The Writers' Prize

Bartleby

Moderator
Some pieces of information from their site:

The Rathbones Folio Prize is open to all works of literature written in English and published in the UK. All genres and all forms of literature are eligible, except work written primarily for children.
The Prize will be awarded in May for books published in the previous calendar year.

The character and qualities of the prize are shaped by The Folio Academy, an international group of people, primarily writers and critics, who are immersed in the world of books. The Academy plays a decisive role in selecting titles to be considered for the Rathbones Folio Prize shortlist, and each year the judges will be drawn from its number.

Each year, three or five members of the Academy will be invited to judge the Prize

The sole criterion for judgment will be excellence: to identify works of literature in which the subjects being explored achieve their most perfect and thrilling expression.

The winner will be announced at the annual Rathbones Folio Prize ceremony and presented with a cheque for £30,000.


Past shortlisted books and winners:

2014

  • Anne Carson, Red Doc
  • Sergio De La Pava, A Naked Singularity
  • Amity Gaige, Schroder
  • Jane Gardam, Last Friends
  • Kent Haruf, Benediction
  • Rachel Kushner, The Flame Throwers
  • Eimear McBride, A Girl Is a Half-formed Thing
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    George Saunders, Tenth of December


2015

  • Rachel Cusk, Outline
  • Ben Lerner, 10:04
  • Jenny Offill, Dept. of Speculation
  • Yvonne Adhiambo Owuor, Dust
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    Akhil Sharma, Family Life
  • Ali Smith, How to Be Both
  • Miriam Toews, All My Puny Sorrows
  • Colm Tóibín, Nora Webster


2016 - No prize


2017


  • Laura Cumming, The Vanishing Man: In Pursuit of Velazquez
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    Hisham Matar, The Return: Fathers, Sons and the Land In Between
  • China Miéville, This Census-Taker
  • CE Morgan, The Sport of Kings
  • Maggie Nelson, The Argonauts
  • Francis Spufford, Golden Hill
  • Madeleine Thien, Do Not Say We Have Nothing
  • Robin Yassin-Kassab and Leila Al-Shami, Burning Country: Syrians in Revolution and War


2018


  • Elizabeth Strout, Anything Is Possible
  • Sally Rooney, Conversations With Friends
  • Mohsin Hamid, Exit West
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    Richard Lloyd Parry, Ghosts Of The Tsunami: Death and Life in Japan's Disaster Zone
  • Xiaolu Guo, Once Upon A Time In The East: A Story of Growing Up
  • Jon McGregor, Reservoir 13
  • Richard Beard, The Day That Went Missing
  • Hari Kunzru, White Tears



The members of their academy include: Margaret Atwood, John Banville, Pat Barker, Kevin Barry, Sebastian Barry, Elif Batuman, AS Byatt, Peter Carey, Eleanor Catton, Michael Chabon, J. M. Coetzee, Michael Cunningham, Geoff Dyer among many others.

(I thought we had a page for this prize already!)
 
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Bartleby

Moderator
And this year’s longlist was announced:

Can You Tolerate This, Ashleigh Young (Bloomsbury)
The Crossway, Guy Stagg (Picador)
Francis: A Life in Songs, Ann Wroe (Cape)
Ghost Trees, Bob Gilbert (Saraband)
House of Stone, Novuyo Rosa Tshuma (Atlantic)
I Am Dynamite!, Sue Prideaux (Faber)
Land of the Living, Georgina Harding (Bloomsbury)
The Library of Ice, Nancy Campbell (Scribner)
Little, Edward Carey (Aardvark Bureau)
Mary Ann Sate, Imbecile, Alice Jolly (Unbound)
Milkman, Anna Burns (Faber)
Mothers, Chris Power (Faber)
Murmur, Will Eaves (CB Editions)
Normal People, Sally Rooney (Faber)
Ordinary People, Diana Evans (Chatto & Windus)
The Perseverance, Raymond Antrobus (Penned In The Margins)
Red Birds, Mohammed Hanif (Bloomsbury)
There There, Tommy Orange (Harvill Secker)
Us, Zaffar Kunial (Faber)
West, Carys Davies (Granta)


The judges – Chloe Aridjis, Kate Clanchy and Owen Sheers – will next decide on a Shortlist of eight titles, to be announced on Thursday 4 April 2019. The winner of the £30,000 Rathbones Folio Prize will be announced at a gala ceremony on Monday 20 May 2019.
 

Ludus

Reader
I honestly had no idea this prize even existed, thanks for the heads up ?. I've recognized just a few names (Hamid, Saunders, Carson, Mieville) from the nominated writers list. But I was interested to see Chloe Aridjis as a judge, I didn't knew she wrote her books in english. Her father was one of the most renowned poets in 20th century México (I said was not because he is dead, but because he wrote some shitty novels after and that hurt his reputation, but some of his poetry collections are incredible).
 

Bartleby

Moderator
And the shortlist:

Can You Tolerate This, Ashleigh Young
The Crossway, Guy Stagg
Mary Ann Sate, Imbecile, Alice Jolly
Milkman, Anna Burns
Ordinary People, Diana Evans
The Perseverance, Raymond Antrobus
There There, Tommy Orange
West, Carys Davies
 

Bartleby

Moderator
And The Perseverance by Raymond Antrobus won this year’s prize. It’s a poetry book in which the author uses his experiences of deafness to explore human communication.
 

Bartleby

Moderator

Bartleby

Moderator
I’ve read about these books and the ones that made me want to read them very much were Victory, and On Chapel Sands.

