Place: Austria

Dispatches from the Frontlines of World Literature

Hot off the press: the latest literary news from Latin America, Germany, and Austria!

This week, we set off from Buenos Aires, where Editor-at-Large Sarah Moses reports on the hottest literary events around the country. Then Editors-at-Large Paul Worley and Kelsey Woodburn take us from Argentina to Guatemala, Mexico, and more, updating us on the latest cultural happenings around Latin America. That’s all before we jet to Europe with contributor Flora Brandl for a rundown on the contemporary German and Austrian lit scene. Buckle up!

Sarah Moses, Editor-at-Large for Argentina, has the scoops on the latest literary events:    

The Ciclo Carne Argentina reading series held its first event of the year on February 17 at Nivangio Club Cultural in the Boedo neighbourhood. The series, which recently celebrated its ten-year anniversary, has become a Buenos Aires institution. Poets and authors, both acclaimed and just starting out, are invited to read at each event. Since the series began in 2006, over 150 authors have shared their work at different venues across the city. The February reading featured six writers including Vera Giaconi and Valeria Tentoni.

On March 3, the Seminario Permanente de Estudios de Traducción [Ongoing Seminar of Translation Studies] at the Instituto de Enseñanza Superior en Lenguas Vivas  “Juan Ramón Fernández” [Institute for Higher Education in Living Languages] started off the year with a special session. The series provides a space to discuss theoretical and critical texts in the field of translation studies, as well as one in which writers, translators, researchers, and teachers can interact. Canadian poet, translator, and professor Madeleine Stratford presented her research on creativity in translation through an examination of the process of bringing Marianne Apostolides’s novel Swim (BookThug, 2009) into French. Stratford’s translation, Elle nage (La Peuplade, 2016), was a finalist in the English-to-French translation category for the Governor General’s Award, a prestigious Canadian prize.

The British Council and the Filba Foundation, an NGO dedicated to the dissemination of literature, are hosting an upcoming conference and series of talks and workshops on the future of the public library. Gillian Daly, head of policy and projects at the Scottish Library & Information Council, will travel to Buenos Aires to share her experience, and the events are intended to serve as a dialogue between Scotland and Argentina. The conference will take place at the Museo del libro y de la lengua on March 10.

From April 6-9, Filba Nacional, the organization’s national literary festival, will bring together close to 30 Argentinian authors for talks, readings, and other activities. Each year, the event is organized in a different location in Argentina, and in 2017 the Patagonian city of Bariloche will host the festival.

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Zsuzanna Gahse’s Europe: Like Her New Book, It’s a Collection

Translations are more or less a doubling of life, or rather, a translation is the doubling of a book’s life.

Zsuzanna Gahse’s strange and eloquent meditation on the question of what, or rather, who “Europe” is has only become more relevant over the course of the past year in politics. Gahse’s Europe is the continent that shares her name with a princess abducted by Zeus. “Europe consists of its disintegration,” she writes. Gahse’s writing is all the more relevant for not being “topical”: these prescient thoughts on Europe’s disintegration date from 2004, the year of the EU’s most ambitious expansion. Her Europe is composed of a collection of accents, languages, and landscapes, “a collection of mountain ridges wrinkling the earth.” It’s an Europe for travellers, migrants, and lovers.

Her first book to be published in English comes out this month with Dalkey Archive in Chenxin Jiang’s translation. The translator and writer spoke shortly before the book’s release.

Chenxin Jiang (CJ): The Süddeutsche Zeitung wrote of you a few days ago: “As a master of short prose, she has become a truly European author.” Is the short prose form central to your being a European author?

Zsuzanna Ghase (ZG): Short compact narratives and even individual sentences can be memorable and indeed arresting. Whether in prose, poetry, or drama, these types of writing have a remarkable role to play in the modern world, and the endless (serious and unserious) ways of playing on them constitute an experimental challenge. As for being a European author, I certainly am one, in that I don’t focus on any one country (or my so-called “own” country) in my books, but am interested in many different countries.

CJ: In what sense are the pieces in Volatile Texts part of what the first piece would call “a collection”?

ZG: The word “collection” only applies to the first piece in the book and the pictures of Europe it presents. Europe can be described as a collection of various customs and histories, different languages, climates, political arrangements and so on; a collection that is both well- and less-than-well-developed. You could spend a long time surveying the cuisines alone. All that taken together is Europe: in other words, a collection.

