Language: Slovak

Weekly Dispatches from the Frontlines of World Literature

Your one-stop spot for all you want to know about world literature

This week we bring you news from Spain, Slovakia, and Brazil. We will begin our journey with Editor-at-Large Carmen Morawski who captures the excitement leading up to the Madrid Book Fair. We will land next in Slovakia where Editor-at-Large Julia Sherwood updates us about the buzz surrounding the country’s most prestigious literary prize, Anasoft Litera. We will finish our journey across the world in Brazil to read Maíra Mendes Galvão’s report of writers’ protests against the impeachment of Dilma Rousseff. 

Carmen Morawski, Editor-at-Large from Spain, reports:

In its seventy-sixth year, the Madrid Book Fair (Feria del Libro de Madrid) has yet again marked the transition from spring to summer for Spanish book lovers. Taking place in the Buen Retiro Park in Madrid from May 26 to June 11, this year’s fair will open with a lecture by Eduardo Lourenco, the Portuguese essayist and philosopher, in the Pabellón Bankia de Actividades Culturales.

Although a detailed schedule for this year’s fair isn’t available yet, a glance through last year’s schedule should give Asymptote readers a flavor for the lectures, readings, and other events typical to the fair. Whether on the look out for children’s literature, YA or adult fiction, non-fiction reportage, essay collections, philosophy, specialty and minority literatures, visitors to the fair can browse a wide array of contemporary offerings from the Spanish publishing scene, take advantage of special discounts, and even meet a favorite author at one of the many book signing sessions. If you want to learn more about the  history of the fair and are interested in sampling previous years’ fairs, you may enjoy this brief video of the 2014 fair.

Asymptote readers interested in more historical literary fare might prefer to visit the Spanish National Library’s (Biblioteca Nacional de España) special exhibition, Scripta: Tesoros manuscritos de la Universidad de Salamanca. Intended to commemorate the 800-year anniversary of Alfonso IX’s order to create ‘Schools in Salamanca,’ that in turn led to the founding of the first universities in Europe, the exhibition showcases 23 pieces spanning the history of the manuscript in Europe, from medieval Visigoth codexes belonging from the eleventh and twelfth centuries through the sixteenth century. The exhibition is on loan from the University of Salamanca and is divided into four main sections. It includes a section devoted to Humanism and the Vulgate languages, thereby acknowledging the prominent role of romance languages derived from Latin as vehicles for literature and scientific works. The exhibition runs from May 4 to June 4.

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Translation Tuesday: “Icelanders” by Vanda Rozenbergová

But it’s wintertime, it’s been snowing a lot and as long as the weather stays like this the sky will be the same every day.

Shortlisted for Slovakia’s most prestigious literary prize, the Anasoft Litera, it will not be unfair to say that Vanda Rozenbergová is a master of the short story form. In this story, she explores domestic tensions and dashed dreams through the skillful use of a child narrator.

I was in my room playing with my toy cars but Becko kept taking my black sports car away so I had to give him a slap on the hand, Stop it, Becko! I said. I’d been working on a racetrack for my lorries but because it was a Sunday I had to listen to my mum cursing ‘cause the kitchen is next to my room. “Bloody Sundays,” she said, then I heard a pot lid bang on the floor and a knife strike a chopping board. I used to think she was crying but she was just moaning aloud about having to cook. “I’m as lonely as little orphan Annie,” she kept shouting but Daddy and I had no idea who little orphan Annie was. And there’s another thing I don’t get: why does my mum keep doing stuff she hates, why does she keep roasting meat, peeling potatoes, grating carrots, baking and frying, and why does she always clean up afterwards but never sit down with us to eat and instead say she’s had her fill, having breathed in all the cooking smells. And then in the morning she pulls my trousers up to my ears, bundles me into the car and starts doing her hair as we’re driving and tells me with hairpins in her mouth to eat all my sandwiches at school ‘cause she made them for me even though she didn’t feel like it, she hates making sandwiches, as if I didn’t know she hates making them. I’m sure by next year I’ll be making my own sandwiches. But why does she keep on doing stuff she hates? Why doesn’t she just stay in bed and rest and receive visitors, why doesn’t she give me, Daddy, and Becko a hug and ask us to bring her a cup of tea?

