Posts by Sofija Popovska

Weekly Dispatches From the Front Lines of World Literature

April 12, 2024  |  in Dispatches, Weekly Roundup  |  by Andriana Hamas, Charlie Ng, and Sofija Popovska

The latest literary news from Macedonia, Hong Kong, and Bulgaria!

This week, our editors-at-large report on prizes in Macedonia, literary festivals in Hong Kong, and unexpected literary losses in Bulgaria. Read on to find out more!

Sofija Popovska, Editor-at-Large, reporting from North Macedonia

The Slavko Janevski Foundation, a Macedonian foundation dedicated to the advancement and promotion of cultural values, recently selected Edinstven Matičen Broj (which translates to Unique Master Citizen Number) by Lidija Dimkovska as the novel of the year for 2023.

Lidija Dimkovska was born in1971 in Skopje. She is a poet, novelist, and translator, whose literary interests and expertise extend beyond national borders and include early Macedonian poetry, contemporary Slovenian poetry, and contemporary minority and migrant writing in Slovenia. Currently based in Slovenia, Dimkovska works as a freelance translator of Romanian and Slovenian literature. Her work has been translated into 15 languages, including English, German, French, Romanian, Slovenian, Croatian, Polish, Serbian, and Albanian. English translations of her work include the poetry collection Do Not Awaken Them with Hammers—translated from the Macedonian by Ljubica Arsovska and Peggy Reid, and published in 2006 by Ugly Duckling Presse—and What Is It Like?—selected poetry translated by Ljubica Arsovska, Patricia Marsh and Peggy Reid and published in 2021 by Wrecking Ball Press—which made World Literature Today’s 75 Notable Translations of 2022 list. Her poetry has been described as “honest and uncompromising” by the writer Goce Smilevski; Edinstven Matičen Broj is no different. Named after an identification number assigned to every citizen of the Socialist Federal Republic of Yugoslavia, it offers an unflinching study of identity loss and dehumanization.

“The question that I ask in the novel and that each of us should ask is whether we really exist, even when we have a unique master citizen number, and that question everyone should answer separately, individually and, perhaps, only in silence of their heart,” said Dimkovska at a recent press conference. The jury at Slavko Janevski highlighted her “acute sensitivity to zeitgeist”, which has allowed Dimkovska to dramatize the abstraction of “rootlessness and displacement” in “concrete life scenarios”. Her prose devastates with its candor—she writes in a clipped and probing narrating voice, reminding readers of “[m]oments when you can no longer breathe in the cramped apartment, when you are so lonely and alienated from the people who should be close to you, that you simply have to go somewhere so as not to lose yourself.” READ MORE…

Weekly Dispatches from the Frontlines of World Literature

February 9, 2024  |  in Dispatches, Weekly Roundup  |  by Charlie Ng, René Esaú Sánchez, and Sofija Popovska

The latest literary news from Hong Kong, Mexico, and North Macedonia!

This week, our Editors-at-Large explore blockchain publishing, poets’ novels, and literary surrealism. Read on to find out more!

Charlie Ng, Editor-at-Large, reporting from Hong Kong

In December, Hong Kong independent bookstore Mount Zero Books announced that it will be closing in March 2024 due to anonymous complaints on the bookstore’s “illegal occupation of government land”, and the resulting warning from the Lands Department regarding the tiled platform outside of the bookstore. Mount Zero Books’ experience is not an isolated issue; it is part of the narrowing of Hong Kong’s cultural space under the current political climate, in which independent publishers and bookstores are facing increasing control and censorship. In 2022, for instance, local independent publisher Hillway Press was not allowed to participate in the annual Book Fair organised by Hong Kong Trade Development Council. The publishing house then planned to host a “Hongkongers’ Book Fair” featuring 14 independent local publishers and bookstores in the shopping mall Mall Plus in Causeway Bay. Unfortunately, the book fair was forced to cancel as they were accused of violating the terms of venue use. In December 2023, one of the founders of Hillway Press emigrated and the company decided to close down. What is more, two of Hong Kong’s remaining independent bookstores, Have A Nice Stay and Hunter Bookstore, have said that they face frequent complaints and regular monitoring by government departments.

