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Thomas Glavinic
translated by John Brownjohn,
Canongate (July 2008)
‘I completely fell in love with this novel when I first read it. It’s not often I’m compelled to spend the weekend glued to the sofa, feverishly turning the pages of a book written in another language, but this is so compelling, intriguing, thought-provoking, that I literally couldn’t put it down. I felt haunted by it for weeks afterwards – after being relentlessly sucked into Jonas’s lonely, quiet world, when I was finally released from the book I felt such an enormous sense of relief that in my noisy world everyone else is still here, even being caught in a traffic jam was almost a joy. Night Work is contemporary, absorbing, strange and new – a genuine masterpiece with a great, compelling plot and fascinating ideas. Both thought-provoking and moving, it’s also extremely well written: spare, immediate, chilling. But don’t read it when you’re all alone . . .’ Helen Bleck, editor of Night Work
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Andrea Maria Schenkel
translated by Anthea Bell
Quercus (June 2008)
‘When I read the translation the atmosphere in the original German had clearly been transmitted into English. There is the flinty chilliness of the landscape, the stifled emotions of the villagers whose voices build up a chorus of a repressed and guilt-ridden community, the liturgical language that seem to come from the damaged earth itself and the main characters themselves, so deftly and beautifully drawn. And the short novel is a marvel of construction, its effects building up inexorably to a conclusion that is shattering and somehow inevitable. Andrea Maria Schenkel is a writer of great imagination, skill and power who has been wonderfully well served by her translator, Anthea Bell.’ – Jon Riley, editor of The Murder Farm.
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Iliya Troyanov
translated by William Hobson,
Faber & Faber (June 2008)
‘I was of course attracted by the central subject, a great British explorer and linguist, but also wary: it is so easy for writers to mishandle historical characters drawn from cultures that are not their own. Even with my very poor German, however, it was obvious that Troyanov had found a strong and confident voice for his novel, that he was interested in the potentialities of narrative and that he was a serious writer. My readers confirmed this. Faber is lucky to be publishing this fine book.’ Neil Belton, editor of The Collector of Worlds
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Saša Staniši´c
translated by Anthea Bell
Weidenfeld & Nicolson (June 2008)
‘What struck me most is the tremendous spark and vitality of the writing – Saša Staniši´c’s prose crackles with energy. As you plunge headlong into Aleksandar’s world, his quirky fears and obsessions, the stark reality of war becomes all the more apparent – and absurd – when seen through the eyes of a child. This is a stunningly original novel by an author in love with language.’ Kirsty Dunseath, editor of How the Soldier Repairs the Gramophone
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Thomas Hettche
translated by Shaun Whiteside,
Macmillan (July 2008)
‘What We Are Made Of strikes me as one of those exceptionally rare novels which brilliantly combine powerful literary writing with a gripping and very commercial thriller plot. Runner-up to the German Booker in 2006 Thomas Hettche’s most recent work will be a real treat for all fans of Don DeLillo and David Lynch.’ Stefanie Bierwerth, editor of What We are Made Of
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Helmut Krausser
translated by Mike Mitchell,
Europa Editions (August 20008)
‘Although Eros offers an unusual perspective on the history of Germany from the war to the late 1980s and has multi-layered narration which plays with the reader’s expectations, what interested me most of all was Krausser’s very individual style. It has not always met with approval from critics, but it presents many fascinating challenges for the translator.’ Mike Mitchell, translator of Eros
‘Compelling, historical, poetical, sensitive, erotic – this wonderful novel is all this and much more.’ – Express
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Alain Claude Sulzer
translated by John Brownjohn,
Bloomsbury (January 2008)
‘What first attracted me to Alain Claude Sulzer’s A Perfect Waiter apart from the storyline was the restraint of the writing. It is a novel of powerful feelings and emotions – love, betrayal, complicity, illusion – that could easily have become over-written, but Sulzer’s elegant, clear-eyed prose gives both a shape and an extra poignancy to the story of a gay man discovering the truth about the love of his life, and then acknowledging it to himself.’ Bill Swainson, editor of A Perfect Waiter