But the individual pieces in Volatile Texts are carefully composed. As such, they do not constitute an arbitrarily assembled collection—hence the subtext of Europe that runs throughout. The fact that a Hamburger can become a Roman and a woman from France an American in one of the Volatile Texts speaks to the porousness of identity, to the existence of a collection of identities.

CJ: In Volatile Texts, you write that “languages [are] shaped by landscape, by topography.” How has your own attentiveness to language and your writing been shaped by living in Switzerland?

ZG: In the mountains, in order to make yourself understood between the cliffs, you need a different voice from the voice you’d use on the plains. It must be true in the Rockies too, that voices have to prevail against the mountains. Conditions are different on the tranquil plains: for instance, in windswept northern Germany, I’ve observed that people talk with a distinct singsong, so that the wind doesn’t take all their syllables and sounds with it. The striking number of phonological shifts in Swiss German, which might have to do with the topography of the landscape, has always interested me—not to mention the fact that Switzerland has four languages. Because of these linguistic boundaries and the different regions within Switzerland, I began playing with the idea of depicting Switzerland, of all places, as Europe—since, as you know, Switzerland is part of the continent but not part of the EU.

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Weekly Dispatches from the Frontlines of World Literature

Your update from Taiwan, India, and Finland!

This week, put on your walking shoes so we can follow Vivian Szu-Chin Chih, Editor-at-Large for Taiwan, through Taipei, from an international book exhibition to a history museum. Then we’ll zip over to India to meet Assistant Managing Editor Janani Ganesan for discussions about literary translation and, wait for it—bull fighting. And finally in Finland, Assistant Blog Editor Hanna Heiskanen has some Finnish Publishing Industry gossip for us. Cheers! 

Editor-at-Large Vivian Szu-Chin Chih reports from Taiwan:

As the Chinese Lunar New Year ushered in the Year of the Rooster, as well as the Ding-You Year (丁酉年) in the Chinese Sexagenary cycle, readers in Taiwan have been anticipating the annual Taipei International Book Exhibition, which is kicking off on February 8 and will last till February 13. The international event for book-lovers will take place at the Taipei World Trade Center, only a few steps away from the landmark 101 building. Among this year’s featured sessions are a forum specifically dedicated to children’s books in Taiwan and a discussion concerning how local bookstores can be redefined and reshaped, featuring several Taiwanese and Japanese speakers and the founding chair of the Melbourne Writers Festival, Mark Rubbo. The eminent Chinese novelist and poet based in the U.S., Ha Jin, will also deliver two speeches, one on the art of humor writing in fiction, the other to announce his two latest books, “The Boat Rocker” (《折騰到底》) and a poetry collection, “Home on the Road” (《路上的家園》). The female poet and publisher from Paris, Anne-Laure Bondoux, will travel to the island to attend the book exhibition as well, giving several talks including a discussion with the Taiwanese novelist Nathalie Chang.

The 90-year-old Taiwanese poet Luo Men passed away this January in Taipei. His poems are rich in imagery, with an emphasis on the spiritual search of the human mind. The TSMC Literature Award will see its fourteenth iteration this year, presented by the Taiwan Semiconductor Manufacturing Company to encourage emerging young Sinophone writers in Taiwan and overseas. For 2017, all writers under the age of 40 composing in Chinese, traditional or simplified, are welcome to submit a piece of a novel. The deadline will be at the end of August. Since its establishment, the award has provided young Sinophone writers with a platform to debut their literary works. For example, the 2013 first-prize winner from Nanjing, Fei Ying’s novel, was published in Taiwan by INK this past week. One of the previous winners, Liou Dan-Chiou’s latest book on a couple surviving in the wild, is forthcoming, as well.

This year marks the seventieth anniversary of the 1947 228 Incident followed by one of the longest martial law periods in the world, imposed upon the island by the Kuomingtang government. To help the society further comprehend this historical trauma and to commemorate the victims of the incident, the National Museum of Taiwan History in Tainan is holding an exhibition and a series of talks on the event. The exhibition will last until late May.

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Translator’s Diary: Vincent Kling

Reader response... almost always borders on amazement at the intense, authentic poetry of these “mute” scenes...

