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REVIEW: Cécile Coulon, A Beast in Paradise

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Translated from French by Tina Kover (Europa Editions, 2021)

A Beast in Paradise is the English-language debut of Cécile Coulon, and deals with the tragedy and determination of a farming family in rural France. The opening is a scene of bucolic tranquillity: “On either side of the narrow road snaking through rich green field, the green of storms and of gras, flowers – enormous, pale-hued, fragile-stemmed flowers – bloom all year round. They run alongside this ribbon of asphalt until it joins up with a path marked by a wooden stake, capped by a sign reading:

YOU HAVE REACHED PARADISE”

We are invited into Paradise, a sprawling farm whose topography is mapped out for us in the first two pages, until we encounter an elderly lady with a long memory standing in the empty pigpen. The idyll is broken in the final line of this first chapter, in a style that will come to be recognisable as one of the contrasts that characterise Coulon’s storytelling: “one beast comes here each morning, to mourn.
Blanche.”

Then a flashback begins, first to a key episode in Blanche’s adolescence and then to her childhood. Presiding over Paradise is Blanche’s grandmother Émilienne, whose dedication to the farm and its occupants – both human and animal – holds the family together and gives them a purpose: in Paradise, “everything began and ended with her.” When her daughter and son-in-law are killed in a car accident on the perilous hairpin bend leading to the farm, Émilienne is left to raise their infant children Blanche and Gabriel. Her own devastation is rarely mentioned: Émilienne is a woman who raises herself up and marches on.

In addition to her grandchildren, Émilienne takes in a young man named Louis who starts to work on the farm after the death of Blanche’s parents. Louis is systematically beaten by his father and one evening flees to Paradise in search of a refuge that he assumed would be only temporary, but which Émilienne calmly makes permanent. Louis becomes her trusted farmhand, as devoted to Paradise as Émilienne is. Paradise is a haven, but also a succubus, a place that lives inside its inhabitants as much as they dwell within it: Émilienne is part of the herd; Louis’ greatest connection to Blanche is their shared attachment to Paradise, “consuming, voracious, untameable”; even Gabriel, the only one who eventually summons up the strength to leave, is cursed with a black tree that had “taken root inside him in early childhood, a tree watered with fury by his parents’ deaths.”

Headstrong Blanche and sickly Gabriel are marked out as different because of their family tragedy, and have few friends at school. Though Gabriel has an interesting story arc in his own right, the focus is on Blanche: this is a girl who circumstances have “turned into a warrior at five years old.” As the children stumble into adolescence, Blanche’s proximity awakens feelings in Louis that she recognises but can never reciprocate – she only has eyes for Alexandre, the golden boy of the class. This is the love story that will raise Blanche up and then knock her down, and which forms the majority of the novel’s intrigue. Alexandre is wholly undeserving of Blanche, an unremarkable man with “big ideas, big dreams and little words” who has erected around himself a hubris of brilliance that fools everyone but Louis. Yet Louis, whose feelings for Blanche are widely known, is assumed to be simply jealous of Alexandre, and all his warnings go unheeded.

The great strength of the narrative is the way in which it builds up the tension towards the dénouement: in reality, years pass with very little happening, yet there is something compulsive about the awareness that something dramatic is looming. The balance between bucolic idyll and emotional and physical ferocity is also a key feature, and one that is particularly well rendered in Kover’s translation. Deep emotions burst out of careful restraint, and in these moments the expression is exquisite (“Her body remained upright through pure reflex, but inside, her whole soul, the soul made up of all the ages she had been, all the experiences she had had, caved in”). Indeed, the entire novel is sensitively translated, particularly the shifts in tone but also the smaller details of vocabulary: the path to Paradise is “pocked with brown puddles”, tiny insects go “skittering” up Blanche’s arms, one character “soils another with shame.”

The feature I most enjoyed about A Beast in Paradise, however, was the question over who the beast is – and what we understand by “beast”. The word appears in various contexts, and the perspectives on monstrosity are extremely clever: I got entirely the wrong idea about who was going to do what to whom, and so as the events developed I found myself spellbound by a story I hadn’t anticipated at all. Most of all, each time I put this book down I really looked forward to getting back to it. A Beast in Paradise is one of those books that reminds you that you don’t have to “relate” to characters – they can be completely different from you, and still draw you in. In particular, the build-up to the final revelation is outstanding, and after I’d finished reading I was left thinking about it for days. This is a story of ordinary lives and extraordinary pain, and a superb English-language debut.

