that he could never pay for). Meike Feßmann said we need to have a discussion about his cultural background and how it influences his actions, echoing, partially WORD FOR WORD, the statement of the white woman in the story who, in case that wasn’t clear, wasn’t supposed to provide a how-to of white behavior. The protagonist takes selfies “to impress the girls,” but somehow that didn’t reach Hubert Winkels, who thought it was a picture to impress the relatives “in Bosnia, Senegal or wherever” (IN BOSNIA, SENEGAL OR WHEREVER). TWO different judges used the phrase “clash of civilizations” to describe what happened, and Michael Wiederstein, he with the many rich art dealer friends, thought the ‘moral of the story’ was that people should clean more themselves. Kastberger repeated that this was not how you treated servants, that in the 19th century Austrian monarchy, servants were treated much better and we should learn from that and I think it was at this point that I may have lost my mind, my hearing or suffered some other collapse. As a German poet (and, I guess, critic?) I felt such intense shame for these people of similar overall background, I think I may have had an outer body experience.
Jörg-Uwe Albig then closed the day with a strange masculine fantasy, overwritten and undercooked. It is fitting after all that happened that the day ended with a writer called “Jörg-Uwe.” His story is about a man who was left by his girlfriend, has an exoticizing fantasy sequence in Ethiopia (because for Germans, somehow, going to Africa to find yourself is a thing. Yes, I know, Henderson the Rain King exists but, you know, Bellow, he of the “show me the Zulu Tolstoy” was a racist). In Africa he sexually assaults a church (yes, yes, don’t ask). I’m not sure what happens at the end because I stopped caring.
In summary: after today, I think, by rights Wray should still be leading the pack. I think Schmalz, Markovic and Thomae would all deserve one of the two other awards, but except for maybe Schmalz, they didn’t really challenge Wray’s claim to first place. And after today, I think Wray is damn lucky he’s white.
If you follow this blog you are likely not fluent enough in German to have followed the Bachmannpreis livestream (see my post about the event) so here is a brief summary of how day one (of three) went. The writers who read today were, in this order: Karin Peschka, Björn Treber, John Wray, Noemi Schneider and Daniel Goetsch. You can read all the texts here, if you are so inclined.
Karin Peschka started the day with a text set in a post-war devastation, with a protagonist just called “Kindl” (“the child”). The writing is intentionally simple and stark, with vast sequences of dull, repetitive description that urgently required culling, and some occasionally very strong images. Peschka’s text was very weak, relying too much on the setting and the protagonist to carry the rest of the text; it was derivative, most of all. Yet, in hindsight, with all the other terrible texts behind me, it wasn’t that bad. At least it was competent and occasionally interesting.
Björn Treber, a very young writer with just a few small publications under his belt offered an unusually brief text, basically a long description of a funeral. It read like an overnight improvisiation before the deadline to hand in the text. There was nothing at stake, nothing interesting, no tension, no direction, no discernable stylistic interest. There were hints of interesting directions, but Treber never explored them. He’s clearly not untalented, but this read more like an early early draft that you’d bring into a writing workshop, to tease out the hints in it of identity, heritage and existentialism. It did not read like a story offered at Germany’s second most prestigious literary award.
John Wray was third, and boy did he save the day. You know, this felt like seeing LeBron playing against a high school basketball team. After Treber’s story that was barely acceptable as homework in a creative writing class, John Wray offered a modulated, shifting story that touched on culture, history, literature, power, gender and race. It told a story that is impossible to summarize, but one that reflects on its own structure, its own language, that touches on realism, science fiction, historical fiction and the current taste for dystopian writing. In it we had a barely-successful writer from Brooklyn, a sister with a mental illness who imagines a story, an ornithologist whose encounter with natives is a paraphrase of turn of the century anthropology, a fascist leader and more. There is a prominent nod (I think) to Alfred Korzybski in there and many other writers. All of this in just a handful of pages that took 25 minutes to read aloud in a slow, somber voice. I wouldn’t be surprised if the story’s movements and turns couldn’t be made to fit the Chaucerian form of the Madrigal (the return of the original rhymes made me think of that). All of this was made without any kind of literary arrogance – you could tell the skill and the exhilaration of the writing throughout but it also reads extremely light. This is not just the best story of the day – but one of the best stories, in the way it is condensed and shaped, I’ve read all year. Everybody broke for lunch and I refilled my coffee mug with white wine and ate some crackers.