Herewith, the second installment in our newest monthly column by past Asymptote contributor Vincent Kling, winner of the 2013 Schlegel-Tieck Prize. As he translates the 909-page Heimito von Doderer’s Die Strudlhofstiege for New York Review Books, he’ll take us along for the inevitable twists and turns of his process. If you didn’t have a chance to read his first installment, check it out here!

“Peru.” Honesty begins at home. I balance my vehement defense earlier about preserving rhyme with a set of true confessions now, acting as my own devil’s advocate by pointing out choices that could be seen as fudging, padding, patching, cheating—all of which might argue against translating rhyme.

“Peru” in a bit, after working to it from another clarifying example. In one of his novella-length stories, Doderer has a character attend a performance of Beethoven’s Fidelio, and he includes a few lines from Leonore’s great solo in Act 1.

So leuchtet mir ein Farbenbogen,
Der hell auf dunklen Wolken ruht.
Der blickt so still, so friedlich nieder,
Der spiegelt alte Zeiten wieder,
Und neu besänftigt wallt mein Blut.

In me there gleams a shining rainbow,
Rests on gray clouds above the flood.
It looks down placidly, serenely,
Mirrors the old times’ image keenly;
With new-found calm now flows my blood.

Ludwig Wittgenstein or Karl Kraus would have my head for tautologies alone: clouds are of course above the flood—where else?; there’s nothing about a flood in the original anyway (but something had to rhyme with “blood”); can an image be “keenly” mirrored, instead of “sharply”?; doesn’t the displacement of the subject in the last line make the word order cheesily “poetic”?

The examples from last month are wobbly as well. In the poem about the Strudlhof Steps, I added a word (“dying”) that’s nowhere in the original—it fits the spirit but strains the letter; the choice of “footfall” corresponds to “Tritte” in the German, and each word duly ends with an unaccented syllable, but the real need was to find a rhyme for “wall.” As for the Latin quatrain about the wine, I may have perpetrated an impossibility of usage. An adjective as generic noun is common in the plural (“The meek shall inherit the earth”; “The rich get richer”), but can that construction even exist in the possessive? Am I cheating with “the bad’s dismay” for “bös dem Schuft” = “pravis prave”? As a final example, consider my metrical change in a couplet from another novella: “Gewalt-Tat gegen Unbekannte / Löscht Feuer ehe es noch brannte” becomes “Violent deeds against men you don’t know / Extinguish a fire before its first glow.” The German four-beat line has an additional beat in English, and feminine end-rhymes become masculine. (As for that, what about the sexism of “men you don’t know”?) If I demand retention of rhyme, why am I allowed to change the meter? (NYRB, don’t fire me, please!)

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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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Book Recommendations for the New Normal

Suggested reading for the fast-approaching U.S. Presidential Inauguration and our changing world politics

This Friday, real estate mogul Donald Trump will be sworn is in as the 45th President of the United States. Last month, Italy’s citizenry voted effectively for the resignation of its Prime Minister, Matteo Renzi, in a referendum applauded by France’s right-wing, nationalist party leader Marine Le Pen, while another far-right conservative, Francois Fillon, is expected to win the French presidential election in May. Last summer, the world watched the historic Brexit vote, and Austrian presidential candidate Norbert Hofer, who ran on the promise of an Austrian Brexit, lost the nation’s vote by a very close margin last month.  

The political climate all over the west is profoundly changing, and those who failed to predict the current developments are scrambling to make sense of them. Book proposals by diplomats, pundits, and economists are flooding publishers’ inboxes, all claiming to have the most accurate analysis of the causes of Trump’s win or Britain’s isolationism. But a look at the past, and some past literature, suggests that perhaps we should be surprised at our own surprise. We gathered some book recommendations to prepare you for this Friday and the vast challenges ahead because—wait for it—knowledge is power (sorry!) and there are many already-published texts, many in the history category, with a wealth of relevant knowledge to impart.

