The official announcement of the winner of the 2020 International Booker Prize has been postponed until later in the summer, to give readers more time to get and read copies of the novels.
But our shadow jury of bloggers and reviewers of translated fiction has already completed our reading and re-reading, so it seems fitting to announce our Shadow Winner on the original date of May 19th.
As a reminder our own shortlist was, in alphabetical order of the original author’s name:
The Enlightenment of the Greengage Tree by Shokoofeh Azar (Farsi – Iran), tr. Anonymous (Europa Editions)
The Other Name: Septology I-II by Jon Fosse (Norwegian – Norway), tr. Damion Searls (Fitzcarraldo Editions)
Hurricane Season by Fernanda Melchor (Spanish – Mexico), tr. Sophie Hughes (Fitzcarraldo Editions)
The Memory Police by Yoko Ogawa (Japanese – Japan), tr. Stephen Snyder (Harvill Secker)
Faces on the Tip of My Tongue by Emmanuelle Pagano (French – France), tr. Sophie Lewis & Jennifer Higgins (Peirene Press)
The Discomfort of Evening by Marieke Lucas Rijneveld (Dutch – Netherlands), tr. Michele Hutchison (Faber & Faber)
The Other Name: Septology I-II
The Enlightenment of the Greengage Tree
Jon Fosse’s “slow prose”, unfolding his story in one long, flowing stream that reads with great fluidity, took us deep inside his narrator Asle’s mind and thoughts. And we were caught up in the heady mixture of Persian myth, story-telling and magic realism of The Enlightenment of the Greengage Tree, a true ode to literature and to the deeply soothing role books and stories play in our survival of trauma.
But the winner of our 2020 Shadow Jury Prize is:
Hurricane Season, written by Fernanda Melchor, translated by Sophie Hughes and published by Fitzcarraldo Editions
Comments from some of our judges:
“Hurricane Season is an appropriate title for a novel that roars into the unsuspecting reader’s mind, with its long and winding sentences, and its refusal to flinch from the brutalities of its world.”
“There is anger, pain, and the understanding of the role literature plays when it comes to compassion and empathy.”
“As author M John Harrison said of Melchor’s novel ‘…she had shown me things I needed to be faced with.’ and expanded my understanding of lives so very different from my own.”
“It unflinchingly portrayed a world apart from us and artfully created another layer of distance from subject through the use of mythologized violence. That she both creates distance and ‘makes us look’ simultaneously was incredibly powerful for me.”
“Melchor’s prose, in Hughes’s stunning translation, is raw, brutal and so, so necessary.”
“As readers and intrepid voyagers down Melchor’s Dante-like vision, we are like riveted inmates, incarcerated either by law or by economics or gender, who stand to witness the depravity, despair and pain being inflicted upon this part of the world. The real evidence and reward here is not in unmasking the Witch’s killer or killers or in finding out why this happened, the true recompense of Melchor’s novel is to pay tribute by listening to the dead’s testimony,‘there is no treasure in there, no gold or silver or diamonds or anything more than a searing pain that refuses to go away.’“
And our congratulations extend to the publisher Fitzcarraldo Editions who provided two of our top three, and also now have two Shadow Prize wins in three years.
Now it’s over to the official jury for their decision.