When I ask her about it she blames it all on Daddy, but he’s totally not like her, he loves to lounge around and crack jokes, never in a hurry to go anywhere, not even to work. All my friends like him, and sometimes they go to see him for a chat ‘cause he works in the kebab shop next to our school. He doesn’t serve people at the counter, he’s at the back prepping vegetables. He brings home kebabs and doughnuts but Mum doesn’t eat that kind of stuff so it never makes her happy. Becko is not my real brother, I’ve made him up. I told Dad about him and he said that it was OK, that there was this other world and Becko does exist there. When he said that he was lying on a rug under the window looking at the sky, and then he told me a secret, which is that sometimes on his way home from work he stops by the hospital to see his friend who’s sick. I didn’t know what to say so I asked if at least his friend had a nice room, if it had a telly and stuff like that. Of course there’s a telly, said Daddy, and went over to the next room to put some Icelanders on the stereo. Because my Dad loves Icelanders. He loves Icelandic music and Icelandic people.

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A Lexicon Like No Other

“The crushing of the Prague Spring was followed by another communist party crackdown. Dozens of translations...were banned."

Oľga Kovačičová, PhD is a Slovak literature scholar and specialist in old Russian literature and translation studies. She works at the Institute for Literary Studies at the Slovak Academy of Sciences where for the past few years she has been the driving force behind a unique project, “The Lexicon of 20th century Slovak translators,“ which she co-edited and contributed some 80 of the total 400 entries. She has agreed to share some reflections on the special role literary translation played in shaping Slovak language and culture with Asymptote’s Editor-at-large Julia Sherwood, who then translated her insights into English.

Translated literature necessarily plays a more important role in smaller countries compared with bigger nations where much of the reading public’s literary and general cultural needs are met by local literary output. When it comes to a really small country like Slovakia, even without citing statistical data it is obvious that the ratio of translated to domestic literary production is roughly the converse of that in Western Europe, where translations represent 12% (Germany) or 20% (Italy) of book publishing overall, let alone English speaking countries with the notorious 3-4% of translated books.

Lexicon cover

Another big difference is that while the major European cultures have had access to the great works of world literature in their own language for many centuries, in Slovakia the process of reception was basically condensed into the 20th century, since Slovak as a literary language was only constituted in the second half of the 1840s.  Volume I of the Lexicon of Slovak 20th century Literary Translators (Slovník slovenských prekladateľov umeleckej literatúry 20. storočia), published in 2015 by the Slovak Academy of Sciences (volume II is almost complete), provides a fascinating glimpse of this frantic catching up process.

There are lexicons and then there are lexicons. Unlike pragmatic manuals of the “Who’s Who” type, the profiles of some 400 translators featured in The Lexicon aim to chart the trajectory of literary translation in the 20th century and through this, the history of reception of world literature in Slovakia. Individual entries are between three and five pages long, and apart from basic biographical details and each translator’s bibliography, they look at the works each of them translated and how he/she translated them.  The fruit of the painstaking labour of over 30 linguists and translation studies scholars, the book includes Katarína Bednárová’s comprehensive introductory essay on the history of literary translation in Slovakia and its international context, a bibliography of secondary sources, and an index. Volume II will feature an illustrated supplement, showcasing a selection of around 200 book covers, which doubles as a comprehensive survey of the evolution of Slovak book design, as well as lists of translators by source country.

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What’s New with the Crew? A Monthly Update

Another month and another slew of publications and projects by our team members!

Very quickly: two pieces of housekeeping news before our regular update! First, thanks to 84 backers, we’ve managed to raise $12,896 for our upcoming feature on the Muslim-majority countries banned by Trump, with 20% of funds raised donated toward the ACLU and Refugees Welcome. (This fundraiser has received coverage in The Bookseller and more will be forthcoming at The Chicago Review of Books and at the Ploughshares Blog. If you’re from a high-profile media outlet and would like to help us spread the word, please drop us a note!) The more we raise, the bigger and more comprehensive our April showcase can be; in fact, we’ve already launched our call for new work in response to Trump’s executive order (Deadline: Mar 15). Only 33 days remain to contribute to our fundraiser; don’t wait, make your stand against the #MuslimBan today!

Second, we’ve updated our ongoing recruitment call (deadline: Mar 17) to include two more positions: Assistant Blog Editor and Assistant Managing Editor. Check out all available volunteer positions here.

