Place: United Kingdom

What’s New with the Crew? A Monthly Update

A behind-the-scenes scoop on what our team members have been up to!

Communications Manager Alexander Dickow translated Guillaume Apollinaire’s celebrated “Song of the Unrequited Lover” for the Spring 2017 issue of Metamorphoses.

Assistant Blog Editor Aurvi Sharma was awarded the 2017 New York Foundation for the Arts fellowship in Nonfiction Literature.

Drama Editor Caridad Svich’s play Iphigenia Crash Land Falls On the Neon Shell That Was Once Her Heart was performed on 30 July at Bread and Roses Theatre in South London and by London-based company Clumsy Bodies from 4 to 12 August at theSpace on Niddry Street in conjunction with the Edinburgh Festival Fringe. Her essay, “Riding Uphill on a Red Bike,” based on her play Red Bike, is featured as the closing reflection on the making of the Stages of Resistance series.

Editor-at-Large for Romania and Moldova MARGENTO a.k.a. Chris Tanasescu will be presenting with his team a paper titled “Access(ed) Poetry. The Graph Poem Project and the Place of Poetry in Digital Humanities” at the 2017 Digital Humanities Conference in Montreal. Chris also recently presented a paper on automated metaphor detection in poetry at the Association for Computational Linguistic Conference in Vancouver.

Criticism Editor Ellen Jones was awarded one of the 2017 ALTA Travel Fellowships to attend this year’s conference in Minneapolis.  She, like Social Media Manager Thea Hawlin, has written an essay for the upcoming anthology “The Digital Critic: Literary Culture Online,” published by OR Books.  

Contributing Editor Howard Goldblatt has published an essay in Korean Literature Now discussing the issue of translating fiction and creating fiction as two distinct literary genres.  

Editor-at-Large for Indonesia Norman Erikson Pasaribu is showcased as an emerging Indonesian writer in Kill Your Darlings, a cultural magazine based in Melbourne, in partnership with the upcoming Ubud Writers & Readers Festival (UWRF) in Bali.  

Social Media Manager Thea Hawlin wrote about the rise of female literary magazines for LitHub and reviewed a response to George Eliot’s ‘Silly Women Novelists’ for the Times Literary Supplement. She also published essays on Italian director Antonioni’s first color film and the designer Salvatore Ferragamo in AnOther magazine. It’s also her birthday today so please joining us in wishing her a very happy birthday!

Editors-at-Large for Singapore Theophilus Kwek and Tse Hao Guang have launched UnFree Verse, an anthology of formal verse from Singapore, co-edited with poet Joshua Ip. Theophilus was also featured last week in an episode of the new BBC4 series ‘Mother Tongue’, which focuses on poetry in translation.

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Weekly Dispatches from the Frontlines of World Literature

No matter where you are, we've got you covered.

Since 2013 we’ve been bringing you the latest news in the literary world, and we’re not about to stop anytime soon! This week our Executive Assistant, Cassie Lawrence, showcases the latest exciting books being published and prizes being awarded in the UK; our new Editor-at-Large from Brazil, Lara Norgaard, focuses on racial and gender diversity in festivals across the country, as well as newly published work that had been previously lost; finally, our Editor-at-Large for Taiwan, Vivian Szu-Chin Chih, fills us in on the latest prizes as well as film festivals happening right now! 

Cassie Lawrence, Executive Assistant at Asymptote, reports from the UK: 

An unpublished manuscript from the late author Maurice Sendak (known for Where the Wild Things Are) has been discovered. The manuscript is complete with illustrations and is said to date from twenty years ago, according to Publishers Weekly. A publisher for the new title has not yet been announced.

June 20-23 saw twenty British writers and over fifty literature professionals from around the world gather in Norwich as part of the International Literature Showcase. An online platform that allows the showcasing and collaboration of international literature organisations, the live event included panel discussions and readings from Elif Shafak, Graeme Macrae Burnet, David Szalay, and more.

Good news for libraries finally! Following the cuts that have taken place across the country in recent years, The Bookseller brings news that 14 libraries across Lancashire are set to reopen later this year and early next year. These will be partly run by community groups, but with the majority still being run by the council.
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What’s New with the Crew? A Monthly Update

A behind-the-scenes scoop on what our team members have been up to!