Review: THE LYING LIFE OF ADULTS, Elena Ferrante

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Translated from Italian by Ann Goldstein (Europa Editions, 2020)

I’m going to start this review with a confession: until last month, I had never read anything by Elena Ferrante.

Okay, I’ve got that off my chest.

The Lying Life of Adults is a stand-alone book that has yet to receive the attention and hype of the Neapolitan Quartet: I approached it as a blank slate, hoping for an engaging and engrossing story that would sweep me away into its universe. And, for the most part, that’s exactly what I got.

The Lying Life of Adults is narrated by Giovanna who, at the time the narrative is set, is a thirteen-year-old girl from an affluent family, living in a beautiful home high above Naples. Her parents are successful yet modest, and their house filled with love. Yet this idyllic appearance masks hidden truths that Giovanna unravels slowly after overhearing a chance conversation between her parents that sets her on a path down to the depths of the poorest areas of Naples, where she meets her estranged aunt Vittoria and is drawn into Vittoria’s brash, chaotic and passionate life.

Giovanna’s father, Andrea, distanced himself from a family that he has always depicted as an emotional succubus, determined to control him and hold him back. When Giovanna, on the cusp of an uncomfortable transition into adolescence, overhears him telling her mother that Giovanna is getting “the face of Vittoria”, she becomes obsessed with her appearance, brooding over a genetically unavoidable meanness of spirit that she feels certain is becoming etched on her face so that she will resemble the caricature of the aunt she has never met. Vittoria is presented as a shadowy and malevolent figure who presides over all Giovanna’s childhood fears, and Giovanna’s decision to confront Vittoria does nothing to free her from this reign of terror: instead she is drawn into another version of events, one in which her father is not the honest, kind, upstanding man that she has always believed him to be. Giovanna’s decision is the catalyst for an irrevocable shift in the lives of the whole family: caught between two versions of truth, two versions of Naples, and two versions of herself, Giovanna’s comfortable world will be rocked to its core and life changed forever.

I’ve come to realise that Goldstein favours a translation that lets the original language show through: I confess that syntactical or lexical calques can jolt me out of the storytelling universe, but given how accomplished the rest of the translation is, I can only assume that these are deliberate choices. Conversely, I greatly appreciated Goldstein’s approach to dealing with places and dialect: I much prefer for street names and, for example, the names of dishes or delicacies, to remain in the original language, and this is the method that Goldstein favours. As for the instances of dialect, I don’t know whether or not they appear in Neapolitan dialect in the original text, but Goldstein deals with conversations in dialect very sensitively, avoiding any kind of adaptation and instead dealing with them in a more subtle way (I can’t give examples as I was reading an uncorrected proof, so you’ll just have to either trust me or read it for yourself and see if you agree!)

In short, The Lying Life of Adults offers a maelstrom of affairs, unrequited love, beauty, death, promises broken and appearances shattered – and, to top it all off, a bracelet that could be either a lucky charm or a curse. It is, purely and simply, a “good read” – fun, engaging, but also with some serious edges and reflections on adolescence, relationships, loss of innocence and the shifting notions of “truth” and “memory”, highlighting how these are always subjective and never the same for two people. It’s sure to be a great success, and deservedly so.

Review copy of The Lying Life of Adults provided by Europa Editions

 

Review: Donatella di Pietrantonio, A Girl Returned

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Translated from Italian by Ann Goldstein (Europa Editions, 2019)

A Girl Returned is an intense and affecting account of how a life can change forever in a single day. The unnamed teenage narrator leads a happy and harmonious existence with her affluent parents in a nice neighbourhood of an Italian city. Or, rather, this was her life: it is recounted in flashback, as we meet the narrator when she arrives at a rundown house in the country. This is her new home – though, as we learn, it was in fact her first home. Her parents were living in poverty when she was a baby; they had three older children already, and then found out that the mother was pregnant again. Meanwhile, the refined Adalgisa, wife of the father’s cousin, was miserably childless and wanted a little girl of her own… you can fill in the gaps. Indeed, this narrative is pieced together in half-conversations and the silences between them: the narrator finds herself suddenly transplanted back into the heart of the family who gave her away, unwanted on both sides, and with no idea why her existence has been uprooted so suddenly. She is hampered in her desire to understand by the adults who decide for her that she is too young to know the truth: she is left wondering why her mother gave her up and when she might come to take her back, constructing her own less painful version of reality in the absence of a truth that will be revealed in two key scenes towards the end of the novel.