In light of increasing challenges — both economic and political — faced by the local publishing industry, Hong Kong writers are beginning to explore new means of publishing their works and reaching out to readers. Hong Kong writer Dung Kai-cheung has been counting down to the 15 February publication of his new work, Autofiction, on his own writing platform, Dungfookei. Autofiction will be published in the form of an NFT. The new autobiographical nonfiction is part of the writer’s exploration of the potential of Web3’s blockchain technology for decentralizing publishing and granting more autonomy in user control and ownership of data. In 2023, Dung joined Likecoin — an application-specific blockchain for decentralized publishing developed by Hong Kong entrepreneur Ko Chung-kin — to republish his famous novel Tiangong Kaiwu·Lifelike, which became the first Chinese novel to be published as an NFT. While Tiangong Kaiwu·Lifelike is available for purchase on Likecoin’s website, Dung also developed his own platforms Dungfookei and DKC in Translation to digitalise his works and interact with readers in new ways. Although the project is still experimental, by turning to the web for more freedom and opportunities, Dung’s foray into Web3 and NFT publishing represents an innovative frontier in the evolving landscape of literature and author-reader interaction. READ MORE…

Narrator as Narcissus: A Review of Hanna Johansson’s Antiquity

January 24, 2024  |  in Reviews  |  by Sofija Popovska

The textual body of the novel is a monument to the clash between the natural flow of life and its narrativized counterpart.

 Antiquity by Hanna Johansson, translated from the Swedish by Kira Josefsson, Catapult, 2024

“Where were they?” asks the nameless protagonist of Antiquity, Hanna Johansson’s gorgeous, lacerating debut novel, translated from the Swedish by Kira Josefsson. She is interrogating the lack of cemeteries in Ermoupoli, a luxurious Greek city where she spends her summer with Helena, a chic and volatile artist with whom the narrator is infatuated, and Helena’s sixteen-year-old daughter, Olga. In a city where “the dead should be more numerous than the living”, there seems to be no trace of “such monuments, not even a site for simple graves, no memorial grove in the little park in front of Saint Nicholas Church where the cats slept in the shade of the pine trees.” “Where are they?” she asks of both cemeteries and the dead, not realizing that it is she who haunts the suggestively-named Persefonis—“the short street where Helena’s house was wedged between an alley and a ruin”. Ever on the margins of life, of human relationships, the spectral narrator might touch other things and people, but she never leaves a trace. Throughout the novel, the wounded lament of this reluctant nomad begins to haunt us, too. And this is not only because she is undone by the very skill that enables her to tell a story—narrating—but because Johansson’s creation, in Josefsson’s translation, reminds us of our own tendency to narrativize life, to write ourselves out of the intimate joy of immediate experience by stepping back and fiddling with the details, fashioning an ideal self.

Antiquity feels destined to be a classic, as multifaceted, revealing, and transformative as works by Dostoyevsky, Mann, and Nabokov. Its power comes from its vulnerable, gorgeous prose, replete with lush images, and also from its structural sophistication—a complete convergence of shape and themes. The textual body of the novel is a monument to the clash between the natural flow of life and its narrativized counterpart, felt through the temporal textures of the story, its narratological conflict. In narratological terms, the novel’s fabula—its narrated structure—opens at the end of its syuzhet—its chronological timeline: the narrator, Helena, and Olga are leaving Ermoupoli, heading towards an inevitable separation. As they depart in a ferry, the narrator says: “I could hear my own voice narrating: the sun was so strong you always had to squint a little. I felt reality take its leave of me. I wasn’t there.” From the very start, it is clear that the novel’s tension will emerge from the ebb and flow between the lived truth and the narrator’s censorial customization of real experiences as a constructing of the self. This becomes especially palpable in the chafing of the chronological flow of events against the narrator’s private perception of time. Her narration moves backward and forward in time, then further backward still, only to reemerge somewhere after the middle and then proceed all the way to the end—that is, the beginning. The unpredictability of the temporal jumps precludes anticipation but heightens the sense of foreboding with which the beginning’s manifestly melancholy departure taints all subsequent pages; as in a Greek tragedy, the reader can sense the protagonist hurtling towards a bitter end. READ MORE…