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Poetry Editor Aditi Machado was recently featured in conversation with Jane Wong on LitHub. She also spoke on a panel with Pierre Joris, James Shea, and Jennifer Kronovet about ‘Translation as a Political Act‘ at the AWP Conference 2017.

Assistant Editor Alexis Almeida‘s translation of Roberta Iannamico’s Wreckage has been selected for publication in chapbook form by Toad Press. It will be released in late summer or fall of this year.

Slovakia Editor-at-Large Julia Sherwood‘s new translation of Balla’s award-winning novella In The Name Of The Father, co-translated with Peter Sherwood, has been announced as forthcoming from Jantar Publishing, scheduled for May.

UK Editor-at-Large M. René Bradshaw‘s review of Tennessee Williams’ The Glass Menagerie at the Duke of York’s Theatre, directed by John Tiffany, recently appeared in The London Magazine. 

Chief Executive Assistant Theophilus Kwek has written an essay for the Stephen Spender Trust’s website on translation and displacement. He has also launched the second issue of his co-edited poetry journal, The Kindling, and published a new poem in Wildness Journal. 

Indonesia Editor-at-Large Tiffany Tsao has published a translation of a poem by Norman Erikson Pasaribu in Cordite Poetry Review‘s special issue on “Confession”.

Chile Editor-at-Large Tomás Cohen has published poems in the most recent issues of Edit (Leipzig), and PARK (Berlin), in translation by the prize-winning poet and essayist Monika Rinck, a contributor in our Fall issue. Further poems of Tomás have been published bilingually in NOX, a journal for young literature from Hamburg.

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Weekly Dispatches from the Frontlines of World Literature

Your Friday update from Spain, Morocco, and Slovakia!

This week, we begin our world tour on the Iberian Peninsula in the midst of political unrest—Podcast Editor Layla Benitez-James is on the ground in Spain with the full report. Then south to Morocco: we’ll catch up with Editor-at-Large Jessie Stoolman about the latest book fairs and literary trends. And finally, we’ll wrap up in Slovakia with Editor-at-Large Julia Sherwood, who has the scoop on the latest Slovak poetry available to English readers and more.

Podcast Editor Layla Benitez-James reports from Spain:

Political actions and gestures have been more overtly woven through the Spanish literary scene as writers seek to speak back against increasingly divisive governments. Writers called for remembrance of fifteen people killed in Tarajal on the two year anniversary of their deaths on February 6, 2014; a documentary about the tragedy was made to both inform the public and denounce such instances of institutional racism in the country.

Amidst celebrations of women’s roles in science, Bellver, the cultural journal of the Diario de Mallorca, highlighted three recent anthologies written by women: Poesía soy yo, 20 con 20,  and (Tras)lúcidas.

Another recent book has been getting a lot of attention not for its political weight, but because of the strange circumstances under which it’s being published. Michi Panero, who came from a very literary family but died young in 2004 has had his first book, Funerales vikingos, published by Bartelby Editores. La Movida madrileña called him the writer without books, as he had famously shunned the writing life. He wrote in secret, however, and eventually entrusted the work to his stepson, Javier Mendoza, who has finally sought to publish the unedited stories, together with his own work narrating his relationship with Panero. The product is bound to be an interesting read.

Similarly mysterious and posthumously discovered is a recent gift to the Madrid art world: drawings and sketches by the painter Francis Bacon that were previously unascertained. Bacon had also famously declared that he did not sketch or plan in this way, but some nearly 800 drawings were given to Cristiano Lovatelli Ravarino, the journalist and a partner of Bacon’s for some years. The works will be on display in the Círculo de Bellas Artes in Madrid until May 21.

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A Dispatch from European Literature Days 2016: On Colonialism and Literature

Two writers and a publisher from three different places around the world shared the same story: each, at age sixteen, felt their life was changed.

