Elisabeth Åsbrink is a journalist and author. Her parents were Hungarian and English, and she was born and raised in, and now lives in, Sweden. Her previous books have won the August Prize, the Danish-Swedish Cultural Fund Prize, and Poland's Kapuscinski Prize. 1947 (the first of her books to be published in English, by Scribe in 2017) won the prestigious Letterstedt Prize, was translated into 19 languages, and was published in the UK, Australia, the USA, Italy, France, Germany, Spain, Brazil, South Korea, Poland, Denmark, Finland, and Norway, among others. Her latest book is Made in Sweden. Fiona Graham is a British literary translator, editor, and reviewer who has lived in Kenya, Germany, the Netherlands, Luxembourg, Nicaragua, and Belgium. Her recent translations include Elisabeth Åsbrink’s 1947: when now begins, an English PEN award-winner longlisted for the Warwick Women in Translation Prize and the JQ Wingate Prize, and Torill Kornfeldt’s The Unnatural Selection of Our Species.
‘Extraordinarily inventive and gripping, a uniquely personal
account of a single, momentous year.’
*Philippe Sands, author of East West Street*
‘Elisabeth Åsbrink’s lucid and vivid narrative exposes the reader
to the anxious dilemmas of refugees, the calculations of lawyers in
tribunals, the ennui at cocktail parties, the
cynical strategies in negotiating halls, the devastating
impacts on people's lives, and reveals how our modern era was
shaped … An outstanding work, history as it should be told.’
*Salil Tripathi, Chair of the PEN International Writers in
Prison Committee, and author of The Colonel Who Would Not
Repent*
‘This is history as a series of eclectic snapshots of events and
episodes and people, from the Nuremberg Trials to the partition of
India, during a year in which the world tried to redefine its hopes
and come to terms with its failures: and it makes for fascinating,
disquieting, lively, and often surprising reading.’
*Caroline Moorehead, author of Village of Secrets*
‘Gripping, overwhelming, and completed with such stylistic and
factual consistency that you almost lose your breath. It does not
happen often, but occasionally: good journalistic craftsmanship
rises and becomes great literature.’
*Sydsvenska Dagbladet*
‘Elisabeth Åsbrink has written a book about history that
distinguishes itself from many other history books by its poetic
beauty … 1947 is as much an adept history book as it is a beautiful
and well-written piece of fiction. Read it!’
*Svenska Dagbladet*
‘If you don't get your hands on this book you will miss out not
only on a historically meaningful year, but also on a strong
reading experience.’
*Jönköpings-Posten*
‘You get a piece of a life in your hands. There is something here
that you seldom find in young Swedish prose … It is beautifully
told. Dark, but beautiful.’
*Dagens Nyheter*
‘An intriguing account of a number of significant events which
occurred in a year when the world was beginning to come to terms
with the fallout from the Second World War … Åsbrink deftly brings
together the tangle, the mess, the aspirations, and the
disappointments which characterized the period and which for her
resonate personally through her family history.’
*Rosemary Ashton, author of One Hot Summer: Dickens, Darwin,
Disraeli, and the Great Stink of 1858*
‘A skillful and illuminating way of presenting, to wonderful
effect, the cultural, political, and personal history of a year
that changed the world.’
*Kirkus Reviews*
‘Åsbrink’s elegant prose (translated by Fiona Graham) offers a
lyrical history of a year that seems both recent and ancient.’
*The Spectator*
‘Like an image created from a thousand juxtaposed pixels, Åsbrink
builds a cumulative picture of 1947 … Less a work of history, her
book is more like an ingeniously constructed novel.’
*The Jewish Chronicle*
‘Åsbrink works with great subtlety, allowing us to make our own
judgments and trace any parallels or echoes with the present. Fiona
Graham deserves credit for her remarkable translation.’
*The National*
'Utterly fascinating.'
*Rick O'Shea*
‘[A]n extraordinary achievement.’
*The New York Times*
‘[Åsbrink’s] careful juxtaposition of disparate events highlights
an underlying interconnectedness and suggests a new way of thinking
about the postwar era.’
*The New Yorker*
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