Weekly Dispatches from the Frontlines of World Literature

January 5, 2024  |  in Dispatches, News, Weekly Roundup  |  by Carol Khoury, René Esaú Sánchez, and Sofija Popovska

Literary news from North Macedonia, Mexico, and Palestine!

This week, our editors around the world bring news as to how different literary initiatives and publications are help shaping the present. From writers who embody multiculturalism and unity, to works of solidarity and hope, read on to see how writers, readers, and artists are working to shed light on what matters.

Sofija Popovska, Editor-at-Large, reporting from North Macedonia

“Rarely has any Macedonian poet attracted as much attention among theorists, literary historians, and philologists as [Kočo] Racin. Racin was . . . a pioneer in the artistic expression of the mother tongue, . . . an example of an ideal revolutionary and, in the end, a victim. He was the most honorable and most honored thing that the Macedonians had in the period between the two wars,” writes Goran Kalogjera, a prominent Croatian comparatist and scholar of Macedonian studies in his book, Pogled otstrana. Racin (1908 – 1943) (Side view. Racin (1908 – 1943)). Recently, this important biography was translated into Macedonian by Slavčo Koviloski, and published by Makedonika Litera Press.

Kosta Apostolov Solev is a canonical figure in Macedonian literature, hailed by some as the founder of modern Macedonian poetry. He is best known under his penname, Kočo Racin, which was derived from the name of his lover, Rahilka Firfova-Raca—a gesture indicative of his support for the socialist women’s movement. He himself was a political activist, participating in the translation of the Communist Manifesto into Macedonian, and acting as editor for several communist magazines. His political leanings had contributed to his mysterious and untimely death; mortally shot by a printing-house entrance guard in June 1943, some speculate that Racin had been purposefully targeted by the communist party, having fallen out of favor with them around 1940. However, his activism effectuated his ties to other cultures, enriching his literary oeuvre. Aside from his mother tongue, he wrote texts in Bulgarian and Serbian, and was published all over the Balkans. Kalogjera stresses this multilingual, multicultural aspect of Racin’s output in Pogled otstrana, noting his importance to Croatian culture. READ MORE…

Weekly Dispatches from the Frontlines of World Literature

December 8, 2023  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, José García Escobar, and Sofija Popovska

Literary updates from The Philippines, Central America, and North Macedonia!

In this week of literary updates, our news range from recent award winners to support for incarcerated writers by PEN centres around the globe. Read further to catch up on the Guadalajara International Book fair, PEN Philippines’ statement on ‘The Day of the Imprisoned Writer,’ and a new contribution to Macedonian cultural studies!

Alton Melvar M Dapanas, Editor-at-Large, reporting from the Philippines

On ‘The Day of the Imprisoned Writer,’ commemorated annually November 15, PEN Philippines joined PEN centres across the globe in issuing a statement calling for the release of Filipino poets Amanda Socorro Lacaba Echanis, Adora Faye de Vera, and Benito C. Quilloy, children’s book author Eduardo Sarmiento, and journalist Frenchie Mae Cumpio—incarcerated writers who have been arrested on trumped-up charges and detained for years. “We continue to raise our voices to call for their release, and for the Philippine government to serve these detainees the justice that is due them under our system of laws—as is but right,” the statement declared. 

PEN centres globally have also demanded the release of Iryna Danylovych (Occupied Crimea), María Cristina Garrido Rodríguez (Cuba), Soulaimane Raissouni (Morocco), and Go Sherab Gyatso (Occupied Tibet). “PEN Philippines has been championing this cause for the past 65 years, and we continue to uphold that advocacy,” PEN Philippines furthers.