In early November, the picturesque, if rather overcast hills and vineyards along the Danube in Spitz, Austria provided a luscious backdrop to literary discussions ranging from Haiti to Hungary, Brazil to Burkina Faso, Slovenia to South Africa and Brazil to Zimbabwe. Headlined “The Colonists”, the European Literature Days 2016 brought together writers, translators and literary critics to debate cultural appropriation and colonialism in literature in both the literal and metaphorical senses, with literary readings and wine tastings to boot.

danube

© Julia Sherwood

“Every country in the world is a hostage of its history from which there is no escape,” German reportage writer Hans Christoph Buch declared in his keynote speech (reproduced in full in the daily Die Presse). Since first visiting Haiti—the country of his father’s birth—in 1968, Buch has traversed the world, concluding that, although he might have written about the Caribbean and Africa, experience is not transferable across continents.  But isn’t a white author writing about Haiti stealing the country’s stories? Do writers have the right to write about countries that are not their own or does it turn them into colonists? Media and cultural scholar Karin Harrasser posed these questions to Zimbabwean lawyer and novelist Petina Gappah and Cuban author and cultural journalist Yania Suárez.

hans-christoph-buch-2-osaka-1

Hans Cristoph Buch © Sascha Osaka

They certainly do, according to Gappah. But with the privilege to tell stories, especially those that are not yours, comes responsibility to tell the truth, she added. She deemed Hans Christoph Buch to have passed this test with flying colours.  She stressed the value of the external gaze but warned about striving for authenticity, which is the death of fiction: “If you go down the rabbit hole of authenticity you end up with memoirs.”  Suárez agreed that people have the right to write about other countries but only if they’ve spent enough time there to get to know their surroundings properly. Those who haven’t immersed themselves in the culture often misrepresent and fetishize Cuba, for example, creating fantasy narratives and appropriating its recent history to support their own romantic ideas (ideas echoed only a few weeks later by the accolades heaped upon the late Fidel Castro).

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Petina Gappah © Sascha Osaka

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November News from the Asymptote team

From erotica in translation to magazine launches, no rest for world literature!

Spanish Social Media Manager Arthur Dixon has helped to found Latin American Literature Today, a new online literary journal, with support from World Literature Today! He will serve as its Managing Editor when it launches on January 31, 2017.

Contributing Editor Ellen Elias-Bursać will be part of an evening of readings in translation at Berl’s Brooklyn Poetry Shop on December 17, 2016, presented by Harlequin Creature. Her translation of Dubravka Ugrešić’s brilliant address on receiving the Neustadt International Prize for Literature 2016 has been published on LitHub.

Slovakia Editor-at-Large Julia Sherwood‘s co-translation (with Peter Sherwood) of Uršuľa Kovalyk’s short story “Julia” was published in the latest issue of SAND, Berlin’s English literary journal.

Romania & Moldova Editor-at-Large, Chris Tanasescu, aka MARGENTO, will be launching an anthology of contemporary Romanian erotic poetry in New York together with past Asymptote contributor Martin Woodside.  Another contributor to the project is Ruxandra Cesereanu, the primary editor of Moods & Women & Men & Once Again Moods.

Editor-at-Large for India Poorna Swami‘s poetry reading in Bangalore was featured by The Hindu, Metro Plus. Her poem “River Letters” was published in Prelude, Volume 3. She also wrote a blog piece on the politics of social media friendship for The Huffington Post, India. She has been long-listed for the 2017 Toto Awards for Creative Writing (English).

English Social Media Manager Thea Hawlin‘s ‘five-point guide’ to avant-garde artist Yves Klein was published in AnOther magazine.

Chief Executive Assistant Theophilus Kwek  placed Second in the Stephen Spender Prize 2016 for poetry in translation, and his translation of Wong Yoon Wah’s poem, ‘Shadow Puppets’, was featured in The Guardian‘s Translation Tuesday series in collaboration with Asymptote. He was also part of recent poetry readings at the Woodstock Poetry Festival and the Pitt Rivers Museum in Oxford.

Indonesia Editor-at-Large Tiffany Tsao has had two translations and a short story published in BooksActually’s Gold Standard 2016—a “best of” anthology of short fiction by cult writers from East and Southeast Asia that aims to counter the tokenistic way Asian writing is often curated in the West.

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Weekly Dispatches from the Frontlines of World Literature

The latest literary news from Slovakia, Hungary, and the Nordic countries.

Friday is once again upon us, dear Asymptoters! This time, our report brings you the latest literature in translation news from Europe. Editor-at-Large for Slovakia Julia Sherwood has been at the Central European Forum conference and Blog Editor Hanna Heiskanen attended the Helsinki Book Fair, while Zsofia Paulikovics has an update from Hungary. Enjoy the ride!