Poetry Editor Aditi Machado’s forthcoming collection, Some Beheadings, is available for pre-order from Nightboat Books. Her translation of Fariq Tali’s Prosopopoeia was recently reviewed by Jill Magi.

Drama Editor Caridad Svich‘s piece, Carthage, will be performed at TheatreLab in New York from 19 to 21 July, by Signdance Collective. She is also on the editorial board of Global Performance Studies, a new journal which has just launched its first issue, Fluid States—Performances of unKnowing.

Criticism Editor Ellen Jones has translated some poems by Enrique Winter, which are appearing in a bilingual chapbook called Suns, published by Cardboard House Press on 25th July.

Romania and Moldova Editor-at-Large Chris Tanasescu a.k.a. MARGENTO will be presenting a paper on “Metaphor Detection in a Poetry Corpus” at the Association for Computational Linguistics Conference in Vancouver. The paper is co-authored with Vaibhav Kesarwani, Diana Inkpen, and Stan Szpakowicz, and is a part of the GraphPoem research project he conducts on graph theory applications in poetry.  Earlier this month, MARGENTO co-edited a Romanian Poetry feature in Plume together with Tara Skurtu.

UK Editor-at-Large Megan Bradshaw has a new short story, Tigre, in the most recent issue of Litro Magazine. 

India Editor-at-Large Poorna Swami‘s essay, Wonder Woman, the Fierce Superhero Feminists Deserve, was published by The Wire. 

Chief Executive Assistant Theophilus Kwek has new poems in Hyphen Magazine and the Asia Literary Review. He also read at the 21st Anniversary Showcase of the Ledbury Poetry Festival alongside Fiona Sampson, A E Stallings, Tony Hoagland, and other featured poets.

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Weekly Dispatches from the Frontlines of World Literature

All you the news updates you need—right here at Asymptote

Lots of things have been happening in the world of literature, but don’t worry—as always we’ve got you covered with news from far and wide. Maíra Medes Galvão serves up a rich helping of literary festivals and events around Brazil (and New York), including a celebration of Bloomsday. Sneha Khaund gives us the who’s who and the what’s what of India’s literary scene right now, including recently published authors and the most exciting literary readings and events. Stefan Kielbasiewicz provides some tragic, but at the same time uplifting news, and gets into the thick of prizes and festivals that have already happened and all that are yet to come. Strap yourselves in and enjoy the ride.

Maíra Mendes Galvão, Editor-at-Large, reports from Brazil:

As a plea to encourage people to acquire the habit of reading—famously said to be lacking in Brazil—four literature and entertainment blogs from Belém, capital of the State of Pará, have put on a literary festival dubbed a ‘Cultural Marathon‘, which started on June 17 and goes on until the 25th. There will be talks around themes such as sci-fi, the detective & crime genres, new Brazilian literature and others. The festival is hosted by the bookstore chain Leitura and supported by publishing houses Intrínseca, Pandorga and DarkSide.

Bloomsday did not go by unnoticed in Brazilian territory. The city of São Paulo traditionally holds its June 16 celebrations inspired by the initiative of brother poets and translators Haroldo and Augusto de Campos, who first brought the festive date over to São Paulo thirty years ago. Casa das Rosas, a cultural venue and museum dedicated to Haroldo de Campos, and Casa Guilherme de Almeida, dedicated to the eponymous translator and poet, have come together again this year with a program that included a festive wake (Finnegan’s wake, naturally) with live Irish music as well as conferences, talks and readings.

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The Invisibility of the Translator

We were taught to imagine a sliding scale between “Author,” “Text” and “Reader."

For English literature students, it has almost become cliché to mention Roland Barthes’s 1964 essay, The Death of the Author, which argued for prioritizing the reader’s response in the meaning of a text rather than the supposed intentions of the author. As students, we were encouraged to focus more on texts themselves, their connection to other texts, discourses, and historical contexts. Whatever decisions the author may have consciously made were to be treated with heavy skepticism—authors no longer had a say in the interpretation of their own work as much as readers and critics. Like many other literary theorists, Barthes’s text arrived to me through translation, and whole branches of the degree I finished one year ago gave me the chance to study a variety of literature in translation.

