section_path: Criticism/Nationality-based criticism
section_name: Nationality-based criticism
paragraph_text: Nationality-based criticism
  
  The prize's focus on European men, and Swedes in particular, has been the subject of criticism, even from Swedish newspapers. The majority of laureates have been European, with Sweden itself receiving more prizes (8) than all of Asia (7, if Turkish Orhan Pamuk is included), as well as all of Latin America (7, if Saint Lucian Derek Walcott is included). In 2009, Horace Engdahl, then the permanent secretary of the Academy, declared that "Europe still is the centre of the literary world" and that "the US is too isolated, too insular. They don't translate enough and don't really participate in the big dialogue of literature."
  
  In 2009, Engdahl's replacement, Peter Englund, rejected this sentiment ("In most language areas... there are authors that really deserve and could get the Nobel Prize and that goes for the United States and the Americas, as well") and acknowledged the Eurocentric nature of the award, saying that, "I think that is a problem. We tend to relate more easily to literature written in Europe and in the European tradition." American critics are known to object that those from their own country, like Philip Roth, Thomas Pynchon, and Cormac McCarthy, have been overlooked, as have Latin Americans such as Jorge Luis Borges, Julio Cortázar, and Carlos Fuentes, while in their place Europeans lesser-known to that continent have triumphed. The 2009 award to Herta Müller, previously little-known outside Germany but many times named favourite for the Nobel Prize, re-ignited the viewpoint that the Swedish Academy was biased and Eurocentric.
  
  The 2010 prize was awarded to Mario Vargas Llosa, a native of Peru in South America, a generally well-regarded decision. When the 2011 prize was awarded to the Swedish poet Tomas Tranströmer, permanent secretary of the Swedish Academy Peter Englund said the prize was not decided based on politics, describing such a notion as "literature for dummies." The Swedish Academy awarded the next two prizes to non-Europeans, Chinese author Mo Yan and Canadian short story writer Alice Munro. French writer Patrick Modiano 's win in 2014 renewed questions of Eurocentrism; when asked by The Wall Street Journal "So no American this year, yet again. Why is that?", Englund reminded Americans of the Canadian origins of the previous year's recipient, the Academy's desire for literary quality and the impossibility of rewarding everyone who deserves the prize.