Rhys Tranter is a writer based in Cardiff, Wales, UK. He is the author of Beckett's Late Stage (2018), and his work has appeared in the Times Literary Supplement, The Spectator, and a number of books and periodicals. He holds a BA, MA, and a PhD in English Literature. His website RhysTranter.com is a personal journal offering commentary and analysis across literature, film, music, and the arts.
This is not the Booker Prize. Let’s remember that. This is something quite different. The idea of an award named Not the Booker Prize is cheeky: it playfully challenges the prestigious honour of the Booker with a counterfeit alternative, an imitation of the real thing. Or is that going to far? I would suggest that the Not the Booker Prize is not so phoney after all: it simply awards on the basis of different values. Here, we are not looking for books that fit snugly on canonical shelves. Not the Booker Prize is our chance to praise new and alternative voices, writers that colour outside the lines.
With this in mind, what could be a more appropriate winner than Lars Iyer’s Spurious? The clue is in the title, surely. Beautifully awkward and wilfully absurd, Spurious is a short, funny text that celebrates the lowdown and the everyday. If we are feeling generous, we might compare its two protagonists with any number of other haplessly comic duos: Withnail and I immediately springs to mind, or Flaubert’s Bouvard et Pécuchet, or Samuel Beckett’s Mercier and Camier. But we’re already getting off the point – already lunging towards the classics and forgetting what draws us towards Iyer’s book in the first place. If we want texts of high-standing and lofty repute, we already know where to go. But the exchanges that comprise Spurious are something of an antidote, deflating egos and popping grandiose ideas. It’s a book that is, paradoxically, both below and above literary prizes and trinkets. What better candidate, then, for such a mischievous award?