Posts by Sarah Moses

Weekly Dispatches from the Frontlines of World Literature

Updates from Brazil, Argentina, Germany, and Austria

Would you believe we have already reached the end of January? We’ve already brought you reports from eleven different nations so far this year, but we’re thrilled to share more literary news from South America and central Europe this week. Our Editor-at-Large for Argentina, Sarah Moses, brings us news of literary greats’ passing, while her new colleague Maíra Mendes Galvão covers a number of exciting events in Brazil. Finally, a University College London student, Flora Brandl, has the latest from German and Austrian.

Asymptote’s Argentina Editor-at-Large, Sarah Moses, writes about the death of two remarkable authors:

The end of 2016 was marked by the loss of Argentinian writer Alberto Laiseca, who passed away in Buenos Aires on December 22 at the age of seventy-five. The author of more than twenty books across genres, Laiseca is perhaps best known for his novel Los Sorias (Simurg, 1st edition, 1998), which is regarded as one of the masterworks of Argentinian literature.

Laiseca also appeared on television programs and in films such as El artista (2008). For many years, he led writing workshops in Buenos Aires, and a long list of contemporary Argentinian writers honed their craft with him.

Some two weeks after Laiseca’s passing, on January 6, the global literary community lost another great with the death of Ricardo Piglia, also aged seventy-five. Piglia was a literary critic and the author of numerous short stories and novels, including Respiración artificial (Pomaire, 1st edition, 1980), which was published in translation in 1994 by Duke University Press.

The first installments of Piglia’s personal diaries, Los diarios de Emilio Renzi, were recently released by Anagrama and are the subject of the film 327 cuadernos, by Argentinian filmmaker Andrés Di Tella. The film was shown on January 26 as part of the Museo Casa de Ricardo Rojas’s summer series “La literatura en el cine: los autores,” which features five films on contemporary authors and poets, including Witold Gombrowicz and Alejandra Pizarnik.

On January 11, the U.S. press New Directions organized an event at the bookstore Eterna Cadencia in anticipation of the February release of A Simple Story: The Last Malambo by Argentinian journalist Leila Guerriero and translated by Frances Riddle. Guerriero discussed the book, which follows a malambo dancer as he trains for Argentina’s national competition, as well as her translation of works of non-fiction with fellow journalist and author Mariana Enriquez. Enriquez’s short story collection, Things We Lost in the Fire (Hogarth), translated by Megan McDowell, will also appear in English in February.

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Weekly Dispatches from the Frontlines of World Literature

Your literary updates for the turn of the year from Brazil, India, Mexico, and more!

Before we jump into our weekly world news tours of 2017, here at the blog we wanted to look back at the waning days of 2016 and give the literary achievements that closed such an eventful year their full due. There is already so much we’re looking forward to in the year ahead, but no piece of writing or writer exists in a vacuum; each new publication, reading, and translation takes from and makes space within the existing cultural consciousness. To be able to understand the developments in the literary scenes around the world this year, we have to see the full scope of 2016’s progress. Luckily, Asymptote has eyes and ears in every hemisphere!  

First stop on the map: India, where we check in with our first contributor this week, PhD student of postcolonial literature Tanushree Vachharajani:

2016 saw a huge uprising across India for Dalit rights. The suicide of Hyderabad PhD student Rohit Vemula in January 2016 and the assault of a Dalit family of cow skinners in Una, Gujarat in June 2016 have led to a resurgence of Dalit identity in social and literary fields, along with much dissent and unrest about the government’s attitude towards lower castes. The Gujarat Dalit Sahitya Akademi in Ahmedabad issued a special edition of their literary journal Hayati, on Dalit pride this fall under the editorship of Dr. Mohan Parmar. Also in September, under the editorship of Manoj Parmar, literary journal Dalit Chetna published a special edition on Dalit oppression, featuring works written by Dalit as well as non-Dalit writers.

The well-documented human rights violations continue to inspire a flood of responses. For the first time last month, Delhi saw a literary festival dedicated entirely to Dalit protest literature, offering a platform for Dalit regional literature and its translations into English, French, and Spanish to increase accessibility and broaden the demographic of its readers.