Meeting the “girl returned” at this pivotal point plunges us straight into the most turbulent moment of our young narrator’s life: “I was thirteen, yet I didn’t know my other mother”, she tells us by way of introduction to her story. Gone is the happy bourgeois life of music lessons, elegant meals, a nice apartment and a full social life – now the girl is sharing a bedroom with three siblings she never knew she had, awakening to the rhythmic sound of her older brothers masturbating and sharing a bed with a younger sister who has yet to master night-time bladder control. Attitudes from the new family range from indifference to overt hostility, and in the village and at school there are frequent displays of resentment towards l’arminuta, the girl returned. She finds an unlikely ally in her older brother Vincenzo, a tearaway who frequently runs away with the gypsies, and he awakens in her the first flames of adolescent desire. Yet he too is wrenched away from her in one of the most painful episodes of the story, and she is left with only her younger sister Adriana for companionship. Adriana is wild and impulsive, but capable of great compassion, and gives depth to a family unit that could otherwise potentially fall into clichés of “rich girl meets poor family who despise her for having opportunities they never had.” Indeed, in a book where the narrator feels so little love and warmth, one of the most remarkable feats is that it spills over with warmth and heart. Donatella di Pietrantonio gives depth and substance to an eclectic cast of characters, many of whom (including l’arminuta herself) remain unnamed. The “other mother” speaks infrequently, and when she does it is in a rural working-class dialect that l’arminuta barely understands. She is “the mother”, “the woman who conceived me” or “the other mother” – always distanced from and by the narrator, who explains that “from the moment I was given back to her, the word “mamma” had stuck in my throat like a frog that wouldn’t jump out.”

One of the reviews on the book cover describes the author’s “feverish prose”, so I was expecting this to be a defining feature of the narrative, but this wasn’t my impression of A Girl Returned. I found it much more considered and languorous, though of course this may be a difference between the original and the translation. Ann Goldstein is, as the blurb notes, Elena Ferrante’s translator: this is marketed as a selling point, and for long stretches, in fact for the majority of the book, the translation is pitched beautifully. I liked the less frenzied pace and delivery, and Goldstein strikes an excellent balance between the intensity of the narrator’s feelings (“she reopened my memory with a lash of the whip”) and the understatement with which certain scenes are narrated (“I was an orphan with two living mothers. One had given me up with her milk still on my tongue, the other had given me back at the age of thirteen.” The occasional flash-forwards that show us the resolution of particular characters’ stories are also offered with a detached melancholy that is all the more moving for remaining unembellished. However, I was frustrated at times with calques from Italian that disrupted the syntax for me or stood out as unusual (second-verb infinitives rather than gerunds, use of nouns where English would use a noun phrase, and some literal translations of vocabulary that do not have the same general field of usage in English). It’s possible that I’m more attuned to such nuances in translations from romance languages, which are my language area, but if the translator is mentioned as one of the reasons why the book is so excellent, then it does invite certain expectations. I imagine that Goldstein has to produce translations under time pressure as she’s so prolific, and if my appreciation seems mitigated, then let me be clear: I loved A Girl Returned. I even loved most of the translation. I hope that other readers will just skim over the words and phrases that made me pause, and I certainly hope that this book will find its way into your hands: it’s a gripping story, a fascinating telling, and will linger in my mind a long while.

Review copy of A Girl Returned provided by Europa Editions

20 books to watch out for in 2020

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2020 looks set to be an exciting year for women in translation: if, like me, you’re thinking about what your reading year will hold in terms of new releases, here are 20 books to look forward to this year by women from around the world. From dystopian alternate realities and speculative fiction to a feminist retelling of ghost stories and wickedly wry reflections on modern life, this is an eclectic and exhilarating mix of personal and political literature that includes novels, short stories, fiction, memoir, autofiction and speculative fiction. Dive in and enjoy!

