The O. Henry Prize Collection / The Best Short Stories 2022
The O. Henry Prize Winners
(Sprache: Englisch)
The O. Henry Prize winners contains twenty prizewinning stories chosen from the thousands published in magazines over the previous year.
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The O. Henry Prize winners contains twenty prizewinning stories chosen from the thousands published in magazines over the previous year.
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from the Introduction by Valeria Luiselli A little over a century ago, in 1919, the first O. Henry series editor, Blanche Colton Williams, explained in an introduction much like this one that the committee of the newly created O. Henry Prize had agreed upon these two seemingly simple rules: the story must be the work of an American author, and must first appear in 1919 in an American publication. One hundred years later one hundred and two, to be precise during what seemed like an eternal second wave of the COVID pandemic, I was asked to guest-edit the following year s iteration of the O. Henry Prizes. One fundamental thing had changed about the prize over the years: the clause American author had been replaced by simply author, and just last year the prize became open to work in translation. That alone was reason enough for me to accept.
What had seemed like a simple rule, American author/American publication, had, over the years, accumulated a number of absurd consequences, such as the automatic exclusion of foreign-born authors who had been living, sometimes entire lifetimes, in the United States, or, simply, the exclusion of authors who were published and read widely in the United States and therefore formed part of the literary culture except that they didn t have a U.S. birth certificate. This exclusion of course persists, even today, in several national prizes.
The idea of a national literature as a monolithic, pure, uncontaminated collection of work by people who hold the same passport is ludicrous. Imposing upon literature rules written in some government office, in a nation s obscure and labyrinthine immigration system, is not only absurd but simply contrary to the very nature of literature. And part of that nature is to travel across borders, despite borders. We write and read not in order to engage with an idea of nationhood but to engage with the human soul and human stories more generally. But somehow we continue to nod to the
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arbitrary consensus of national literature, just as we forget that American means from the continent named America and not just from one country within the continent. (Perhaps, in the not-too-distant future, the Best American series will seize the opportunity their name contains and include work by authors from the entire American continent.) In any case, that the O. Henry decided to do away with its national clause is, I hope, part of a wider trend in understanding literature and the literary ecology as a complex, beautifully messy thing and not one that fits neatly in the pages of a passport. A movement in this direction is surely overdue and particularly needed after these past years of xenophobia, hate, and an asphyxiating nationalist discourse that certainly did not make America anything but more isolated and lonely.
I spent the second half of the year 2021 reading a selection of eighty stories, published in a wide array of journals. Of the eighty stories I was sent, twenty were translated from other languages. The ratio was not ideal, but it was not bad, considering that still today, only approximately 3 percent of the books published in the United States are in translation. (I imagine that in literary magazines, unless they are specifically devoted to seeking out translated work, the number is even lower.) Editors acquire far less material in foreign languages, either because most are still monolingual and cannot base their decisions on directly reading originals, or because they believe that the niche for work in translation is smaller and less profitable, or because there are a number of unconscious biases at play or a combination of all of the above. Of the twenty stories in foreign languages, ten made it to this anthology a number I could be pro
I spent the second half of the year 2021 reading a selection of eighty stories, published in a wide array of journals. Of the eighty stories I was sent, twenty were translated from other languages. The ratio was not ideal, but it was not bad, considering that still today, only approximately 3 percent of the books published in the United States are in translation. (I imagine that in literary magazines, unless they are specifically devoted to seeking out translated work, the number is even lower.) Editors acquire far less material in foreign languages, either because most are still monolingual and cannot base their decisions on directly reading originals, or because they believe that the niche for work in translation is smaller and less profitable, or because there are a number of unconscious biases at play or a combination of all of the above. Of the twenty stories in foreign languages, ten made it to this anthology a number I could be pro
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Inhaltsverzeichnis zu „The O. Henry Prize Collection / The Best Short Stories 2022 “
Foreword by Jenny Minton Quigley, series editorIntroduction by Valeria Luiselli, guest editor
“Screen Time,” by Alejandro Zambra,
translated from the Spanish by Megan McDowell
“The Wolves of Circassia,” by Daniel Mason
“Mercedes’s Special Talent,” by Tere Dávila,
translated from the Spanish by Rebecca Hanssens-Reed
“Rainbows,” by Joseph O’Neill
“A Way with Bea,” by Shanteka Sigers
“Seams,” by Olga Tokarczuk,
translated from the Polish by Jennifer Croft
“The Little Widow from the Capital,” by Yohanca Delgado
“Lemonade,” by Eshkol Nevo,
translated from the Hebrew by Sondra Silverston
“Breastmilk,” by ‘Pemi Aguda
“The Old Man of Kusumpur,” by Amar Mitra,
translated from the Bengali by Anish Gupta
“Where They Always Meet,” by Christos Ikonomou,
translated from the Greek by Karen Emmerich
“Fish Stories,” by Janika Oza
“Horse Soup,” by Vladimir Sorokin,
translated from the Russian by Max Lawton
“Clean Teen,” by Francisco González
“Dengue Boy,” by Michel Nieva,
translated from the Spanish by Natasha Wimmer
“Zikora,” by Chimamanda Ngozi Adichie
“Apples,” by Gunnhild Øyehaug,
translated from the Norwegian by Kari Dickson
“Warp and Weft,” by David Ryan
“Face Time,” by Lorrie Moore
“An Unlucky Man,” by Samanta Schweblin,
translated from the Spanish by Megan McDowell
Autoren-Porträt
VALERIA LUISELLI was born in Mexico City and grew up in South Korea, South Africa, and India. She is the author of two essay collections and the novels Faces in the Crowd, The Story of My Teeth, and The Lost Children Archive. The recipient of a MacArthur “Genius Grant,” two Los Angeles Times Book Prizes, an American Book Award, and the 2021 Dublin Literary Award, she has also been nominated twice for the National Book Critics Circle Award and three times for the Kirkus Prize. She is a National Book Foundation “5 Under 35” honoree and the recipient of a Bearing Witness Fellowship from the Art for Justice Fund. Her work has been translated into more than twenty languages.JENNY MINTON QUIGLEY is the author of a memoir, The Early Birds, and editor of the anthology Lolita in the Afterlife. She lives in West Hartford, Connecticut, with her husband, sons, and dogs.
Bibliographische Angaben
- 2022, 368 Seiten, Masse: 12,9 x 20 cm, Kartoniert (TB), Englisch
- Herausgegeben: Valeria Luiselli, Jenny Minton Quigley
- Verlag: ANCHOR
- ISBN-10: 059346754X
- ISBN-13: 9780593467541
- Erscheinungsdatum: 01.09.2022
Sprache:
Englisch
Pressezitat
"Widely regarded as the nation's most prestigious awards for short fiction." The Atlantic MonthlyThese stories surprise and illuminate. Publishers Weekly
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