Editor-at-Large for Slovakia Julia Sherwood has these stories from Slovakia:

On 20 October, the emerging writer Dominika Madro’s story Svätyňa [Sanctuary] won the annual short story contest Poviedka 2016. Now in its twentieth year, the competition is run by the publisher Koloman Kertész Bagala and all submissions are anonymous. This year’s runner-up was the story Šváby [Cockroaches] by novelist and Elena Ferrante’s Slovak translator and Asymptote contributor Ivana Dobrakovová.

A survey of reading habits, commissioned by the Slovak Publishers’ and Booksellers’ Association, has recently published very depressing findings: 72 percent of the public don’t buy a single book in any year; 40 percent read books only once a month and 28 percent don’t read at all. Nevertheless, judging by the crowds attending a huge variety of literary events taking place across the capital, Bratislava, over the past month, the picture isn’t perhaps quite as bleak as these figures suggest.

Slovak-Swiss writer and journalist Irena Brežná, Polish novelist Grażyna Plebanek, and recent Neustadt Prize winner Dubravka Ugrešić sought antidotes for despair as part of Bratislava’s annual Central European Forum conference from 11 to 13 November (video recordings here); Dubravka Ugrešić also read from her book of essays, Europe in Sepia, which will be published soon in a Slovak translation by Tomáš Čelovský. Parallel with the conference, some 200 publishers displayed their recent publications at the Bibliotéka Book Fair, held in the somewhat drab Incheba exhibition halls and vying for space with a “World of Minerals” exhibition. At the Centre for the Information of Literature stand two young authors, Peter Balko and Peter Prokopec, along with graphic designer David Koronczi, introduced their new “anti-logy” of Slovak writing. Aimed at schools but very far from being a stuffy textbook, Literatúra bodka sk (Literature.dot.sk) aims to show that contemporary authors inhabit the same world and share the same sensibilities as young readers, and includes samples of fiction and non-fiction as well as a graphic novel, Rudo, by Daniel Majling. Rudo started life as a Facebook cartoon strip and has now been issued in book form by Czech publisher Labyrint (in a Czech translation!).

slovakiaimage_rudo_obalka

On the other side of the Danube, housed inside the Slovak National Gallery and overlooking the river, Café Berlinka is fast establishing itself as a vibrant literary venue, in association with the adjoining Ex Libris bookshop. Since September 2016, the café has been hosting Literárny kvocient [Literature quotient], a series of debates featuring leading literature scholars and critics.  Of the many book launches that took place over the past few weeks, the liveliest must have been the feminist press Aspekt’s presentation of a selection of poems by Hungarian activist poet Virág Erdős, Moja vina [My Fault].  The book was translated into Slovak by Eva Andrejčáková (a past Asymptote blog contributor) in cooperation with poet Vlado Janček, who read some of the hilariously outrageous poems to his own guitar accompaniment (you can watch Virág Erdős perform “Van egy ország”/ “There is a Country” in Hungarian with the band Rájátszás here). READ MORE…

What’s New With the Asymptote Team

We've been keeping busy!

Contributing Editor Anthony Shugaar has been shortlisted for the American Literary Translators Association (ALTA)’s Italian Prose in Translation Award 2016. The winner will be announced at ALTA’s annual conference in Oakland from October 6 to October 9.

Contributing Editor Ellen Elias-Bursac’s new co-translation of Noemi Jaffe’s novel from the Portuguese, What Are The Blind Men Dreaming?, was published on September 20 by Deep Vellum and featured in Words Without Borders’ watch list for the month.

Criticism Editor Ellen Jones spoke at the British Library’s annual International Translation Day event. She and fellow panellists Simon Coffey, Elin Jones, and Fiona Sampson responded to the question, ‘What does multilingual creativity mean for translators?’ and Ellen discussed her experiences editing Asymptote’s Special Features on Multilingual Writing in 2015 and 2016, as well as her own research.

Commissioning Editor J.S. Tennant was interviewed for The Guardian’s recent feature on Fiction in Translation, on the state of world literature and translated book sales in the UK.

Editor-at-Large for Slovakia Julia Sherwood’s new co-translation of Uršuľa Kovalyk’s novel The Equestrienne will be launched on October 6 at Waterstones Piccadilly in London.

Editor-at-Large for the UK Megan Bradshaw, who organized Asymptote’s International Translation Day celebration in London last week, will be chairing a conversation with the prolific Japanese author and translator Mitsuyo Kakuta on October 26 at the Japan Foundation in London.