I have a renewed gift subscription to Tilted Axis Press this year, and so I was excited to see that 2020 looks set to be a bumper year for the press, with five of their six titles (their biggest annual catalogue to date) being by women in translation. I can’t wait for the first release, Matsuda Aoka’s Where the Wild Ladies Are, “a contemporary feminist retelling of traditional ghost stories by one of Japan’s most exciting writers” translated by Polly Barton, and am also impatient for the new Yan Ge novel, Strange Beasts of China, translated by Jeremy Tiang (I loved The Chilli Bean Paste Clan, translated by Nicky Harman for Balestier Press and reviewed here), as well as the UK publication of Duanwad Pimwana’s Arid Dreams, translated from Thai by Mui Poopoksakul. You can read publisher Deborah Smith’s take on all of the 2020 Tilted Axis titles here.

And Other Stories continue to fly the flag for women in translation this year: first off, later this month we can look forward to Rita Indiana’s second novel, Made in Saturn, translated by Sydney Hutchinson. I’m champing at the bit for this; Indiana’s first novel Tentacle, translated by Achy Obejas, was my surprise hit of 2018, and Made in Saturn is described as “a hangover from a riotous funeral, a rapid-fire elegy for the revolutionary spirit, and a glimpse of hope for all who feel eclipsed by those who came before them” – it promises to be as electrifying as Tentacle. Later in the year we can expect the next Lina Wolff, Many People Die Like You, a “wicked, discomfiting, delightful and wry” collection of short stories (translated again by Saskia Vogel, who did a magnificent job with Wolff’s The Polyglot Lovers last year), and a new-to-me Salvadoran writer, Claudia Hernández, whose novel Slash and Burn, “a suspenseful, slow-burning revelation of rural life in the aftermath of political trauma,” is in the very capable hands of Julia Sanches.

Fans of Margarita García Robayo and Selva Almada are in for a treat, as Charco Press are bringing us their next novels! There probably isn’t a corner of the internet where I haven’t professed my love for García Robayo’s Fish Soup (2018); the follow-up is Holiday Heart, a novel about a disintegrating marriage, translated again by the very talented Charlotte Coombe. As for Selva Almada, The Wind That Lays Waste (tr. Chris Andrews) was an excellent debut (and won best first book of the Edinburgh International Book Fair 2019); Almada’s second offering Dead Girls is a journalistic novel about femicide, and the cherry on the cake is that it will be translated by Annie McDermott, whose previous work for Charco is top-notch. Charco will also be publishing the debut novel of Chilean author Andrea Jeftanovic, Theatre of War (tr. Frances Riddle), which marks Jeftanovic’s first appearance in English and Charco’s continued championing of women authors from across Latin America.

In March, Comma Press will be releasing a landmark collection in collaboration with Wom@rts and Hay Festival: Europa28 brings together 28 acclaimed women writers, artists, scientists and entrepreneurs writing about the future of Europe in a “powerful and timely anthology [that] looks at an ever-changing Europe from a variety of different perspectives and offers hope and insight into how we might begin to rebuild.” Sophie Hughes edits with Comma’s Sarah Cleave, and Europa28 features a stellar cast of writers and translators.

And speaking of Sophie Hughes, her translation of Fernanda Melchor’s Hurricane Season for Fitzcarraldo Editions will be released imminently! Hurricane Season is “a formidable portrait of Mexico and its demons” that, I believe, opens with the line “The Witch is dead.” Hurricane Season is one of my most anticipated books of 2020 – this time last year I mistakenly thought it was coming out in 2019, so I’ve been looking forward to it for a looooong time and I CAN’T WAIT. (*update*: I just received my copy, and the first line is not “The Witch is dead”, but it’s even better – if a book can be judged on its first page alone then I can say right now that this is AMAZING). Then in April Fitzcarraldo will be bringing us the next Annie Ernaux, A Girl’s Place (translated by Alison L. Strayer, who also translated The Years) – and will be releasing it on my birthday, no less! Champagne all round.