Asymptote’s Marketing Manager David Maclean suggests you check out:

Stefan Zweig’s The World of Yesterday , translated by Anthea Bell (Pushkin Press, 2013)

“As a great many political pundits have pointed out, the resurgence of nationalist and far-right movements throughout Europe has more than a passing resemblance to the initial rise of fascist groups prior to the Second World War. Disguised as an autobiography, Zweig’s The World of Yesterday offers a coruscating portrayal of the idealism of pre-war Europe and the European cross-cultural project, as well as the fragility of the ideals of Enlightenment in the face of (dangerously) cynical realpolitik, ignorance, and the fostering of prejudice. The nation cannot be loved above all else, warned Simone Weil, since it has no soul—and indeed it is the balkanization of Europe that Zweig portrays as a logical result of nationalist movements that propagate loyalty to the nation above all else. His book is also one of resistance, of the possibility for literature and art to resist the totalitarianism of thought imposed upon us through exercising our creative imaginations—an understated but underestimated daily act of resistance.”

The Word for World is Forest by Ursula le Guin (Tor Books, 2010)

“I had thought to include Rachel Carson’s seminal 1962 book The Silent Spring, which arguably thrust eco-criticism and global conservation into the mainstream debate, but since the United States’ president-elect seems intent on living in a fantasy world regarding man-made climate change, I decided to be magnanimous and stick with his chosen genre. The novella details a logging colony established on the fictional planet of Athshe by Earth’s military-industrial complex, which is slowly but surely denuding the planet of its primary resources and leaving vast swathes of it barren and lifeless. The novel hinges on a conflict of ideologies between the native population, which may be well be seen as a surrogate for nature, and ourselves (the Terrans) who view nature as a disposable resource for immediate consumption and have little to no regard for the long-term consequences. In the Athshean language, the word for “forest” is also the word for “world”, showing the dependence of the Athshean culture upon the forest, much as we all depend upon a fecund, hospitable world that continues to dance on the brink of ecological ruin.”

Blog Editor Madeline Jones found pertinent wisdom in:

The Beautiful Country and the Middle Kingdom: America and China, 1776 to Present by John Pomfret (Henry Holt, 2016)

“We all know that the U.S. president-elect likes to make China a scape goat for basically whatever he thinks is unsatisfactory about American affairs that he can’t conceivably blame on Crooked somebody or Lyin’ somebody else. Of Trump’s targets of aggression now that he’s been elected, China perhaps comes in second only to FAKE NEWS (caps his). We’ve all heard the “Gina” jokes. His lack of understanding of diplomacy generally but particularly regarding China is near-comical, so it’s difficult to even wrap your mind around the implications of his attitudes toward the world’s largest economy, but it is vital that at least someone in his administration does. In the meantime, I decided to try to understand the nuances of the relationship better myself. This book is invaluable—and highly readable—to that end. It’s not short, but it’s a one-stop shop.”

The Fire This Time, edited by Jesmyn Ward (Scribner, 2016)

“Pointedly drawing inspiration from James Baldwin’s The Fire Next Time, Ward has gathered responses from her generation’s most eminent voices on race in the form of critical essays, personal reflections, and poetry. From Jericho Brown to Daniel Jose Older, Claudia Rankine to Clint Smith, the contributors make this a worthwhile read for its own, aesthetic sake, but it’s also an emotional and timely reminder of the ways in which society has not changed since Baldwin was writing, the areas in which there is still vital need for improvement. While newspapers and magazines have been praising J.D. Vance’s memoir Hillbilly Elegy since Trump won the Republican nomination as the book to understand America today, I found Ward’s book to be an important counterargument to that narrative, especially given Jeff Sessions’s imminent confirmation by the Senate. Vance’s book has merit, certainly, but the current focus on “understanding the white working class” cannot be emphasized at the expense of a focus on race relations and the continued economic and privilege gap between white Americans and black and Hispanic Americans. Reading Hillbilly Elegy is a worthwhile exercise in empathy, but it’s no more important than reading Ward’s collection. Baldwin wrote, ‘You think your pain and your heartbreak are unprecedented in the history of the world, but then you read.’ There is plenty of pain and heartbreak in The Fire This Time, too.”