READ MORE…

Weekly Dispatches from the Frontlines of World Literature

November 24, 2023  |  in Dispatches, Weekly Roundup  |  by Alton Melvar M Dapanas, Miranda Mazariegos, and Sofija Popovska

The latest literary news from North Macedonia, Latin America, and the Philippines!

This week, our Editors-at-Large take us to book fairs, awards ceremonies, and book launches. From celebrated poets and dearly departed essayists to up-and-coming novelists and prize-winning translators, read on to find out more!

Sofija Popovska, Editor-at-Large, reporting from North Macedonia

The recent publication of The Long Coming of the Fire, a collection of poems by Aco Šopov, translated from the Macedonian by Rawley Grau and Christina E. Kramer, was met with interest and celebration from Macedonian literary critics, journalists, and laymen alike. The book features a total of seventy-four poems, selected by Jasmina Šopova—daughter of the poet and established connoisseur of his work. A selection of Šopov’s poems in Kramer and Grau’s translation was featured in the Winter 2023 issue of Asymptote Journal.

Aco Šopov’s literary output is significant beyond its stylistic excellence and thematic range—it also marks the beginning of the modernist period in Macedonian culture. “His work,” writes N.M. for Nova Makedonija (New Macedonia), “is essential to a poetic movement that freed poetry from the grasp of both the folk oral tradition and the short-lived socialist-realist style, thus directing the [still] tenuous poetic tradition of authors writing in the newly minted Macedonian language towards the expansive spaces of modern European songmaking.” This swift evolution, propelled onwards by the “long strides” of Šopov’s visionary lyric, was the reason Macedonian literature managed to catch up with the still-relevant themes and styles of its European counterpart.

Now, 100 years after Šopov’s birth, the public at large can experience his unforgettable voice through The Long Coming of the Fire, a bilingual Macedonian-English edition published by Deep Vellum Press. In an unusual but successful move, the edition was translated via the synergy of three translators. In an interview organized by the Macedonian Academy of Sciences & Arts, Kramer explains that this translation resulted from the synergy of three unique approaches and skillsets: “Rawley [Grau], who translates poetry very well but doesn’t know Macedonian, me, who knows the Macedonian language very well but not how to translate poetry, and Jasmina, who weaved the threads together in a way that resulted in the creation of a team of translators.” Although, being a linguist, she would’ve “been more comfortable discussing Šopov’s use of nouns and verbs than his poetics”, Kramer notes that his images, recurrent within his poems, “subtly bind” the author’s inner workings to the outside world, creating poetry that is “simultaneously personal and universally human”. READ MORE…

What’s New in Translation: November 2023

November 13, 2023  |  in New in Translation, Reviews  |  by Samantha Siefert and Sofija Popovska

Discover new work from Brazil and the Basque Country!

In this month’s round-up of new and noteworthy titles from around the world, our editors dive in to a lyrical, transcendent, and multidisciplinary collection from the founder of neoconcretismo, Hélio Oiticica, and a sensuous, genre-bending queer love story of from José Luis Serrano. Read on to find out more!

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Secret Poetics by Hélio Oiticica, translated from the Portuguese by Rebecca Kosick, Winter Editions/Soberscove Press, 2023

Review by Sofija Popovska, Editor-at-Large for North Macedonia

How can we eternalize the moment without petrifying it? How can words convey its temporal unfolding while retaining the anatomy of that process, a duration that has no discernible borders? A possible answer can be found in Hélio Oiticica’s Secret Poetics, translated from the Portuguese by Rebecca Kosick. In this collection, the reader is invited to experience a gallery of the ephemeral: the motion of a plunge into water; the cold, vexing, soon-to-be-over wait for the arrival of a lover; the tidal separations and interlacings of limbs and lips in an amorous embrace… Like a gifted translator, Oiticica recasts the transient into another medium—words and silences—while remaining true to that fleeting essence: to, in his own words, “immediacy that becomes eternal in lyrical poetic expression”.