After the break, 35 year old Noemi Schneider read a text that was, in sound, skill and attitude, a text I’d have expected of a precocious 20 year old. In fact. Young Ronja Rönne read a text in a vaguely similar vein last year. There’s a lot of irony in it, playing with language, expectations etc etc. but it is also just plain terrible. There’s nothing redeeming about the text in any way. Amateurish, flat, and boring, it also left a bad taste in my mouth because Schneider is not above toying with exoticism to flesh out aspects of her characters’ relationship to reality. That’s not new: in her recent novel, she similarly used foreignness as a metaphor, and an asylum seeker as a prop to tell a story about Germany and family relations in this country. Awful, unpleasant and bad. Suddenly, Peschka’s story didn’t seem quite as awful.
The final reader was Daniel Goeltsch, who, look. It was the last reader, first day, maybe that’s why he seemed insufferably dull, but BOY O BOY was he dull. A story about postwar Germany that was so terrible and dull that the discovery that it is an excerpt from a novel made me recoil in shock. Weaponized boredom, is what it was. Lazy imagery, terrible writing about physical intimacy, wave after wave of irrelevant description and, I think?, plot? I don’t think Goeltsch is all bad. I started reading his novel Ein Niemand an hour ago to review it on the blog and it’s not bad? I think Goeltsch needs a loving but mean editor. This story didn’t really go anywhere, it was written in the most plodding dull German I can imagine this side of Martin Walser, and I was so disinterested, I barely paid attention to the jury squabbling over the text.
I don’t know if Wray will win the whole thing. The judges seemed to believe his text was too good (I wish I was kidding) and they still licked their wounds over finding out, post-factum, that last year’s winner, the brilliant Sharon Dodua Otoo hadn’t heard of the competition before. As one judge groused: “at least he’s heard of us before, unlike THAT PERSON last year. He knows there are smart people sitting here.” That person? Exqueeze me? You mean last year’s runaway winner? Anyway, that might count against him. Plus there’s a real heavyweight to come, Barbi Markovic, a genuinely excellent writer. However, Bachmannpreis gives out three awards, and Wray should win one of them easily. Based on the text alone, he should win the whole competition, easily, but with the insurrection of the small minds and literature gatekeepers, one never knows.
If you follow me on twitter, you’ll see a deluge of tweets this week from Thursday to Saturday under the hashtag #tddl, let me explain. I will be live-tweeting the strangest of events from my little smelly book cave.
Once a year, something fairly unique happens in Klagenfurt, Austria. On a stage, a writer will read a 25-minute long prose(ish) text, which can be a short story, an excerpt from a novel, or just an exercise in playfulness. All of the texts have to be unpublished, all have to be originally written in German (no translations). Also on stage: 9 to 7 literary critics who, as soon as the writer finishes reading, will immediately critique the text they just heard (and read; they have paper copies). Sometimes they are harsh, sometimes not, Frequently they argue among each other. The writer has to sit at his desk for the whole discussion, without being allowed a voice in it. This whole thing is repeated 18 to 14 times over the course of three days. On the fourth day, 4 prizes are handed out, three of them voted on by the critics (again, votes that happen live on stage), one voted on by the public. All of this is transmitted live on public TV and draws a wide audience.
This, a kind of “German language’s next (literary) Idol” setup, is an actually rather venerable tradition that was instituted in 1977. It’s referred to as the “Bachmannpreis”, an award created in memory of the great Austrian writer Ingeborg Bachmann, who was born in Klagenfurt. The whole week during which the award is competed for and awarded is referred to as the “Tage der deutschsprachigen Literatur” (the days of German-language literature). Since 1989, the whole competition, including all the readings and all the judges’ arguments are shown on live TV, before, the public was only shown excerpts. The writers in question are not usually unknowns, nor are they usually heavyweights. They are all more or less young writers but they don’t have to be novelists.
Last year’s winner was British expat writer Sharon Dodua Otoo (here’s my review of some of her fiction), who read a text that was heads and shoulders above the sometimes lamentable competition. This year’s lineup, with the exception of an interesting writer here and there seems similar in quality, minus Otoo and Tomer Gardi whose novel I’ve also reviewed.
The great exception is John Wray. John Wray is an American novelist with Austrian roots who writes in English. I’ve interviewed John Wray on Bookbabble years and years ago. See here. Really, listen. He’s luvverly. On this blog I reviewed his debut novel The Right Hand of Sleep and his third novel Lowboy. His second novel, not under review, is also quite excellent! I’m interested in what text he will be reading. Below is the full list of authors. If you check their publications, you’ll see a sad and unsurprising number of white German language writers writing about immigration and/or people of color from a very Germanic perspective. If you’ve read Jenny Erpenbeck’s awful recent novel, imagine that, but worse. And yet…I cannot help but be excited. Follow along! There’s a livestream! You can also read the texts during the competition here. So here’s the full list:
Since I pick wrong every year, I tend to re-post versions of my old picks. There’s a difference this year. I have insisted every year on a nonfiction award (my picks were usually Umberto Eco and Hilary Putnam, both of whom died since last year’s award), and last year, finally, the quite excellent Svetlana Alexievich won a nonfiction award after a decades-long drought. I have read little of her work, my favorite is a book on suicide, Зачарованные смертью, literally “enchanted with death.” A writer who observes a society enchanted with death, with pain, a society frayed from the pressures of decaying or rotten ideologies. A well deserved award, even if the subsequent deaths of my usual picks did make me regret the missed opportunity, so to say, of giving the award to one of those two.