I never seriously questioned how a translation can affect the meaning of a text until we were assigned to read the French theorist Jacques Derrida’s Of Grammatology (1967), translated by Gayatri Chakravorty Spivak. I found it incomprehensible, along with many of my classmates. The one-hour lecture we had as a kind of introduction essentially came to, “Just keep reading the original text and you’ll understand it,” and I remember telling a friend at the time that the actual, original text was in French; perhaps the translation had something to do with it. Granted, even in French Derrida’s text is notoriously difficult to understand, but there could very well have been issues with Spivak’s translation, as one reviewer for the Los Angeles Review of Books suggested.

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What’s New with the Crew? A Monthly Update

Awards, publications, and readings—our team members have been keeping busy!

Writers on Writers Section Editor Ah-reum Han’s fiction, The Blind Bride, published in Okey-Panky, was recognized in The Wigleaf Top 50 (Very) Short Fictions of 2017.

Assistant Blog Editor Aurvi Sharma was interviewed by Wasafiri. She was also awarded a Bread Loaf-Rona Jaffe Foundation Scholarship and her essay, Hymns for the Drowning appeared in Pleiades Magazine.

Criticism Editor Ellen Jones published a review of Juan Carlos Márquez’s novel Tangram, translated by James Womack, in the Glasgow Review of Books. 

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In Conversation: Lesley Saunders on translation, poetic collaboration and creating new writing with refugees

I think there’s a place opening up where poet-translators can have a kind of collective presence

Lesley Saunders has published several books of poetry, and a new collection Nominy Dominy is due out from Two Rivers Press next year. She has won several awards for her poetry, including the inaugural Manchester Poetry Prize, the Stephen Spender Award for poetry in translation and The Poetry Business 2016/17 International Book & Pamphlet Competition; she is currently working on a book of translations of selected poems by the acclaimed Portuguese writer Maria Teresa Horta. Find our more about her work at www.lesleysaunders.org.uk

Theophilus Kwek (TK): Congratulations on winning the 2016 Stephen Spender Prize for Poetry in Translation with your lovely translation of Poema by Maria Teresa Horta! In your commentary, you write about that striking central image of the poem—a ‘prowler-intruder’—which, as compared to Hughes’ ‘thought-fox’, is felt rather than seen. Did you face any challenges in rendering such a tactile ‘muse’ in a different language?

Lesley Saunders (LS): This is a really hard question! I’m very much guided, in my translation, by a text I’ve come across quite recently: James Underhill’s Voice and Versification in Translating Poems, which is wonderful – and which I first discovered by being asked to review it. I started reading the book more out of duty, then was completely captivated by how Underhill describes the difficult but not impossible challenge of translating poetry.

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What’s New with the Crew? A Monthly Update

From launching journals to winning literary prizes, our team has had a wonderful month!

Incoming Communications Manager Alexander Dickow has recently received tenure from the College of Liberal Arts and Human Sciences at Virginia Tech. He currently serves as Assistant Professor of French.

Spanish Social Media Manager Arthur Dixon has launched the second issue of Latin American Literature Today, a new journal where he serves as Managing Editor and Translator.

Drama Editor Caridad Svich has been named one of 2017’s O’Neill Finalists at the National Playwrights Conference for her play, Town Hall.

Romania and Moldova Editor-at-Large Chris Tanasescu (MARGENTO) has launched a book titled poetryartexchange, co-authored with 8 other British and Romanian poets and artists, at the Birmingham Literary Festival. The project is a collaboration between University of Bucharest Press and Centrala, and will see more events in London and Birmingham in May through early June.

Contributing Editor Ellen Elias-Bursac will speak alongside poets Athena Farrokhzad and Noemi Jaffe, and fellow translators Jennifer Hayashida and Julia Sanches, on a panel entitled ‘Corrosive Power’ at PEN America’s World Voices Festival.

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Noah Birksted-Breen on Contemporary Russian Theatre

The conditions are very tough for a young playwright; you can only hope that you get picked up by a really good TV series

Noah Birksted-Breen is a theatre director, writer and translator. After doing a Modern Languages degree at Oxford University, including one year at the St. Petersburg State University, he completed an MA in Playwriting at the Central School of Speech and Drama in London. In 2005 he co-founded Sputnik Theatre Company, which is dedicated to bringing contemporary Russian plays to the UK, and has so far produced five plays for his company. Sputnik also launched the first Russian Theatre Festival in the UK in 2010 with four new Russian-language plays translated into English and premiered at the Soho Theatre.  In 2006 Noah won the ITV Theatre Directors’ Award, working for a year and a half as resident director at Hampstead Theatre. He has translated plays by, among others, Oleg Bogaev, Yelena Gremina, Natalia Kolyada, Natalia Moshina, Yuri Klavdiev, and Yaroslava Pulinovich. 