In the preface, where she thoroughly examines the correspondences between Oiticica’s poetry and his visual work, Kosick reveals that his output has been termed “unclassifiable”. Its hybridity goes deeper than the blurring of genre distinctions (Oiticica’s practice “included painting, sculpture, installation, performance, filmmaking, and writing”), and this artistic output itself constitutes moments of coalescence and transformation. While his earlier pieces, a series of paintings, contained “a suggestion of movement, even dance,” Kosick notes that his “later artworks would literalize this proposition”. In 1959, Oiticica and a group of his contemporaries launched the “neoconcrete” movement, creating three-dimensional art installations designed to be interacted with by the audience. Composed of objects that could be rotated, worn, opened, and reached into, these installations “not only dissolved the distance between spectator and art object but collapsed the very binaries structuring the differentiation of subject and object”. Kosick explains that the experiences of the pieces redefined “the work of art as ‘a being’ whose meaning would ‘flourish’ via phenomenological encounter with its audience-participants”. READ MORE…

Weekly Dispatches From the Frontlines of World Literature

October 6, 2023  |  in Dispatches, News, Weekly Roundup  |  by Marina García Pardavila, Sofija Popovska, and Wambua Muindi

The latest in literary news from North Macedonia, Spain, and Kenya!

In this round of weekly updates from our Editors-at-Large, we hear about literary festivals, awards, and the latest translations from North Macedonia, Spain, and Kenya! From a festival themed “Air. Wind. Breathing.” to a recently completed translation of the Bible, read on to learn more!

Sofija Popovska, Editor-at-Large, reporting from North Macedonia

The first weeks of autumn in North Macedonia brought exciting developments to the literary scene: the third installment of the Skopje Poetry Festival took place from September 24–28. The event spanned several venues, including the historic movie theater “Frosina”, the Skopje city library, and the bookshop-cafe “Bukva”. The festival opened with a performance entitled “Air. Wind. Breathing.”—a theme that was maintained throughout, as some of the readings were accompanied by musical improvisations with wind instruments. 

Represented at the Skopje Poetry Festival was a diverse range of cultures; Danish, Serbian, French-Syrian, Maltese, and Croatian poets gave readings alongside local authors. Aside from readings, there were screenings of several movies based on the poetry of Aco Šopov. One of the adapted poems was Horrordeath, which was featured in the Winter 2023 issue of Asymptote Journal in Rawley Grau and Christina E. Kramer’s translation. The screenings were followed by a musical concert, a creative writing workshop headed by Immanuel Mifsud (a Maltese author and recipient of the European Union Prize for Literature), a panel discussion on increasing the visibility of Macedonian literature abroad, and a yoga session in nature. Young Macedonian poets also had a chance to make their voices heard, during the “Springboard” event on September 24 dedicated to poets between the ages of 16 and 25.

READ MORE…

Weekly Dispatches From the Frontlines of World Literature

September 1, 2023  |  in Dispatches, News  |  by Andriana Hamas, Sofija Popovska, and Wambua Muindi

The latest literary news from North Macedonia, Bulgaria, Nairobi, and Kenya!

This week, our Editors-at-Large report on the literary scene, including literary festivals and debates about educational reforms. From a readathon in Kenya to the Struga Poetry Evenings in North Macedonia, read on to find out more!

Sofija Popovska, Editor-at-Large, reporting from North Macedonia

The greatest literary event in North Macedonia, the Struga Poetry Evenings (SPE), began yesterday with the customary reading of T’ga za jug (Longing for the South), an iconic poem by the first modern Macedonian poet, Konstantin Miladinov. The first event of this year’s festival was the planting of a tree in Poetry Park to honor this year’s laureate and recipient of the Golden Wreath, Vlada Urošević. Previous recipients of this award include W. H. Auden, Allen Ginsberg, Pablo Neruda, and Ted Hughes, as SPE broadened its scope from national to international literature in 1966. READ MORE…

What’s New in Translation: August 2023

August 14, 2023  |  in New in Translation, Reviews  |  by Irmak Ertuna Howison and Sofija Popovska

New work from Uruguay and South Korea!