Assistant Managing Editor Sam Carter’s new translation of the Spanish poet Benito del Pliego’s collection Fábula/Fable (bilingual edition, Díaz Grey Editores) launched at a McNally Jackson event in New York on September 16.

Finally, Chief Executive Assistant Theophilus Kwek’s essay on writing about history and difference in poetry was published by The Lonely Crowd on September 25. Some of his poems were published in the latest issues of The London Magazine and The North.

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Weekly Dispatches from the Frontlines of World Literature

This week's literary news from Pakistan, Slovakia, the Czech Republic, and Argentina

The Asymptote world tour this time begins in Pakistan, with an update on the Punjabi literary scene from Janani Ganesan, Assistant Managing Editor. Then, we fly north, where Julia Sherwood, Editor-at-Large in Slovakia, shares the latest publications and literary events in Slovakia and the Czech Republic. Our last stop takes us southwest to Argentina, where Assistant Editor Alexis Almeida talks poetry festivals, feminism, and politics. Welcome aboard, and enjoy the ride.

Janani Ganesan, Assistant Managing Editor, with news from Pakistan:

It’s been 250 years since one of the most famous renderings of the Punjabi tragic romance came into being—Heer by Waris Shah, which remains an influence on Punjabi literature and folk traditions. But Punjabi has suffered as a consequence of marginalization during the colonial rule (when Urdu was patronized) as well as the 1947 Partition between India and Pakistan, when (Punjabi-speaking) Sikhs were forced to leave their homeland in Pakistani Punjab (while Urdu and Muslims were expunged from India).

Amidst a growing Punjabi literary movement to correct this historical wrong, Asymptote encountered a reading club in Lahore dedicated to and named after this legendary text—the Heer Study Circle.

Ghulam Ali Sher, co-founder of the group, shares its purpose with Asymptote: “to inculcate an interest for Punjabi reading among university youth; to do away with the religiously-oriented sufistic reading of such Punjabi folktales for a more pluralistic and people-oriented interpretation; and to trace the socio-economic patterns of pre-colonial Punjab through popular historical sources, like this folktale, against the biases of mainstream historiography.”

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“Good Books Make Good Neighbours”: Slovak literature makes its mark on Hungarian writers at the Budapest International Book Festival

"Slovak literature seems to have made its mark."

Mačka/macska (cat); cukor/cukor (sugar) pálenka/pálinka (fruit brandy);  kabát/kabát(coat); taška/táska (bag); palacinka/palacsinta (pancake); bosorka/boszorkány (witch). These are just a few of the words that sound the same in Slovak and Hungarian. The surprisingly long glossary formed a witty and poignant visual backdrop to the main stand at this year’s Budapest International Book Festival, held 22-24 April, which had a focus on Slovak literature.

What did this mean in practice? Quite a lot: an audience of potential new readers in a neighbouring country; forty books by Slovak writers translated into Hungarian specially for this occasion; debates, book presentations, readings, discussions with authors, translators, publishers, journalists, scholars, historians—plus concerts, media interviews and interactive events for children. All that followed by receptions, informal conversations, fun.

Never has Slovak literature been presented abroad on such a massive scale. Never before have so many Slovak books been translated into any other language. And it is unlikely that such an event will happen again anytime soon.

The Budapest Book Festival is a major European literary event, with over 60,000 visitors every year. In the past guests have included such stars of the literary firmament as Umberto Eco and Paolo Coelho. This year it must have seen the greatest concentration of Slovak writers per square metre.  READ MORE…

Translation Tuesday: An excerpt from “Making Skeletons Dance” by Peter Macsovszky

"We’re waiting for a favourable wind in our skulls. Simon taps his forehead and grimaces."

The action of the novel takes place in one day (as in Joyce’s Ulysses and Woolf’s Mrs. Dalloway). The main character is Simon Blef, a man who has emigrated to Holland, where he met his future wife, a Mexican-Dutch girl named Estrella. As he waits for Estrella, who is returning from Spain, Simon wanders into the Amsterdam pubs and starts drinking. As time passes, all kinds of memories surface from the past. There is no striking action in the novel; it is rather an impressionistic reverie with glimpses of humour and a mordant commentary on the main character’s ambition to become a writer. This novel was shortlisted for Slovakia’s most prestigious literary award, Anasoft Litera Prize, in 2011.