Elsewhere, we can look forward to the next Samanta Schweblin from Oneworld: Little Eyes, translated by Megan McDowell, is “a chilling portrait of our compulsively interconnected society”, and looks set to be as spine-tingling as Schweblin’s previous work. Earthlings, Sayaka Murata’s second book, is coming in October from Granta Books: Earthlings continues with the theme of outsiders, presenting characters who believe they are not human, and is translated by Ginny Tapley Takemori, who did an excellent job on Murata’s best-selling Convenience Store Woman in 2018. Les Fugitives have kicked off the year with a new novel by award-winning Mauritian author Ananda Devi, The Living Days (translated by Jeffrey Zuckerman), in which white supremacy, desperation and class conflict collide on the streets of London. My 2020 pick from Pushkin Press is Tender is the Flesh by Argentinian author Agustina Bazterrica: translated by Sarah Moses, this chilling-sounding dystopian novel is set in an alternative reality in which it is legal to eat human meat. Sounds horrifying, but I do love dystopian fiction so I’m going to steel myself and dive in…

In less gruesome news, here are three very different French-language books to look out for in translation this year:

Europa Editions UK will be bringing us Valérie Perrin’s Fresh Water for Flowers, translated by Hildegarde Serle: the daily life of a cemetery caretaker is disrupted by a clandestine tribute in the “funny, moving, intimately told story of a woman who believes obstinately in happiness,” while Elisa Shua Dusapin’s Winter in Sokcho, which I enjoyed reading in French last year, is coming from Daunt Books in a translation by Aneesa Abbas Higgins: in this closed-down tourist town on the border between North and South Korea, a young French Korean woman works as a receptionist in a dilapidated guesthouse, and is drawn into a tacit relationship with an unexpected and mysterious guest. Finally, Harvill Secker are offering a new international series of eight books in 2020, kicking it off with All About Sarah, the debut novel by Pauline Delabroy-Allard (translated by Adriana Hunter): this was a literary sensation in France last year, and is described as “an intoxicating and evocative novel about the all-consuming love affair between two women and the ruin it leaves in its wake.”

Fans of German literature will be pleased to know that V&Q Books recently founded an English-language imprint, headed by women in translation champion Katy Derbyshire, and we can expect their first three releases in September. Two of the three are by women: Lucy Fricke’s Daughters (translated by Sinead Crowe) tells the story of “two women, pushing forty, on a road trip across Europe, each of them dealing with difficult fathers along the way”; Sandra Hoffmann’s Paula (translated by Derbyshire herself) is an autofictional account of “the writer’s relationship to her grandmother, a devout Swabian Catholic who refused to reveal who fathered her child in 1946.”

So that’s 20 books for 2020, with doubtless many more exciting releases to come in the course of the year. I’m already wondering whether any of these will make it onto my end-of-year top books of 2020 – in the meantime, happy reading!

20 books to inspire your summer reading

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I’m off on holiday for a couple of weeks, and by the time I return Women in Translation Month will be in full swing. This is an online event that happens every August, and is the brainchild of women in translation advocate Meytal Radzinski, encouraging everyone to read women writers from across the world for the month of August. So I wanted to share some reading recommendations: I’ve selected ten categories with two books in each, so there is something for everyone. Whether you’re a seasoned reader of women in translation or just diving into Women in Translation Month for the first time, I hope you will find something on this list that excites you and makes you want to read more.

Horror:

Things We Lost in the Fire, Mariana Enriquez, translated from Spanish (Argentina) by Megan McDowell, Portobello Books
A collection of spooky, supernatural stories that blur boundaries between reality and horror. Ghosts and demons abound in post-dictatorship Buenos Aires, where women defy tradition and expectation. Perfectly crafted short stories, and utterly terrifying in their ability to slip so deftly from normality to nightmare. Full review.

Fever Dream, Samanta Schweblin, translated from Spanish (Argentina) by Megan MacDowell, Oneworld Books
A frighteningly real supernatural tale; a reflection on – or a warning about – environmental damage, and a terrifying story of power and pain, loss and love. This is a hypnotic novella in which a mother is led inexorably towards an event that will explain why she is lying in a clinic with her life spilling out of her, struggling with her last breaths to save her son from a fate that truly is worse than death. Full review

Experimental:

Flights, Olga Tokarczuk, translated from Polish by Jennifer Croft, Fitzcarraldo Editions
A genre-defying masterpiece about movement, both outside and inside, physical journeys around the world and psychological journeys within oneself, nomadism, spirituality, connections – with places, people, ideas – and a rallying cry against capitalism and consumerism. Not an easy read, but an extraordinarily beautiful one. Full review

Brother in Ice, Alicia Kopf, translated from Catalan by Mara Faye Lethem, And Other Stories
A profound reflection on writing, relationships and self that juxtaposes the inward processing of living with an autistic brother and polar expeditions. It sounds as though it shouldn’t work, but it does: if epic expeditions seem ridiculous – journeys to the most inhospitable reaches of the planet in order to “lay claim” to a space no-one will ever visit – then Kopf turns them around, seeking to understand rather than to conquer, and charting new territory of her own.

Short stories:

Fish Soup, Margarita García Robayo, translated from Spanish (Colombia) by Charlotte Coombe, Charco Press
Two novellas and a collection of short stories present female characters determined to take control of their bodies but corseted in the norms of a society they cannot escape. In “Waiting for a Hurricane”, the narrator despises her home and is increasingly desperate to leave; the collection of short stories “Worse Things” offers snapshots of disintegrating families and bodies; the novella “Sexual Education” is a bitingly hilarious account of sex education at a Catholic girls’ school in 1990s Colombia. Uncomfortably and uncompromisingly brilliant: a gloriously grotesque reinvention of the “anti-heroine”, and a pitch-perfect translation. Full review.

Thirteen Months of Sunrise, Rania Mamoun, translated from Arabic (Sudan) by Elisabeth Jaquette, Comma Press
The first major translation of a Sudanese woman writer. Urgent, thoughtful, occasionally surreal short stories reflecting on love, contingency, broken promises, despair, religion and corruption. Mamoun offers a rich fresco of life that is at once deeply embedded in her culture and universally recognisable: we meet women struggling to support their families, people cast out to the margins by love, by society or by illness, and relationships in many different forms. Full review.

Whimsical:

Memoirs of a Polar Bear, Yoko Tawada, translated from German by Susan Bernofsky, Portobello Books
Three generations of polar bears talk about their lives in this offbeat gem. From the self-reflective memoirist grandmother who narrates the first part, on to her dancing circus performer daughter whose life is chronicled by her trainer in the second section, and finally to the baby polar bear whose first months are recounted in the final part, Yoko Tawada blurs boundaries between human and animal, reality and fiction, love and ownership. Full review

Convenience Store Woman, Sayaka Murata, translated from Japanese by Ginny Tapley Takemori, Portobello Books
Quirky in the best possible way. A woman who cannot fit into society finds her place working in a convenience store, but her happiness there is threatened by the pressure from the world outside to conform to “normality.” Funny and shrewd, this was rapturously received last summer, and if you haven’t yet read it you’re in for a real treat.

Social comment:

Tokyo Ueno Station, Yu Miti, translated from Japanese by Morgan Giles, Tilted Axis Press
A haunting novel about the fate of those on the edge of society: a homeless man dies in Tokyo’s largest park, and finds himself trapped there in the afterlife. His story is intertwined with that of the Imperial family in this sharply observed account of the radical divide between rich and poor. Magical, poetic, beautifully translated, and with a searingly exquisite ending.

City of Jasmine, Olga Grjasnowa, translated from German by Katy Derbyshire, Oneworld Books
City of Jasmine – the title referring to Damascus – is a moving novel of resistance and refuge in the Syrian civil war, following the entangled lives of three young people whose fate is changed forever by the Syrian uprising as they each in their own way oppose the regime and pay the price. A superb story but also a challenge, a wake-up call, a reminder not to be complacent or to think we understand something just because we have seen a version of it on the news. Full review

LGBTQI+:

Disoriental, Négar Djavadi, translated from French (Iran) by Tina Kover, Europa Editions
A sweeping family saga set in twentieth-century Iran, this epic tale of a family dynasty, political asylum and murder is also a personal story of exile and (dis)integration in Europe via narrator Kimiâ’s coming-of-age and her realisation regarding her sexuality (foretold in the coffee grounds read by her Armenian grandmother). During interminable periods of waiting in the relentlessly cheerful waiting room of a Parisian fertility clinic, Kimiâ composes a narrative that is witty, intimate, ambitious, and exceptional in both style and scope.