This month, we take a look at two brilliant titles that embody the acts of interpretation and evocation. In Silvia Guerra’s poems, nature is given voice in stunning scenes of linguistic complexity. In Keum Suk Gendry-Kim’s retelling of a Korean classic, beloved characters are brought to life in the graphic form. 

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A Sea at Dawn by Silvia Guerra, translated from the Spanish by Jesse Lee Kercheval and Jeannine Marie Pitas, Eulalia Books, 2023 

Review by Sofija Popovska, Editor-at-Large for North Macedonia

What constitutes a translation? Thinkers like Mikhail Bakhtin and Jacques Lacan have argued that every utterance is a deeply intimate expression channeled through shared, culturally standardized verbal structures; that is to say, every time we speak, we are translating.

As with speaking, so with listening, as well. Bakhtin describes the act of conversing with someone else as a (re-)construction of our concepts upon the “alien territory” of the other’s mind. In A Sea at Dawn (Un mar en madrugada), a poetry collection originally published in 2018 and now out in English translation from Eulalia Books, the Uruguayan poet Silvia Guerra manages to push against even these (admittedly broad and inclusive) boundaries of defining translation. In her panoramic, evocative poems, she invites all kinds of life, organic and inorganic, to speak, thereby creating a delightfully strange linguistic landscape that is equally alien and welcoming to the voices of the world, all at once.

Given the vertiginous and heterodox nature of the book itself, it’s helpful to start with the afterword written by the translators Jesse Lee Kercheval and Jeannine Marie Pitas, which illuminates the process of recasting Guerra’s captivating and difficult voice into English, and offers various ways to think about her poetry. For those that have read her in Spanish, it might seem that translating Guerra might seem an exercise in futility, leading to “disappointment and outright lamentation”; however, Kercheval and Pitas’ exquisite translation evokes neither of those things. Instead, contemplating Guerra’s intricate verbal designs allowed the translators to experience “lost and found” moments—instances where English revealed its ability to produce accomplices to Guerra’s “extremely innovative soundscapes” and formulations. Kercheval and Pitas cite an instance where they rediscovered the potential of English words to be “sonically evocative,” in which editor Michelle Gil-Montero offered “hacked in half” as a match for “pensamiento imbricado hendido”—instead of the initial idea, “thought interwoven split.” Later, quoting Walter Benjamin’s notion that “translation makes one’s native language foreign to itself,” Kercheval and Pitas’ afterword shows that reading Guerra in translation not only allows one to experience her mysterious Spanish transformed into English (A Sea at Dawn being a bilingual edition), but leaves our image of English irrevocably altered by her expansive, multipotential approach to language. READ MORE…

Weekly Dispatches From the Frontlines of World Literature

July 28, 2023  |  in Dispatches, News, Weekly Roundup  |  by Eva Wissting, MARGENTO, and Sofija Popovska

Dispatches from Romania, Sweden, and North Macedonia!

In this week’s dispatches, our editors report on the continual remembrance of iconic poets, interdisciplinary festivals, and writing that draws attention to the climate crisis. Read on to find out more!

Sofija Popovska, Editor-at-Large, reporting from North Macedonia

Sixty years after the tragic passing of Danica Ručigaj, iconic poet and pioneer of écriture féminine in North Macedonia, an anniversary edition containing the entirety of her oeuvre was published this month. The collection, entitled Srebreni nokjni igri i zarobenici na vetrot (Silver Nighttime Games and Prisoners of the Wind) was prepared by two prominent publicists and journalists working at Radio Skopje, Sveto Stamenov and Iskra Cholovikj, who have dedicated over two decades to researching Ručigaj’s reception and sustaining the vivacity of her legacy.

Ručigaj (1934–1963), sometimes referred to as the Sylvia Plath of North Macedonia for the unabashed vulnerability of her writing, studied ancient Greek, Latin, and Southern Slavic literature, and also worked for the Cultural Ministry of North Macedonia. She passed away at the age of twenty-nine in the 1963 Skopje earthquake—a devastating event that resulted in numerous casualties and left the entire city in ruins. Two poems famously discovered in the ruins of Ručigaj’s home—“Circles” and “Untitled”—will be featured in the anthology, along with essays about her work by prominent scholars and a complete bibliography of publications containing Ručigaj’s writing.