Julia Sherwood, Asymptote’s editor-at-large for Slovakia, caught up with Noah in the middle of his commute between Oxford, where he’s in the final stages of his doctoral dissertation, and London, where he lives with his family.

JS: I first came across Sputnik back in 2005 or 2006, when I saw your brilliant production of Russian National Mail at the Old Red Lion theatre. How did you discover this play, what sparked your interest in contemporary Russian drama and how did Sputnik Theatre start? 

NBB: I started hearing that new Russian playwriting was vibrant and began to actively look into it. I was travelling to Russia a lot at that time in my job as a project manager for an NGO that was working in that region, so I could also attend plays.  Then, in 2005 I co-founded Sputnik with Leila Gray and started producing new Russian plays. Russian National Mail by Oleg Bogaev was our first production. Right now Sputnik consists of me and then different collaborators for each project. I also have a Board of Trustees—people who are quite big in the industry and they help out. Ideally, I’d like to have a Russian set designer to work with on a permanent basis, and money to commission Russian playwrights, but funding is a problem.

Over the past 3 or 4 years I haven’t produced any plays as I’ve been working on my doctorate—on contemporary Russian playwriting between 2000 and 2014, focusing on four specific theatre companies and their programming of new plays. However, it is a practice-based doctorate, and it includes a non-academic part, in cooperation with Plymouth’s Theatre Royal, so I was able to continue the work I’ve been doing with Sputnik and bring it to a larger theatre. In consultation with the artistic director, Simon Stokes, we identified four plays, which I translated. As it is very difficult to sell a new Russian play in the UK in general and even more so to a regional audience, rather than doing full productions we decided to do them as rehearsed readings at the Frontline Club in London. This was January 2016. The first play was Dr. by Yelena Isaeva, one of the longest running productions of teatr.doc, the renowned studio theatre in Moscow. It’s a surprising, sometimes shocking, often funny and moving play about contemporary medicine in rural Russia. Then we did Joan, by Yaroslava Pulinovich, which is a play about a self-made businesswoman who has made it to the top for all the wrong reasons, and about the ruthless business practices of 1990s Russia and its gangster capitalism. For the third play, Grandchildren: The Second Act, Alexandra Polivanova and Mikhail Kaluzhsky interviewed the grandchildren of prominent Stalinists, whose testimonies bear witness to the very human desire to forgive those we love, even when we know their worst crimes. And last but not least, Mikhail Durnenkov’s The War Has Not Yet Started depicts the dehumanising effects of living in a society on the brink of an all-out war. (videos of post-performance discussions can be viewed here, here, here and here).

JS: I managed to catch two of the plays at the Frontline Club: Joan and Grandchildren; both were excellent and very different.  Are you planning to publish these four plays and can we expect to see full productions of any of them?

NBB: I published two of the plays, Dr. and Grandchildren, in a bilingual edition, and have included all the footnotes so you can get a full experience of the text, if you’re interested. I published them through Sputnik, funded by the Translation Institute (Institut perevoda) in Moscow. As for full productions, the rehearsed readings were very well received and Simon Stokes really liked one of the plays, The War Has Not Yet Started. He decided to do a full production at the Theatre Royal in Plymouth in May 2016, directed by Michael Fentiman. He is more of an auteur director, adding his own images, rather than a typical new play director, where you’re tend to be quite faithful to the script. The result worked extremely successful—very theatrical and enjoyable—though it felt rather eclectic in places.  It’s very hard to get attention for a new Russian play so it was covered mostly by the local press, and by the Stage, the industry paper.

It was good to see how well Durnenkov’s play worked in Plymouth as artistic directors often assume that a contemporary Russian play can only be staged in a niche theatre like the Royal Court, or The Bush, or the Gate or some other theatre that specializes in contemporary plays. In fact, a play like Joan is actually quite a crowd pleaser and the Royal Court would not necessarily be interested whereas—I may be hopelessly idealistic here—I feel that it could actually be staged in a more mainstream theatre. It’s a sort of revenge drama, which asks big questions but at the same time it’s a very entertaining piece with a great deal of situational comedy. The problem is how to convince theatre managers—I spoke to a couple of directors and they felt it could only be staged if there was a star actor in the main role, because otherwise no-one is going to come and see a new Russian play. But if you got Helen McCrory it could be put on at the Old Vic, or the Young Vic [laughs].