Blog Editor Hanna Heiskanen recommends:

The Establishment: And How They Get Away With It by Owen Jones (Penguin, 2014)

“British journalist and writer Owen Jones (b. 1984) hasn’t made a secret of his political inclinations (very left-wing, in case you haven’t heard), and he was a staunch critic of Donald Trump throughout his election campaign. His 2014 book, The Establishment: And How They Get Away With It, which was met both with great praise and criticism, zooms in on the power structures of British society and is now more relevant than ever. Owen claims that while the people continue voting in elections, behind the scenes, a network of the unelected, unaccountable, and immensely powerful advisors and diplomats control our lives and steer decision-making. Though Jones’s book focused on the UK and some of its seemingly unique features, such as the grooming of the new ruling class at top universities, or the privatisation of public services, its fundamental premise applies to almost any country you could point to on the map. Whether you grew up in a Nordic welfare society or listening to stories about the American Dream, this makes for a relevant, albeit depressing, read.”

The Communist Manifesto by Karl Marx and Friedrich Engels (1848, 2015 Penguin)

“It might be old, and many would say old-fashioned, but the grand ideologies of the 19th and 20th centuries, capitalism and communism, continue to have an undeniable impact on our societies and politics. Many have explained the rise of the far-right and nationalist sentiments around the world with the collapse of traditional industries that would have supported generations of working families who now feel unnecessary or displaced. Now, with the rise of China as a world power, as well as a future in which robots will take over an increasing number of tasks from humans, Marx’s writings suddenly don’t seem as outdated anymore.”

And literary critic Harold Bloom offered:

“The only thing I can think of right now is Yeats’ ‘The Second Coming’.”

*****

Read More Book Recommendations:

What’s New in Translation? January 2017

Asymptote reviews some of the best new books from Spanish, German, and Occitan.

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Proensa: An Anthology of Troubadour Poetry, tr. by Paul Blackburn, edited and introduced by George Economou. New York Review Books.

Review: Nozomi Saito, Executive Assistant

Translated from the Occitan by Paul Blackburn, Proensa: An Anthology of Troubadour Poetry is a remarkable collection of troubadour poetry, which had vast influence on major literary figures, including Dante and Ezra Pound. As poems of the twelfth century, the historic weight of troubadour poetry might intimidate some, but the lively language in Paul Blackburn’s translations is sure to shock and delight twenty-first century readers in the same way that these poems did for their contemporary audiences.

The context surrounding the original publication of Proensa in 1978 is nearly as interesting as the troubadour poems themselves. Although Proensa was in fact ready for publication in the late 1950s, lacking only an introduction, the collection was not published until seven years after Paul Blackburn’s death. The manuscript was then given to George Economou, who edited the collection and saw to its posthumous publication.

The circumstances of the publication of Proensa, of the pseudo-collaboration between a deceased translator and a living editor, are reminiscent of another publication that came out in 1916, Certain Noble Plays of Japan. This manuscript was a collection of Noh plays translated by Ernest Fenollosa, which Ezra Pound received after Fenollosa’s death.

Interestingly, it was Ezra Pound’s influence and the great importance he placed on the troubadours that ignited the fire of translation within Blackburn.  Pound, as Economou explains, “did more than any other twentieth-century poet to introduce the troubadours and their legacy to the English-speaking world”. Pound viewed the translation of the troubadours as an all-important task, and Paul Blackburn answered the call-to-action.

Six degrees of Ezra Pound. The coincidence (if it is one) begs the question of why Proensa is being reprinted now, thirty-nine years after its original publication, and one hundred years after the publication of Certain Noble Plays.

In the case of Certain Noble Plays, the significance of its publication was that Pound (as well as William Butler Yeats) felt that the Noh plays could revitalize Anglo-American poetry and drama in ways that suited modernist aesthetics. One might wonder if the same intention lies behind the reprinting of Proensa—if these troubadour poems are appearing again to twenty-first century readers to revitalize poetry and performance using literary forms from the past. READ MORE…

New Year Reading Resolutions from the Asymptote team! (Part I)

From reading more small presses to children's literature in translation, here are our reading resolutions for 2017!

Sam Carter, Assistant Managing Editor

Rather than focusing on a single region in the coming year or trying to rectify one of my many reading deficiencies (such as an embarrassing lack of familiarity with Chinese or Arabic literature, to name just two), I will dedicate 2017 to exploring the work of those folks who are so dedicated to bringing us the best of world literature in book form: publishers. Not just any publishers, of course, but the small presses who tirelessly seek out the new voices that make the global literary conversation an exciting and ever-expanding one.

