Why You Haven’t Heard of Patrick Modiano, Winner of the Nobel in Literature
Megan Gibson @MeganJGibson
Oct. 9, 2014
A French novelist just won the most prestigious literary prize in the world, but many English-speaking book lovers haven't read him
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So why does it seem that so few in the English-speaking world have actually read his work? Though the Swedish Academy has always seemed to swing between wildly popular writers (William Golding, Gabriel García Márquez and Toni Morrison) and those who are more niche (Eyvind Johnson and Harry Martinson), this year’s choice seemed to have confused even the most well-read. Soon after Modiano’s name was announced, much of the literary world — including critics — took to social media in order to ask, essentially, “Who?”
The puzzlement could have to do with the fact that despite Modiano’s prolific output — with more than 30 books and screenplays to his name — less than a dozen of his works have been translated into English, and even several of those are now out of print. Even Englund noted that many people outside of France would likely be unfamiliar with Modiano and his work. “He is well-known in France, but not anywhere else,” he said in an interview on Thursday, before recommending that newcomers should start with the English-translated novel Missing Person.
This is not the first time that the Swedish Academy has left scores of readers in the English-speaking world puzzling over the winner or, perhaps, even privately worrying about their own literary credentials. In 2009, when the Romanian-born German novelist and essayist Herta Müller was awarded the prize, many people were unfamiliar with both her work and her name. Literary critic and Yale professor Harold Bloom told the Washington Post, “[I have] nothing to talk about because I have never heard of this writer” when he was asked to comment on Müller’s win. And, like Modiano, only a fraction of her work had been translated into English, though the New York Times also noted at the time, that “[e]ven in Germany, Ms. Müller is not well known.”
The scene was something of an echo of 2004, when Austrian novelist and playwright Elfriede Jelinek was named the Nobel winner in recognition for her “musical flow of voices and countervoices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society’s clichés and their subjugating power.” Yet many state-side announcements of her win made sure to note her low-profile outside the German-speaking world.
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