Three Percent has the fiction shortlist for the Best Translated Book Award 2010.

Christopher Reid wins the Costa Book of the Year Award.

Mainichi Daily News reports that Joh Sasaki and Kazufumi Shiraishi share the 142nd Naoki Prize.

“The moment I thought I might be a novelist, that was when my luck ran out,” the younger Shiraishi jokingly recalled.

The fiction longlist for the 2010 Best Translated Book Awards is available at Three Percent.

In The Atlantic, Alice Sebold contemplates literary awards.

Columbia University announces the 2009 Pulitzer Prize winners.

At the Guardian, Alison Flood reports that Seamus Heaney is the winner of the David Cohen prize for literature.

Salon has Haruki Murakami’s acceptance speech for the Jerusalem Prize for the Freedom of the Individual in Society.

Three Percent announces its Best Translated Book Award winners.

At the Guardian, Alison Flood reports that Paul Auster finds himself a contender for this year’s Arthur C. Clarke award for science fiction.

In n+1’s new book review supplement, Darryl Lorenzo Wellington describes judging Amazon’s Breakthrough Novel contest.

In Prospect, Tom Chatfield examines literature’s prize culture.

At a lean time for everyone in the print industry, it doesn’t do to bite one of the few hands that’s left feeding you. But the increasingly interchangeable (and arbitrary) feel of each literary event in the calendar cannot serve the long-term interests of a trade that ultimately relies on fresh talent, readers and ideas for its survival.

It’s a troubling, self-destructive trend—and one that may yet see shopping for serious literature driven entirely online.

Three Percent announces the twenty-five titles on its longlist.

In terms of criteria, we only considered original titles published (or released) in the U.S. in 2008. No retranslations, no reprints, no paperbacks of previously published hardcovers were eligible. And what we’re looking for is the best translated book, not just the best translation.

In the Guardian, Richard Lea reports the winners of France’s Goncourt and Renaudot prizes.

The Guardian’s article on the value of prize-giving opens with a provocative broadside:

The culture of prize-giving has gone mad. It has replaced the art of criticism in determining cultural value and shaping public taste.