NOW I SURRENDER, La Frontera's history told very differently...on the 2026 Longlist for the National Book Award for Translated Literature

NOW I SURRENDER
ÁLVARO ENRIGUE (tr. Natasha Wimmer)
Riverhead Books (non-affiliate Bookshop.org link)
$14.99 ebook, available now

On the 2026 Longlist for the National Book Award for Translated Literature

Rating: 4.5* of five

The Publisher Says: A visionary novelist imagines the fiercely fought end of an epoch of almost unimaginable freedom and radically recasts the story of how the West was “won.”

In the contested borderlands between Mexico and the United States, a woman flees into the desert after a devastating raid on her dead husband’s ranch. A lieutenant colonel in service to the fledgling Republica, sent in pursuit of cattle rustlers, discovers he’s on the trail of a more dramatic abduction. Decades later, with political ambitions on the line, the American and Mexican militaries try to maneuver Geronimo, the most legendary of Apache warriors, into surrender. In our own day, a family travels through the region in search of a truer version of the past.

Orchestrated with a stunningly imagined cast of characters, both historical and purely fictional, their storylines playing out in multiple eras, Now I Surrender is Álvaro Enrigue’s most expansive and impassioned novel yet. Part epic, part alt-Western, it weaves past and present, myth and history, into a searing elegy for a way of life that was an incarnation of true liberty—and an homage to the spark in us that still thrills to its memory.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: Yes, it felt to me like the narrator was a self-insert, was a bit showoffy in a story that honestly was not in need of ornamentation; just add footnotes and this is a non-fiction corrective to settler colonialism's lying mythmaking. Funny how when a rotten to the core politico needs a way to juice his polling before a rough election battle it's always at the cost of a darker skinned man being sold a bunch of bullshit about making peace and meaning murder (his, not the politico's) and it's frankly weird how often Florida is involved either directly like Alligator Alcatraz or indirectly like Geronimo learned. I'm stunned by how little imagination it takes to dupe people who don't learn even the lies and half-truths they're sold. Reuse threats even names and the audience is inclined to shrug at most, lap it up at least.

The violence of the events of how the West was "won" is breathtaking. Author Enrigue does not soft-pedal its stomach churning reality. It was the stuff of public record at the time, why lie about what "They" were clearly proud of? And speaking of "Them," it is one of Author Enrigue's narrative tactics to reduce characters to labels, the colonel or the warrior or suchlike in paragraphs lacking quotation marks or certain kinds of line breaks...heads up. I know many of y'all really hate when authors do that. It's in service of a teaching. It's not really important to have a family or personal name for a cog in the machine of treachery theft and genocide, and equally unhelpful to present a victim's personal data like that because it's not how their murderers victimizers abusers see them. They're not even important enough to the thieves to merit numbers tattooed on their arms.

When names are give it is to reinforce what is lost in their extermination. Otherwise it's cultural extirpation's great success to use labels. The terrible cost, the awful price, the nightmare of depersonalization and dehumanization...all, at every turn, reinforced and durable in its suffocating rage-baiting cruelty and pointless judgment.

The 2026 longlist for the National Book Award for Translated Literature is *stacked* with good reading. Start here.

FALSE WAR, Cuban author's polyphony mirrors diaspora

FALSE WAR
CARLOS MANUEL ÁLVAREZ (tr. Natasha Wimmer)
Graywolf Press (non-affiliate Bookshop.org link)
$9.99 ebook, available now

Rating: 4* of five

The Publisher Says: An ambitious, panoptic novel about exile as both condition and state of being by a major young Cuban writer

The characters in False War are ambivalent castaways living lives of deep estrangement from their home country, stranded in an existential no-man’s land. Some of them want to leave and can’t, others do leave but never quite get anywhere.

In this multivoiced novel, employing a dazzling range of narrative styles from noir to autofiction, Carlos Manuel Álvarez brings together the stories of many people from all walks of life through a series of interconnected daisy chains. From Havana to Mexico City to Miami, from New York to Paris to Berlin, whether toiling in a barber shop, roaring in Yankee Stadium, lost in the Louvre, intensely competing in a chess hall in Cuba, plotting a theft, or on a junket for émigré dissidents in Berlin, these characters learn that while they may seem to be on the move, in reality they are paralyzed, immersed in a fake war waged with little real passion.

The fractured narrative, filled with extraordinary portraits of ordinary people, reflects the disintegration that comes from being uprooted. At the same time it is full of tenderness, moments of joy and profound release. False War confirms Carlos Manuel Álvarez as one of the indispensable voices of his generation in Latin American letters.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: Complex narrative told in multiple styles...it requires paying attention...but like the most exciting stories, it repays you with an interlocking puzzle of identities giving a full-color image of exile.

Few times do you get a challenge set you in a long reading life that feels both longer, for its richness, and shorter, for its fascinating concise storytelling across styles, than its page count. Yes, there are a lot of people talking to you; yes, they act as though you're in medias res with them. You will be.

What a bunch these people are! Petty crime, grand theft (there are tech workers everywhere), music makers...all united by the fact of leaving Cuba, their home, for all sorts of reasons. All twine around the central narrative of the writer creating the novel from the stories he's been, is being, told, then telling us: "And right now, reader, neither you nor I can know what it is I’m thinking about this book you’re holding (your right now is not the same as my right now; the right now is always tragically different from the right now of writing)."

Shades of the time slices so beloved of physicists explaining why there is no now due to relativity! Part of that disorienting purpose is also served by the polyphony's voices being labeled, like the time slices needing labels (Observer A, Observer B), and others being job titles, others still (most disorientingly, are they real or invented?) receiving normal names.

The Cuban diasporas having left over the course of sixty years, they are often strangers to each other as much as the places they're staying. A man who learned his dance moves in the 1970s has little chance of making a good showing in a crowd who learned theirs thirty years later;but they're all united by the one main identity: Cuban Exile.

In braiding the many voices telling the different stories of why, of how, of that moment when, exile was the solution, Author Álvarez via Translator Wimmer has handed us the kaleidoscope with no instructions on how to use it. Twisting it a bit to that side, into shade, away from blinding searchlights, Author Álvarez takes your eyeline with him, letting you hold the device but showing you *his* pretty colors.

Made of the numerous rays in the story, he's found beauty in hard and endless toil...to fit in? to stand out? to find, lose, escape, respond? to the endlessness of crafting an identity.