Tim Parks, Your English Is Showing

If one suggests that the international literary market is also a power game where different nations set their cultural and political might against each other in bestseller lists and international prizes, one inevitably arouses a certain amount of hostility from those who like to think of literature as operating in a more idealized world of noble aspiration and expression. The hostility intensifies if one seeks to exemplify one’s ideas with reference to individual writers, to the point that I fear that my recent piece on Jonathan Franzen and the Swiss writer Peter Stamm may have generated more heat than light. At the risk, then, of turning down the heat without exactly achieving a blaze of illumination, let me offer a more general word about present developments in the international spaces where contemporary novels from different countries vie for attention.

Pieter Bruegel the Elder: Tower of Babel, c. 1563 (Kunsthistorisches Museum, Vienna)

Tim Parks, Your English Is Showing

If one suggests that the international literary market is also a power game where different nations set their cultural and political might against each other in bestseller lists and international prizes, one inevitably arouses a certain amount of hostility from those who like to think of literature as operating in a more idealized world of noble aspiration and expression. The hostility intensifies if one seeks to exemplify one’s ideas with reference to individual writers, to the point that I fear that my recent piece on Jonathan Franzen and the Swiss writer Peter Stamm may have generated more heat than light. At the risk, then, of turning down the heat without exactly achieving a blaze of illumination, let me offer a more general word about present developments in the international spaces where contemporary novels from different countries vie for attention.

Pieter Bruegel the Elder: Tower of Babel, c. 1563 (Kunsthistorisches Museum, Vienna)

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