The feeling of a missed opportunity for an award for the same demographic has been a problem, I feel, for this last group of winners. I probably said this before, but if they wanted to give it to a white, female, important, accomplished Canadian writer of short stories, why not give it to Mavis Gallant, who, in my opinion, is significantly better than Munro. Apart from Munro, the award, long criticized for having too many Europeans, has turned, almost defiantly, more European than at any period since the 1970s. For all the talk about not awarding American literature for its insularity – Patrick Modiano is an incredibly insular writer. He draws mostly in French tradition, works within French literary culture, uses French forms and structures. I wrote a longish piece on Modiano in the wake of his win, you can read it here. He’s very good, but he’s just not Nobel material. None of his work really stands out from the larger body of French postwar literature that examines collective and personal memory. A French Nobel prize – how, after the already dubious (but at least interesting) election of Le Clèzio, could it not have gone to Yves Bonnefoy? Or Michel Tournier, whose worst work arguably outstrips Modiano’s best? Or Michel Butor? Or if French language, why not Assia Djebar? Djebar, Bonnefoy, Tournier and Butor have all died since Modiano won, all of them with more international resonance and importance, more part of international literary culture and conversations. Not to mention that all four of them are significantly more excellent as writers.
And while we discuss whether another white or European writer should win it (Banville, Roth, Fosse, Oates are among the names I heard over the past weeks), we hear nothing about writers like Nigerian novelist Buchi Emecheta, who writes excellent novels about the female experience in a country between colonialism and modernity. She’s smart, good, popular and significant and yet people dare to name Philip Roth as a deserving writer. Or how about Guyanese novelist, poet and essayist Wilson Harris. Harris is 95 years old, and has not won a Nobel prize yet despite having written an important and inarguably excellent (and extensive) body of work that’s insightful, experimental, political and addictively readable. Why wasn’t he picked yet or why isn’t he at least being prominently discussed? There is an odd sense, and Alexievich’s well deserved award compounds it, that the academy is looking only at European discussions of literature, weighing everything according to the small literary atmosphere on this continent. This strange, blind bias mars my joy about Alexievich’s award. These selections have been so safe, so European-friendly that I’m hesitant to be happy about rumors that László Krasznahorkai, a truly, deeply, excellent writer may win the award. He would be more than deserving, but at this point, the award needs to look at other continents, at other cultures, at other kinds of writers. And by that I don’t mean Haruki Murakami. In lieu of ranting about him, I direct you to this piece written by my good friend Jake Waalk on this blog.
So let’s go on to my picks. There are three groups of picks: Poetry, International Fiction and European Fiction, in this order.
ONE: Poetry My #1 wish every year is to give it to a poet, being a poet myself and writing a dissertation on poetry. I also think the genre is criminally underrepresented. So in first place is poetry, and the three living poets that I consider most deserving, plus a European option. I used to put Bei Dao on the list (and not just because he’s charming in person), but with an Academy that prefers European mediocrity over Asian excellence, that’s not going to happen. My list of poets tends to be headlined every year by John Ashbery who I consider not only to be an absolutely excellent poet, but whose influence both on American poetry of his time, and on our reading of older poetry is importand and enduring. Another good option, given the circumstances outlined in my introduction, would be the excellent Yusef Komunyakaa. However, if an American poet makes the cut, I would vote, much as last year, for Nathaniel Mackey. Mackey is an African-American poet who has just won the Bollingen Prize, the single most prestigious award for poetry in the US. His work is powerful, experimental, moving and important. He draws from Modernist traditions and from postmodern impulses – but really, at this point, he has become a tradition in himself. Jazz, biography, politics and the limits of poetry are among his topics. There are other influential experimental US poets who are still alive, but few can match Mackey for his mastery of language and his inventiveness in poetry and prose. Mackey would be an excellent and deserving pick. A close/equal second for me is Syrian poet Adonis/Adunis (Adūnīs) whose work, as far as I read it in French, English and German translation, offers poetry that is both lyrical and intellectually acute. He is a politically passionate poet whose sensibilities prevent him from writing bland political pamphlets. What’s more, he is critically important to Arabic poetry as a scholar, teacher and editor. In a region, where weapons often speak louder that words, and words themselves are enlisted to provide ammunition rather than pleasure, Adonis’s work provides both clarity as well as lyrical wellspring of linguistic nourishment. His work in preserving and encouraging a poetic culture in a war torn environment is not just admirable and fantastically accomplished, it is also worth being recognized and highlighted. In a time of religious fights and infights, of interpretations and misinterpretations, his work engages the language of the Qu’ran inventively, critically, beautifully, offering a poetic theology of modern man. A final intriguing option would be Kim Hyesoon. I have read her work in Don Mee Choi’s spectacular English translation, but I don’t read Korean, and can’t really discuss her. I find her poetry of the body, femininity and the frayed modernity intriguing and interesting, but there’s no way I can adequately discuss her. Violence, accuracy, beauty, it’s all there in her work. I have a half-written essay on Hyesoon and Tracy Smith that I am tempted to submit somewhere (interest?). Finally, If they decline to award someone outside of Europe, I can see an award for Tua Forsström being interesting, although I suppose her work isn’t big enough. You can read some of her poems in David McDuff’s translation here. McDuff, by the way, has a blog that you should consider reading if you’re interested in translation and/or Nordic literature.