These small presses spread the wealth of work from across the globe, and my small contribution for the coming year will be to spread my meager wealth by monthly rewarding one of these risk-takers with the purchase of a recent release. This supplement to my regular habits will not only contribute a greater degree of diversity to my readings but also allow me to become better acquainted with the frequently impressive catalogs of these forward and outward looking publishers.

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To guide my exploration, I’ll be adding a further constraint by starting with those presses located close to home and working outward. Because I’m based in Ithaca, NY, I’ll turn to nearby Rochester’s Open Letter Books for my January pick, which will be Lúcio Cardoso’s Chronicle of the Murdered House. A friend and inspiration to Clarice Lispector, Cardoso’s novel incorporates letters, diaries, and a variety of other documents from the characters in this sprawling tale of a family’s downfall.

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What’s New in Translation? December 2016

Asymptote reviews the latest translated books from Spanish, German, and Konkani

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The Moravian Night by Peter Handke, tr. Krishna Winston, Farrar, Straus and Giroux

Review: Laura Garmeson, Assistant Copyeditor

Not long after midnight, with wintry constellations etched across the Serbian sky, a group of six or seven men make their way through the darkness from various nearby villages to approach the Morava River, a tributary of the Danube. They have been summoned by the owner of a houseboat moored by the riverbank, guided by its neon sign blazing the boat’s name: “Moravian Night”. Once on board, they are greeted by a man who was formerly a well-known writer. He extinguishes the glowing sign, calls for silence, and begins to tell the listeners his story.

So begins The Moravian Night, the latest shimmering, introspective novel to appear in English from the renowned Austrian author Peter Handke, translated from the German by Krishna Winston and published by Farrar, Straus and Giroux. Handke is no stranger to controversy, with his support for Serbia’s Milošević in the 1990s provoking widespread outrage, and the alchemy of this work seems to draw from the political life and writing life of its author. Employing cameo appearances of characters from previous Handke novels and plot points about the fallout of Central European projects and failed Balkan states, Handke toys with reality, as he sees it, through the cracked lens of fiction.

The resulting book, which on the surface is the story of the nameless writer’s journey across Europe from east to west, is really a travelogue of the mind. This obscured narrator travels through the Balkans, Spain, and Germany, retraces his own steps from previous decades, and reencounters figures who were once figments of memory: “the longer he walked the more he fell into his previous footsteps, footsteps of air”. The parallels to One Thousand and One Nights are established in the book’s first scene, and continue with the same undercurrent of danger and threat of death that forced Scheherazade’s stories into being. The narrator seems impelled by the same threat in the dark on board the Moravian Night. Storytelling here is the antithesis of death – the recreation of a life – and a disrupter of time.

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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.

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© 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.

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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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A Fractured Peace: Artist Schandra Singh speaks with designer Shaill Jhaveri

It is over-stimulating, heartbreaking and beautiful. It's like falling in love and having your heart broken every day.

Although considered one of the fastest-growing markets in the world, the Indian art market is still very much in its infancy. Painting dominates it. Artists are broadly divided into the “moderns”: the more mature “legacy” artists whom collectors feel more secure in buying, and the younger, more current “contemporary” artists, who push the boundaries of Indian art. There was not much of a market till the 1990s, when a more vibrant art scene emerged for established and younger artists alike. Since then, despite economic ups and downs, Indian artists and artists of Indian origin have been making their presence felt across the globe. And the world is paying attention, not just to India, but to artists from throughout South and Southeast Asia.

Growing up in India, I was initially attracted to the Indian portrait painters, especially the sumptuous portraits of a royal India, with the Maharajahs showing off their impossible jewels. Later, I was drawn to the more accessible colored photographs, hand colored over black-and-white prints, stiff but theatrical, with the textiles and jewels jumping off the images. There are the overwhelmingly opulent paintings of the 19th c. Raja Ravi Varma from the princely state of Travancore, who fused European academic art into Indian traditions. Then, there are the haunting self-portraits of a half-Indian, half-Hungarian Amrita Sher-Gil. Of the younger artists, the portraits by Surendran Nair, precursors to his more stylized flat narrative paintings, are so very powerful, as is the realism of Abir Karmakar. The digital portraits of Mahatma Gandhi by Aditya Pande push Indian portraiture into another arena entirely.