‘The real perfect waiter of the title is, I suspect, the author himself. Like his hero, he is unobtrusive and alarming in equal measure, and on the evidence of this, his first book to be translated into English, he does his job not just with great polish, but with real heart.’ – Neil Bartlett, Guardian
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Emine Sevgi Özdamar
translated by Martin Chalmers,
Serpent’s Tail (November 2007)
‘When I first read Emine Sevgi Özdamar’s The Bridge of the Golden Horn I was immediately impressed by the way the novel undermines still-powerful stereotypes of migration. I was equally attracted by her portraits of the two cities in which her heroine comes of age: Berlin in the late 60s and Istanbul of the early 70s, in both cases a highly politicised time. Özdamar provides an essential counterpoint to Orhan Pamuk’s Istanbul: where he is cool and distanced, the insider as outsider, Özdamar jumps right in (to theatre, love, politics) with a breathtaking boldness to bring the reader not only an account of a sentimental and political education but also the voices of the streets and the markets, the winners and the losers, the “oratorio of Istanbul”.’ Martin Chalmers, translator of The Bridge of the Golden Horn
‘This novel reminds us that literature is a transforming energy at the heart of life.’ – Independent
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Claudia Schreiber
translated by Anthea Bell,
John Murray (March 2008)
‘What drew me to Emma’s Luck was its anarchic charm, the compete originality of the heroine and the fable-like quality of the story-telling. I don’t think I have ever read another book like it and everyone here who has read it has fallen in love with it. It’s sad and wonderful and unique.’ Kate Parkin, editor of Emma’s Luck
‘Claudia Schreiber’s Emma’s Glück was hugely entertaining to translate. It’s touching and funny at the same time, with a quirky cast of characters, written with a light, sure touch even at the sad moments. I loved it as soon as I read it, and enjoyed working on it very much. In English it’s entitled Emma’s Luck; the film version is Emma’s Bliss, but John Murray and I think we have the more accurate title.’ – Anthea Bell, translator of Emma’s Luck
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Paulus Hochgatterer
translated by Jamie Bulloch, MacLehose Press,
Quercus (July 2008)
‘A bitterly ironical title masks a narrative of some brutality and a great deal of sophistication, both in narrative terms and in terms of the shaping of character. Austrian and German readers who made this novel the bestselling crime novel for many months in 2006 discovered, as readers of Jamie Bulloch's fine translation will, that Hochgatterer is an author who blends the agreeably familiar with the wholly original in his fiction. He is himself a psychiatrist and the collaboration in his investigation of a policeman with a child psychiatrist is a superb element in a work which was described by German critics as “a brilliant psychological novel”.’ – Christopher Maclehose, editor and publisher of The Sweetness of Life
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Pascal Mercier
translated by Barbara Harshav, Atlantic Books (February 2008)
Fascinated by the writings of an enigmatic Portuguese aristocrat, middle-aged Classics scholar Raimund Gregorius feels compelled to leave his quiet teaching life to go in search of the mysterious man behind the words – Lisbon and much else awaits him.
‘Pascal Mercier now takes his rightful place among our finest European novelists.’ – Daily Telegraph
Katharina Hacker
translated by Helen Atkins, Europa Editions (February 2008)
‘Hacker’s plain sentences and long paragraphs bring to mind William Faulkner’s deceptively simple narrative style. This honest portrayal of the dark side of the human psyche understandably won the 2006 German Book Prize for best novel.’ – Library Journal
Irmgard Keun
translated by Michael Hofmann, Penguin Classics (February 2008)
‘With this sparkling new translation Keun’s forgotten masterpiece is brought to a new generation of English readers for the very first time.’ – Adam Freudenheim, publisher of Penguin Classics
Fred Wander
translated by Michael Hofmann, Granta (February 2008)
‘Exquisitely translated, The Seventh Well is not a memoir; it is a work of art.’ – Guardian
The Editor warmly invites publishers to be in touch with NBG regarding any new translations from the German.
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