TWO: International Fiction Meanwhile, the novelist that I most want to win the prize is Ngugi wa Thiong’o. There’s his literary skill. His early novels written in English, as well as the more allegorical Wizard of the Crow and the recent, clear-eyed and powerful memoirs, all of this is written by an excellent writer. He moves between genres, changing techniques and eventually even languages, all with impressive ease. So he’s a very good writer, but he’s also politically significant. As the literary conscience of a tumultuous Kenya, he highlights struggles, the oppressed and shines a light on how his young country deals with history and power. In the course of his literary and cultural activism he was eventually imprisoned for a while by Kenyatta’s successor. After his release he was forced into exile. Yet through all this, he continued, like Adonis, to work with and encourage cultural processes in his home country. Starting with his decision, in the late 1970s, to stop writing in English, instead using Gĩkũyũ and translating his books into English later. He supported and helped create and sustain a native literary culture that used native languages and interrogated political processes in Kenya. A cultural, political and linguistic conscience of his home country, it’s hard to come up with a living writer who better fits the demands of the academy. Of the writers I root for, this one is the only one who would also fit the “obvious choice” pattern of recent decisions. Wilson Harris, who I mentioned in my introduction, is a better writer in my opinion, but would be more of a stretch for the academy.
THREE: European Fiction So the third pick I am least sure. If a white/European novelist were to win it, after all, who would I be least upset about? Juan Goytisolo appears to be worthy, but I haven’t read his work enough to have an opinion worth sharing. Similarly, due to accessibility problems, I have only read parts of the work of Gerald Murnane who is unbelievably, immensely great. But older parts of his work are out of print, and newer parts have not been published outside of Australia yet. First book, no, first page of his I read I could not believe how good he is, but, again, mostly not been able to read him. Knausgaard, maybe, who has had an extended moment in literary circles? But another dark European writer of memory and language? It would make the scope of the Nobel prize even more narrow than it already is. The enigmatic Elena Ferrante is an option, despite the slimness of her work, but her anonymous nature may keep the academy from awarding her. Scuttlebutt has it that Pynchon’s faceless authorship is what kept one of last century’s best novelists from winning the award. Mircea Cărtărescu is maybe still a bit too young, and his oeuvre is too uneven. His massive new novel may turn the tide, but it hasn’t been translated yet into Swedish, English or French. There are three German language options in my opinion, but the two headliners of Peter Handke and Reinhard Jirgl are both politically dubious. So let me pick two books, no excuses. One is the third of the German options, Marcel Beyer. In a time when right wing politicians and parties are sweeping Europe, Beyer’s clear and sharp sense of history, writing from the country that has brought catastrophe to Europe twice in one century, is very welcome and important. His fiction is infused with a passionate reckoning with the wayward forces of history, a work struggling with the complexities of knowledge and narrative. On top of that, he has developed a style that is always clear yet powerful. No two novels of his are truly alike except in the most broad of parameters and his poetry is still different. German literary fiction about German history, when it’s not written by Jirgl, is often either clichéd (Erpenbeck), sentimental (Tellkamp) or dour (Ruge). There’s really no writer like Marcel Beyer in this country, and that’s been true and obvious for a long time. His work is widely translated. And then there’s László Krasznahorkai who is pretty much universally recognized for his excellence. He draws on an (Austro-)Hungarian tradition of paranoia and darkness, but spins it into an intellectually brilliant and musically devastating form that nobody else can achieve right now. His work is so unique, so incredibly excellent, such a pinnacle of literary achievement that it transcends any representational caveats.
Other picks & speculation in The Birdcage.