Today, a lot of the geographical and cultural boundaries have blurred. A young Pakistani artist Salman Toor lives between Lahore and New York City, and finds that he paints himself in a lot of the figures of his poetic canvases. 

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Variations on a Theme: Carolina Schutti & Joanna Walsh on Poetic Prose

"Poets have long been questioning the usefulness/uselessness of the label 'prose poem.'"

When I was invited to create a miniseries of semi-regular author events as translator in residence at the Austrian Cultural Forum London, I wanted to make sure that the Austrian author would always be in dialogue with a British counterpart about something they have in common in their writing. My motivation is to juggle the foreignness and uniqueness of German-language literature with where it meets and overlaps with literature written in English in order to show that writing comes from a specific linguistic, cultural and literary context, but one that connects and communicates with others. As journalist Judith Vonberg summed it up in her review of the event for Literaturhaus Europa: “it’s a simple but unconventional idea. Instead of highlighting the differences between British literature and literature made on the continent, the starting point is similarity, which opens up far more interesting discussions.”

The first of these events brought Austrian writer and musician Carolina Schutti and author and illustrator Joanna Walsh together to discuss poetic prose and how poetry permeates their writing in terms of language, effect and form with me in the ACF London’s Salon back in February. As a writer of both poetry and short fiction, I’m interested in why sometimes one form does and then other times won’t do at all, and why it sometimes happens that I can read the poetry and prose of others interchangeably as if in the other form. What are the markers and where is the boundary? READ MORE…

Tour de Farce: Julian Gough in Vienna

"'Uh, it kind of doesn't matter what it does. Everyone will want one. Look at it.' They looked at it. It was beautiful.”

Julian Gough’s four-day visit to Vienna started on November 12th, with a reading at Lane & Merriman’s Irish Pub. The Pub features pictures of Samuel Beckett and pint glasses with Oscar Wilde on them, as well as the latter’s appropriate quotation for such an establishment: “Everything in moderation, including moderation” on the wall. The Pub also provided the perfect setting for a lively reading and a long and engaging Q & A session that touched on a number of important current issues—ra(n)ging from 21st century technology to the pros and cons of a return to a gift economy.

The reading was co-hosted by write:now, the Association of English-Language Writers in Austria, the Irish Embassy in Vienna and the English Department at the University of Vienna, each of whom managed to blackmail bring a fair amount of people to the event—the room was packed and the “antici… pation” was palpable. After I had introduced Julian, he took the imaginary stage. READ MORE…

European Days of Literature 2015, “The Migrants:” A Dispatch

"When people are in a 'swarm,' they aren’t people."

Every year since 2009, writers, critics, and literature lovers have been flocking to the Austrian region of Wachau for the European Days of Literature. Late this October, I was fortunate to spend three glorious autumn days surrounded by vineyards in Spitz and Krems on the Danube, to talk about all things literary and listen to authors read from their works, all liberally sprinkled with local Grüner Veltliner. Literature was center stage throughout—and there was a perfect balance between readings, panel discussions, informal chats and the picturesque setting—no wonder many of the participants have been coming year after year.

The overarching theme of this year’s gathering—The Migrants (Die Ausgewanderten)—was chosen with a view to discuss the ways European literature has been changing through and along with the increasing migration of authors. Little did the organizers know that the symposium would take place at a time when migration dominates the media headlines as thousands of desperate refugees risk their lives to cross the Mediterranean and trek through Europe seeking sanctuary, putting the old continent’s humanitarian values, tolerance and unity to a test and threatening the very foundations of the European Project.

“Some of the best writing in Europe today is migrant writing,” said writer AL Kennedy, who tries not to define herself as having a specific nationality. In her powerful keynote speech (podcast recording here) she tackled the current migration crisis head on: “Between my first draft and my last a photograph of a small boy made it to headlines of many newspapers which had, only hours before, been pouring out hatred at refugees as a moral, cultural, biological and spiritual threat. As David Cameron put it: ‘a swarm of people.’ When people are in a swarm, they aren’t people. They are both of an alien species and a danger. When words put them in a swarm, they don’t receive the real world’s help.”

Practising art alone is not enough at times like these, she argued in her impassioned address, for “true art is not an indulgence but a fundamental defence of humanity.” She challenged writers to take on a more activist stand, using tweets, poetry, and bestselling novels, to create “50 shades of refugee.“

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