Best European Fiction 2010 by Aleksandar Hemon

By Aleksandar Hemon

Historically, English-language readers were nice fanatics of eu literature, and names like Franz Kafka, Gustave Flaubert, and Thomas Mann are so widely used we not often give some thought to them as international in any respect. What these writers dropped at English-language literature was once a large choice of latest rules, types, and methods of seeing the realm. but occasions have replaced, and what sort of can we even learn about the richly diversified literature being written in Europe today?

Best ecu Fiction 2010 is the inaugural installment of what is going to develop into an annual anthology of reports from throughout Europe. Edited by means of acclaimed Bosnian novelist and MacArthur “Genius-Award” winner Aleksandar Hemon, and with dozens of editorial, media, and programming companions within the united states, united kingdom, and Europe, the Best ecu Fiction sequence can be a window onto what’s taking place instantaneously in literary scenes all through Europe, the place the subsequent Kafka, Flaubert, or Mann is ready to be stumbled on.

checklist of individuals

  • Preface: Zadie Smith
  • advent: Aleksandar Hemon
  • Ornela Vorpsi (Albania): from The state the place not anyone Ever Dies
  • Antonio Fian (Austria): from While Sleeping
  • Peter Terrin (Belgium: Dutch): from "The assassin"
  • Jean-Philippe Toussaint (Belgium: French): "Zidane's depression"
  • Igor Stiks (Bosnia): "At the Sarajevo industry"
  • Georgi Gospodinov (Bulgaria): "And All became Moon"
  • Neven Usumovic (Croatia): "Veres"
  • Naja Marie Aidt (Denmark): "Bulbjerg"
  • Elo Viiding (Estonia): "Foreign ladies"
  • Juhani Brander (Finland): from Extinction
  • Christine Montalbetti (France): "Hotel Komaba Eminence" (with Haruki Murakami)
  • George Konrád (Hungary): "Jeremiah's negative story"
  • Steinar Bragi (Iceland): "The Sky Over Thingvellir"
  • Julian Gough (Ireland: English): "The Orphan and the Mob"
  • Ornaní Choileáin (Ireland: Irish): "Camino"
  • Giulio Mozzi (AKA Carlo Dalcielo) (Italy): "Carlo does not know the way to learn"
  • Inga Abele (Latvia): "Ants and Bumblebees"
  • Mathias Ospelt (Liechtenstein): "Deep within the Snow"
  • Giedra Radvilaviciute? (Lithuania): "The attract of the textual content"
  • Goce Smilevski (Macedonia): "Fourteen Little Gustavs"
  • Stephan input (Netherlands): "Resistance"
  • Jon Fosse (Norway): "Waves of Stone"
  • Michal Witkowski (Poland): "Didi"
  • Valter Hugo Mãe (Portugal): "dona malva and senhor josé ferreiro"
  • Cosmin Manolache (Romania): "Three Hundred Cups"
  • Victor Pelevin (Russia): "Friedmann house"
  • David Albahari (Serbia): "The Basilica

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He suggested I pick him up at the airport, so I took a rental car to our appointment, which—because I don’t have my own license—I had my seventeen-year-old daughter drive (though it was strange for this to be allowed, considering the driving age in Vienna is eighteen). She drove slowly and carefully so that, undisturbed, I could prepare some friendly greetings in English, with which I hoped to win Wainwright over. This turned out to be superfluous, however. He spoke fluent German, and right after we’d shaken hands he told me he still didn’t know where he’d be staying in town.

After all, he didn’t make the rules. TRANSLATION RIGHTS I’d already been writing to the publisher of the American musician Loudon Wainwright III for a long time now, asking for permission to translate some of his lyrics into the Viennese dialect, and had already nearly given up hope of receiving a response, when Wainwright called me up personally and explained that he intended to combine business and pleasure and spend a few days’ vacation in Vienna. We could talk about everything then. He suggested I pick him up at the airport, so I took a rental car to our appointment, which—because I don’t have my own license—I had my seventeen-year-old daughter drive (though it was strange for this to be allowed, considering the driving age in Vienna is eighteen).

This is the way we get married—screaming, as we did at birth. Over time, a brown stain began to appear on the photo, covering my mother’s face from her right eye to her temple, and, eventually, the rest of her as well. This was from the damp in the closet. It upset me, because it made Mother look sick and depressed. Every time I thought about it, I’d burst into tears, imagining the day her hair would go gray. I rescued the photograph from the closet, hoping that the stain would go away if I took care of the picture and put it somewhere safe—in a nice photo album, for instance.

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