Tentacle, Rita Indiana, translated from Spanish (Dominican Republic) by Achy Obejas, And Other Stories
A psychedelic voodoo Caribbean Genesis story collides with science fiction and eco-criticism in a furious explosion of colour and poetry. In a dystopian mid 21st-century Dominican Republic, an ecological crisis has turned the sea to sludge and killed most ocean life: an androgynous maid inadvertently holds the key to survival, but to fulfil the prophecy she must become a man with the help of a sacred anemone.  Brutally poetic, experimental, explosive. Full review.

Memoir:

The Little Girl on the Ice Floe, Adélaïde Bon, translated from French by Ruth Diver, Maclehose Press
Adélaïde Bon was a happy, privileged child living a sheltered life in the smartest area of Paris. She was nine years old when a stranger raped her in the stairwell of her building. In this brave and deeply affecting memoir, Bon pieces together the incident that shaped her life, and tries to come to terms with the devastating consequences, to reconstruct the events and so reassemble herself. This stunning book is a quest for truth and for self-love, and an anthem to compassion, humanity and overcoming.

Selfies, Sylvie Weil, translated from French by Ros Schwartz, Les Fugitives
A thoughtful take on a modern obsession that crosses from the visual to the verbal: Weil offers a series of vignettes inspired by self-portraits of women throughout history. Each snapshot describes a self-portrait that evokes for Weil a comparable tableau in her personal memory; she describes this before offering intimate insights of its importance in her life, and weaves in often profound observations on human nature and the difficulties of existence. Full review.

Page-turner:

Waking Lions, Ayelet Gundar Goshen, translated from Hebrew by Sondra Silverston, Pushkin Press
A thriller set in the Israeli desert: a promising young doctor is speeding along in his SUV in the middle of the desert after a long shift, when he hits and kills a man. No-one has seen him. Knowing his life will be over if he reports it, he gets back into his car and drives away. But a woman shows up at his door: she is the wife of the man he killed, and she saw what happened. This tale of secrets, lies, extortion and atonement is a powerful, suspenseful, electrifying read. Full review.

The Unit, Ninni Holmqvist, translated from Swedish by Marlaine Delargy, Oneworld Books
A compelling and dystopian debut novel: Dorrit enters the Second Reserve Bank Unit, a luxury retirement home where she can live out her final years free of financial worry. The catch: residents must donate their organs one by one until the “final donation”. Just when she thinks she has accepted her fate, she falls in love and finds reasons to cling to life. Full review

Non-fiction:

Second-Hand Time, Svetlana Alexeivich, translated from Russian (Belarus) by Bela Shayevich, Fitzcarraldo Editions
Subtitled ‘The Last of the Soviets’, this is an unforgettable polyphonic witness to the tragedies of twentieth-century Russian history: Alexievich interviews and listens to her compatriots as they talk about the history of their country, and reconstruct a painful past through memory. This is an 800-page tome about human suffering, but don’t let that put you off: Nobel prizewinner Alexeivich is an essential read.

The Years, Annie Ernaux, translated from French by Alison L. Strayer, Fitzcarraldo Editions
This ambitious and innovative autobiographical endeavour is a “collective autobiography” that starts from the premise that every memory of every life – from historical atrocity to TV adverts – will vanish at death, and so we must remember, document, and claim a place in the world. This witness to twentieth-century French cultural history told through the life of one woman is a tremendous, poignant, necessary book. Full review

Dystopian:

The Last Children of Tokyo, Yoko Tawada, translated from Japanese by Margaret Mitsutani, Granta Books
In the near future, Japan has closed its borders following an environmental disaster: the elderly are immortal and the children are frail. An old man raises his great-grandson, who may be the only hope for the survival of the young. Winner of the National Book Award’s inaugural prize for literature in translation in 2018.

One Hundred Shadows, Hwang Jungeun, translated from Korean by Jung Yewon, Tilted Axis Press
Set in a condemned electronics market in Seoul, this is both a sweet alternative love story and a chilling horror story. Eungyo and Mujae both work in a slum electronics market earmarked for demolition, and draw closer together as the shadows of the slums’ inhabitants start to rise. Eerie and atmospheric, this is a unique social commentary on the divide between superficial modernity and individual expendability.