Ahmed Saadawi’s 2015-prize-winning ‘Frankenstein in Baghdad’ is also forthcoming early next year, translated by Jonathan Wright.
International Prize for Arabic Fiction (IPAF)
2017 International Prize for Arabic Fiction Longlist Showcases Region’s ‘Struggles and Defeats,’ ‘Hopes and Dreams’
The International Prize for Arabic Fiction announced its 2017 longlist this morning. Perhaps the biggest surprise is that women make up a majority of the judging panel, which is chaired by internationally acclaimed novelist Sahar Khalifeh.
20 Books You Might See on 2017 International Prize for Arabic Fiction Longlist, To Be Announced Today
According to organizers, we can look for the sixteen-book longlist and names of the five judges around 9 a.m. GMT. Meanwhile, ArabLit throws out twenty guesses.
Lebanese novelist Jana Elhassan found both her second and third novels on the shortlist for the International Prize for Arabic Fiction (IPAF). Her third, The Ninety-ninth Floor, was translated to English by Michelle Hartman and published by Interlink last month: Also last… Read More ›
So, from the 2018 Prize year onwards, IPAF organizers are introducing a new “quota system” that privileges large and established publishers, whereby the number of books each publisher can submit “will depend on that publisher’s inclusion in longlists over the previous five years[.]”
In 2011, The Dove’s Necklace was co-winner of the International Prize for Arabic Fiction.
“Al-Madhoun, whose 2010 novel The Lady of Tel Aviv was also shortlisted for the IPAF, builds on the themes and characters of that earlier novel with Destinies.”
“[O]ut of the six Arabic novels selected for the ‘Arabic Booker’ shortlist, five were published in Lebanon.”
“Half have some previous IPAF connection: There are two books by authors who’ve formerly participated in IPAF nadwas, or workshops (Mohamad Rabie and Shahla Ujayli) and one formerly shortlisted novelist (Raba’i al-Madhoun, for his ‘The Lady from Tel Aviv’).”
The announcement ceremony will be held at Muscat’s Cultural Club.
“If it were not for the failure of the January 2011 revolution, I wouldn’t have written the novel. All the ideas in the novel are built around its failure.”
“I think that the acts of confiscating Arab works, the repeated banning and confiscation of literary and intellectual works and the ongoing intimidation of Arab writers, as well as social censorship practiced by ordinary individuals on one another in Arab societies were the main inspiration.”