I’m yet unsure about the Lerner (has anyone here read him?), and I’m keen on reading some of the stories in Grand Union; I like Smith’s style in general, but this book seems to be quite uneven.
 

Americanreader

Well-known member
I really liked Story of My Teeth, and Tell Me How it Ends, but I couldn't get through Luiselli's new book, it just lacked the momentum, and inventiveness of her other books.
 

Verkhovensky

Well-known member
I don't understand why this "hate" towards Luiselli. I loved her first novel (I suppose that is Faces in the Crowd in English translation) and she looks like young, relatively prolific and serious writer.

Also, she's kinda cute too.
 

Bartleby

Moderator
It’s less a hatred towards Luiselli herself than to this novel, from what I’ve read of it. I still want to read Story of my Teeth, which was when I first heard of her and the book was really well spoken of then, here at least. Perhaps I even end up giving this one a try if someone here does so and recommend it. But it met some detractors both from the the public (who were basically apologising from not having appreciated it as much as they thought they ought to due to the subject matter — it’s pathetic, really) and critics (who were harsher). And it was basically some quotes I found from the book in which the narrator muses about not being worthy of telling the immigrant children’s stories for it's not her experience, and therefore not her right to tell it:
Political concern: How can a radio documentary be useful in helping more undocumented children find asylum? Aesthetic problem: On the other hand, why should a sound piece, or any other form of storytelling, for that matter, be a means to a specific end? I should know, by now, that instrumentalism, applied to any art form, is a way of guaranteeing really [bad] results: light pedagogic material, moralistic young-adult novels, boring art in general. Professional hesitance: But then again, isn’t art for art’s sake so often an absolutely ridiculous display of intellectual arrogance? Ethical concern: And why would I even think that I can or should make art with someone else’s suffering? Pragmatic concern: Shouldn’t I simply document, like the serious journalist I was when I first started working in radio and sound production? Realistic concern: Maybe it is better to keep the children’s stories as far away from the media as possible, anyway, because the more attention a potentially controversial issue receives in the media, the more susceptible it is to becoming politicized, and in these times, a politicized issue is no longer a matter that urgently calls for committed debate in the public arena but rather a bargaining chip that parties use frivolously in order to move their own agendas forward. Constant concerns: Cultural appropriation ............ who am I to tell this story, micromanaging identity politics, heavy-handedness, am I too angry

so it’s basically all this pc bs that turned me off about it.

I can’t help but think she’s milking this controversial topic at precisely the right time knowing the topic itself would act as a shield against her shortcomings simply because of the chosen subject.

I should have a go with it anyway, as part of my project to read the folio prize winners, and the Luiselli might actually turn out to be good? Well, sometimes it’s a good thing to see your preconceptions turned around into a pleasantly rewarding experience.



I hope it’s a joke, for to me she looks kinda horrid in this pic in particular - I’ve seen her looking handsome in some others to be fair.
 
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Verkhovensky

Well-known member
I hope it’s a joke, for to me she looks kinda horrid in this pic in particular - I’ve seen her looking handsome in some others to be fair.

Well, I guess ancient Romans were right when they said de gustibus non disputandum est, as I am not joking and I picked this picture in particular because I liked it the most amongst the images I found on Google :D

Anyway, haven't knew anything about this new book. It's sad if she really decided to write PC propaganda pieces without much literary merit. :(
 

Ludus

Reader
It's not really hate, at least from my part. Just a general disinterest towards her writing. I read her first book of essays (Papeles Falsos) and it was good, although not impressive. But writers and critics here in México said it was the best book of the year, and I say bullshit to that. Then, more books of her started coming out with lots of praise, and I'm afraid to read another well regarded book of hers and find it dull again. Maybe I'm missing out on something extraordinary, but that's what people told me about Papeles Falsos and it turned out to be just another good book and nothing else.

I feel that Mexican literature in general has been so mediocre in the last years that any young writer who has a reasonable domain of the Spanish language (and has powerful friends in the literary spheres) is very high regarded without putting in the effort of writing something extraordinary. Maybe when she turned to English things changed. Maybe when I read Tell Me How It Ends I change my mind.
 

Daniel del Real

Moderator
Everything on Luiselli has always been public relations. First, she's married to the writer Alvaro Enrigue, who although is not a great writer he has some good stuff and is way better than her. Second she has the looks which has always helped her and a good publisher in Sexto Piso given her more notoriety than the one she deserves. She has been living for a while in New York where she has built a good networking in order to get her books translated to English and advertised in a proper way, including her appearance in long or shortlists for some prizes. Suddenly she shifts language and start writing in English, which is not a loss at all as her prose in Spanish was quite mediocre and dull; it was like reading a barely decent chronicle in a magazine, a Reader's digest type of work. And now, writing in in English, she enrolls in this flag of accusing US government and defending migrants, inspiring herself in the children separated from her parents at the border when she was never known to be a defender of social causes or a fighter against injustices or in favor of the oppresed.
Overall, she is just a poser and a very mediocre writer. And yes, I do hate her.
 
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Daniel del Real

Moderator
I feel that Mexican literature in general has been so mediocre in the last years that any young writer who has a reasonable domain of the Spanish language (and has powerful friends in the literary spheres) is very high regarded without putting in the effort of writing something extraordinary.

I agree. Current panorama por Mexican literature is just incredibly poor. Just to think Valeria Luiselli, Antonio Ortuño, Elmer Mendoza, Enrique Serna or Carlos Velázquez represent our literature makes me wanna throw up.
 
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