Ručigaj’s poetry, informed by her academic background and nonconformist, taboo-defying artistic attitude, occupies a prominent position in Macedonian literary history. Her refusal to comply with patriarchal norms continues to retain its relevance, as anti-equality sentiments are rising amidst the public. In one of her best-known poems, “No, Do Not Speak to Me” (“Ne, Ne Zboruvaj Mi”), a feminine voice laments the death of a bird who lived “within eyes that have now dried up”, simultaneously noting that its death might be a relief to some: “Come hither, do not fear / Those eyes no longer shine / And so, come hither.” As the poem progresses, we begin to realize that the owner of the eyes is the feminine speaker herself; without the bird—their inner songsmith—they no longer pose a threat to the Other that the poem is directed to. This poem remains an accurate image of gender relations in Macedonian society, where equality is still considered a threat to the “sanctity of the family”. READ MORE…

Weekly Dispatches From the Frontlines of World Literature

June 16, 2023  |  in Dispatches, News, Weekly Roundup  |  by Jiaoyang Li, Marina García Pardavila, and Sofija Popovska

The latest from North Macedonia, China, and Spain!

In this week of news in world literature, we hear from our Editors-at-Large on recent literary awards, revolutionary bookstores, and book fairs around the globe! From North Macedonia’s Novel of the Year to prizes for works across genres and languages in Spain, read on to learn more!

Sofija Popovska, Editor-at-Large, reporting from North Macedonia 

At the end of May, the 24th “Novel of the Year” award, given by the Slavko Janevski foundation, was presented to the author Vlada Urošević for his novel “Вистината но не многу веројатна историја за семејството Пустополски за куќата покрај Вардар и за четирите прстени” (The true, yet not very likely tale of the Pustopolski family, of the house by Vardar river, and the four rings). 

Urošević (b. October 17, 1934), who received the most prestigious Macedonian poetry award earlier this spring, is a writer, poet, and essayist. His oeuvre includes a wide array of literary genres—prose, poetry, essays, travelogs, literary and art criticism, and translations. His work as a full-time professor of comparative literature at the University of St Cyril and Methodius in Skopje is present not only in his lyrical oeuvre—his novel, too, blends different cultures together to create a thrilling, artful narrative.

READ MORE…

Weekly Dispatches From the Front Lines of World Literature

May 19, 2023  |  in Dispatches, News, Weekly Roundup  |  by Alan Mendoza Sosa and Sofija Popovska

Literary news from North Macedonia and the United States!

In this week of literary news, we hear from our editors-at-large reporting from North Macedonia and the United States! From the recent poetry collection of a prominant North Macedonian poet to a dazzling few days of multilingual poetry and revelry, read on to learn more!

Sofija Popovska, Editor-at-Large, reporting from North Macedonia

In the last days of April, a new poetry collection by the prominent poet Katica Kulavkova, Na Vrv Na Jazikot (On the Tip of the Tongue), was published by Ars Lamina Press. The collection leans into an interrogation of the concepts of home and identity in the current day, a question that, in the Macedonian cultural context, is fraught with challenges and debates.

Katica Kulavkova (born December 21, 1951), whose work was featured in the Winter 2020 issue of Asymptote, is a poet, writer, and academic. She is a member of the Macedonian Academy of Sciences and Arts, the European Academy of Sciences and Arts, and a professor of theory and methodology of literature, hermeneutics, and creative writing. Her writing is deeply rooted in the interplay of the personal and collective; Kulavkova’s lyrical voice is informed by the negotiations between various aspects of being, as Macedonian, woman, mother, academic, artist, activist . . .