Dalit literature is also no longer in the realm of the purely literary. Inspired by the death of Rohit Vemula, three young activists from Mumbai—Nayantara Bhatkal, Prem Ayyathurai, and Shrujuna Shridhar—have set up the unofficially titled Dalit Panther Project for which phone numbers were collected on December 6, Babasaheb Ambedkar’s death anniversary. Through the popular social messaging app WhatsApp, they will transmit four videos on the origins and legacy of the Dalit Panther literary movement. The videos were shot at the homes of Dalit Panther supporters, and are in Hindi. The creators are also looking to bring out a full-length feature film on the subject this year.

Hearteningly, the Dalit community is pushing back strongly against abuse of any members of the lower castes. From threatening a sanitation strike to bringing Dalit literature into mainstream circles and creating inclusive literary institutions and awards, Dalit protest movements across India only seem to be getting stronger as the New Year begins.

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Meet the Publisher: Coach House Books

It’s just coming across things that look really interesting and that I feel need a home in the English language.

Coach House Books publishes and prints innovative Canadian fiction, non-fiction, poetry, and drama. The press was founded by Stan Bevington in 1965 and takes its name from the old coach house where he began putting out early works by many Canadian authors, including bpNichol and Michael Ondaatje. Since 1975, translations of Québécois literature have been an important part of the press’ catalogue. Poet, translator, and science writer Sarah Moses met with Alana Wilcox, Coach House’s editorial director since 2002, to discuss printing presses, bookish books, and translating French-Canadian authors.

Sarah Moses (SM): Could you begin by talking about the history of Coach House?

Alana Wilcox (AW): Coach House has been around since 1965, so we celebrated our fiftieth anniversary last year—not me personally, but the larger undertaking. It’s always been a press that focuses on innovative work, poetry, more difficult fiction, that kind of thing. It’s a long and convoluted story, like that of many presses: more difficult years, less difficult years, but we’re still at it, still publishing translation.

SM: What do you mean by more difficult fiction?

AW: I would include translation in that. By difficult I don’t necessarily mean fiction that’s hard to read, but that’s hard for people to think that they want to read—even though they might love it when they get into it.

SM: Could you tell me a little about the printing side of Coach House?

AW: We print our books here: we have an old Heidelberg printing press and binding equipment. Printing on location has always been the thing with Coach House. It’s interesting when the means of production is available to the writers and the editors—it just makes publishing a more tangible, real process. We always make the authors come in and glue the first copy of their book, if they can. There’s just something so beautiful about that. READ MORE…

Stephen Henighan on Globalization, Translation, and The Avant-garde

Translation started not as a way of nourishing the avant-garde—it started as a way of bolstering national identity.

This interview marks the launch of a new series here at the Asymptote blog: “Meet the Publisher.” Every month, we will bring you an insider’s look at the world via in-depth, intimate conversations with publishers of literature in translation from around the globe. This week, contributor Sarah Moses brings us an interview with editor Stephen Henighan of Biblioasis in Ontario, Canada, on the process, politics, and passion of publishing translations.

Sarah Moses says: “Biblioasis started out as a bookshop in Windsor, Ontario in the late 1990s. In 2003, founder and owner Daniel Wells took an interest in publishing and, alongside editor John Metcalf, began to acquire, edit, and launch the press’s first titles. Biblioasis now publishes between twenty-two and twenty-five books a year divided between new literary fiction, non-fiction, and poetry, alongside reprints and regional-interest books. Biblioasis’s head office still includes a bookstore, and the press also runs a quarterly magazine, Canadian Notes & Queries. The Biblioasis International Translation Series, which accounts for four titles a year, includes works from French Canada and around the world, as well as books written in Canada in languages other than French or English. I sat down with series editor Stephen Henighan to chat about the press and literary translation in Canada.”                                                                                                                                    

Sarah Moses (SM): I’d like to begin by asking you about literary translation in Canada. How would you say it differs from other countries?

 Stephen Henighan (SH): In other cultures—and Buenos Aires, where you’ve just come from, is a good example, if you think back to Jorge Luis Borges and his friends in the early part of their careers, but also in New York or London or Paris—translation was an avant-garde activity. It was an activity that might nourish national literary debate, but above all it was there to give you aesthetic relief from the national context.

I think what happened in Canada is that, especially in the 1960s and 1970s, the literary elite was nationalist and therefore wasn’t all that interested in translation. There had been odd translations from French-Canadian literature to English-Canadian literature, mainly in the 1940s and 1950s, but the real translation culture begins in the late 1960s in the Eastern Townships of Quebec, where in the village of North Hatley writers of English and French were living side by side. That’s where Sheila Fischman, who has gone on to translate more than one hundred and fifty books, got her start.

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