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1. There’s somebody

whose refuge is a pub like this, neither filthy nor speckless, but the sort of place where a passer-by does not stay too long. Battered, creaky chairs, dust-coated wooden panelling, a slot machine. For somebody refuge means a bar counter, subdued conversation, light music, world-famous glances from bronzed faces. For someone, again, it’s a woman willing to hear the cycled effusions of pain, morning and evening. Hear them, care for them, cultivate  and protect them. Fantasies of alleged wrongs and menaces. For Simon Blef, whom no misery is tormenting today and therefore he claims no concern, refuge means this Amsterdam pub, neither filthy nor speckless, scrunched at the corner of Gravensstraat and Nieuwe Zijdsvoorburgwal. From there Simon Blef gazes at the world, observes passers-by, how they borrow and  steal gestures, each in a way that is both unique and custom-worn. Not quite half an hour ago he was boring through the crowds that came hurtling out from the platforms of Centraal Station and wondering whether to go left and find some quiet boozer in the Red Light District sidestreets, or if he ought to go right and cast anchor as ever in this unprepossessing drinking shop, which basically serves as an entrance hall for a hotel and restaurant on the first floor.

Simon has picked his spot by the window so as to be able to see the doings not only on the street but also by the bar counter. Encompassing with one’s gaze the largest possible segment of the world currently served up: then he feels in a place of refuge. READ MORE…

The Silent Whip by Jana Juráňová

"Our society is unwilling and unable to fully and profoundly come to terms with the legacy of either totalitarian regime."

In December 2015, my new play, The Silent Whip, premiered on the small stage of the National Theatre in Bratislava. It was written as a warning about what might happen if my country, Slovakia, fails to come to terms with its wartime past, but in light of the recent general election there, which has swept a neo-Nazi party into parliament, it turned out to be a grim prediction.

My country’s history is marked by a recurrent loss of memory, mostly imposed from above. As someone who spent nearly half of my life under state socialism, with history lessons filled with blank pages and distortions, I have found history to be a never-ending fount of fascination and explored it through my writing, much of which is based on real figures from our more distant and recent history.

One such figure is the protagonist of The Silent Whip, the acclaimed 20th century Slovak writer Milo Urban. The best of his fiction, written before World War II, particularly the novel The Living Whip, still forms part of our literary canon. Yet he is also one of many Slovak writers who have sullied their reputation by getting entangled with one ideology or another.  In the four decades from 1948 until 1989 many authors genuinely believed in the idea of communism, or at least pretended to believe in it in order to be allowed to publish. During the much shorter existence of the wartime Slovak Republic (1939-1945), a satellite of Nazi Germany, quite a few distinguished writers embraced the national socialist ideology. Many of them were condemned after the war and some, for instance Jozef Cíger Hronský, emigrated to South America.

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Elena Ferrante in Slovak(ia): In Conversation with Ivana Dobrakovová and Aňa Ostrihoňová

"Although Slovak authors do give interviews and appear in public, events where the author is represented by their translator are very rare."

My Brilliant Friend is the 30th book to be published by INAQUE, a small independent publisher in Bratislava, and one of very few in Slovakia to specialise in translated literature. Elena Ferrante’s books appear in INAQUE’s Women’s Fiction series, which features stories by Jamie Quatro and Tessa Hadley, among others.  Titles planned for 2016 include The Story of a New Name, part two of Elena Ferrante’s Neapolitan saga, Manual for Cleaning Women by Lucia Berlin, Jenny Erpenbeck’s The End of Days and Kate Bolick’s Spinster: Making a Life of One’s Own, life stories of distinguished and unjustly forgotten women who lead a full and fascinating life without the need for fathers, brothers or husbands.

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Julia Sherwood: Sometimes an encounter with a book or an author is almost a story in its own right. Where did your own stories intersect with those of Elena Ferrante’s novels?

Aňa Ostrihoňová: Sometime in 2006 in Villerupt in France, I went to see Days of Abandonment during a festival of Italian cinema. A friend was keen to see the movie because, like three other movies shown that day, it starred her favourite actor Luca Zingaretti. I was struck by one scene in particular, in which Olga, the protagonist, is talking to the editor of a publishing house who has asked her to translate a novel. The editor tells her that the manuscript she delivered is a great story but it’s not the book she was supposed to translate. Later I realized this was a ploy the scriptwriter used in order to include in the movie the story of La Poverella, which comes back to haunt Olga in hallucinations from her Naples childhood. The scene doesn’t occur in the book.

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