READ MORE…

Spring 2023: Highlights from the Team

May 1, 2023  |  in News  |  by Anna Rumsby, Heather Green, Mary Hillis, Megan Sungyoon, Michelle Chan Schmidt, and Sofija Popovska

Don’t know where to begin with our latest issue? Here are some personal recommendations from our amazing staff!

I read the Spring 2023 edition of Asymptote as the NBA playoffs began in the United States, and Damantas Sabonis (son of legendary Lithuanian player Arvydas Sabonis) and the Sacramento Kings faced the defending-champion Golden State Warriors in a first-round matchup. I was immediately drawn to the nonfiction piece “Liberating Joy” (tr. Delija Valiukenas) which centers the 2003 European Basketball Championships and the collective joy that the Lithuanian team, Žalgiris, inspired in their fans all over the country. Author Julius Sasnauskas, also a priest and monk, approaches the topic from his unique perspective, incorporating Catholic doctrine into his narrative which intertwines sports, culture, and national identity.

 —Mary Hillis, Educational Arm Assistant

Alaa Abu Asad’s interview with J Carrier, for the very nature of its form, felt at times reductive of his rich investigations into the everyday, but the poetry in Asad’s visual pieces aptly captures the sentiment of (un)belonging.

Resonating very much with Hannah Arendt’s quote “it wasn’t the German language that went crazy,” Yevgenia Belorusets’s interview with Eugene Ostashevsky begins with her love of the Russian language. It’s only right that “no language can be mobilized against the tremendous violence offered by war […],” and this renders many writers and artists hopeless especially in times of insurmountable physical and linguistic violence. Yet it is still, somehow, language that rebuilds one’s voice and keeps one conscious. Ostashevsky’s question is also very apt in this regard when he argues “the idea that any language can’t express the full range of human relations and emotions is false.” Belorusets’s answer, “maybe it’s easier for us to think that it is the language that is under threat,” is at once the most poignant critique of and piercingly emotional charge against the “easier” indictment of language.

—Megan Sungyoon, Assistant Editor (Poetry)

A highlight of our animal-themed Special Feature, Yolanda González’s “Song of the Whale-road”(tr. Robin Munby) is so dense and weighty in meaning that I feel the reader cannot but be transformed; the original piece, as well as the translation, so deftly compresses eons of whale-years and experience into an exceptionally moving and eloquent and elegant piece. I particularly love the ambiguity of the pronouns—it takes a few readings to wrap your mind around the narrative voices and personages, which further adds to the ‘darkness’ of the piece and the impression of coming out into the ‘light’ of mental clarity with each read.

 —Michelle Chan Schmidt, Assistant Editor (Fiction)

“Let it Go” by Mariana Berenice Bredow Vargas, has an urgent, propulsive rhythm in Forrest Gander’s translation, and, in the stunning audio version by the author, feels almost like a hymn, each mesmerizing, sweeping me into the vision of the poem. After reading the dazzling Present Tense Machine by Gunnhild Øyehaug (trans. Kari Dickson), I was thrilled to see “But Out There—Out There—,” a nonfiction piece by Øyehaug, this time in Francesca M. Nichols’s translation, and this essay is similarly, satisfyingly interior, funny, inviting, and surprising, although it is itself focused on the quality of “incompleteness,” which, for Øyehaug, makes writing a novel so difficult. The excerpt from Wu Ming-Yi’s Cloudland, translated by Catherine Xinxin Yu, is concerned with a relationship between text and life, which is similar to the relationship between dreams and experience. This delicate story of a man, following the traces of his late wife’s short story about cloud leopards, into a mountain forest, where he uploads mapping data and images into a cloud of a different sort, was one of the most memorable pieces in the issue, and I’ll certainly be keeping an eye out for the English publication of the novel. I’ve been intrigued by what I’ve heard of Mircea Cărtărescu’s Solenoid, but even if I hadn’t, Alex Lanz’s review would have been well worth the read for Lanz’s kaleidoscopic descriptions and grapplings with the book’s allusions and form, and with Cărtărescu’s “Bucharest, that ‘open-air museum’ of melancholia.”

 —Heather Green, Visual Editor

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