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What’s New with the Crew? A Monthly Update

From World Poetry Day to PEN competitions, we've had a busy month!

One quick piece of housekeeping news before our regular update! First, thanks to 98 wonderful backers, we’ve raised $13,547 so far toward our project to showcase new work created in response to Trump’s #MuslimBan. (Read the interviews given by our editor-in-chief at The Chicago Review of Books and at the Ploughshares Blog.) With only 7 days left to contribute to our fundraiser, we’ve unveiled a secret perk just for blog readers like you: for $100 apiece, you get first dibs on autographed books from writers like Junot Díaz and Yann Martel, who also stand with us against the travel ban! Fancy your own autographed copy of The Brief Wondrous Life of Oscar Wao while also supporting frontline efforts to reverse Trump’s travel ban (20% of all proceeds of this fundraiser will go to the ACLU and Refugees Welcome)? Want to help keep Asymptote around beyond 2017? Wait no more: Throw in your support for our fundraiser today!

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Educational Arm Assistant Anna Aresi conducted and translated interviews with Scottish poet Kathleen Jamie and Italian translator Giorgia Sensi as part of Mosaici‘s feature for World Poetry Day, which can be read alongside Sensi’s translations of five poems by Jamie.
 
Editor-at-Large for Romania and Moldova Chris Tanasescu (MARGENTO) has published an article entitled “Community as Commoning, (Dis)Placing, and (Trans)versing: from Participatory and ‘Strike Art’ to the Postdigital”  ​in the latest issue of Dacoromania Litteraria.  One of his performances from the CROWD Omnibus tour in 2016, featuring 100 writers from 37 European countries, has recently been released by Forum Stadtpark in Austria.

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Weekly Dispatches from the Frontlines of World Literature

Your latest updates from the UK, Argentina, and Canada

In case you missed it, Asymptote has exciting news from the London Book Fair, plus the latest literary gossip from Argentina and Canada this week. Lots of new books to look out for, and many writers making waves in their communities. First stop: LBF! 

Julia Sherwood, Editor-at-Large for Slovakia, sends us her notes from the recently concluded London Book Fair, where Polish literature had a big moment:

Over the past few years, Polish has become the second most widely spoken language in the UK, so it was high time for Londoners to get exposed to a massive dose of Polish literature.  Several years of work by the British Council, the Polish Book Institute and the Polish Cultural Institute in London finally paid off as Poland was the market focus at this year’s London Book Fair, held from 13 to 16 March.

Polish writers kept popping up at readings and discussions—not just at the buzzing maze that is the Olympia conference centre, but also at venues all over London. However, the toast of the town was, without doubt,  leading feminist author Olga Tokarchuk (Tok-ARCH-ook: TOK as in tick-tock, ARCH as in arch, OOK to rhyme with book, stress on the ARCH, to quote from the handy guide to pronouncing Polish writers’ names prepared by translator extraordinaire Antonia Lloyd-Jones).  Apparently unfazed by her relentless schedule, Tokarczuk was always ready to answer probing questions with unfailing grace.  Her conversation with novelist Deborah Levy at the London Review Bookshop sold out weeks in advance, and it must have been a real bonus for the author to be presented, ahead of its scheduled publication, with copies of her own latest book Flights, in Jennifer Croft’s English translation (excerpt here).

credit Elzbieta Piekacz, courtesy of Polish Book Institute

credit Elzbieta Piekacz, courtesy of Polish Book Institute

Discussing the role of history in 21st century Polish fiction, Tokarczuk—whom moderator Rosie Goldsmith introduced as the “Margaret Atwood of Central Europe“—declared: “Objective history doesn’t really exist. What is located in the archives is just a collection of facts; history is a projection, our interpretation.” London-based Libyan author Hisham Matar concurred, suggesting that “all writing about the past is vigorously about the present.”  Science fiction writer Jacek Dukaj pointed out that films and books can shape our own memory of events, while poet, writer, and translator Jacek Dehnel explained that he doesn’t write non-fiction because in literature you often have to lie to make it more true.

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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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Meet the Publisher: Juliet Mabey on Oneworld’s Roots and the Business of Publishing Translations

When you start fresh, you’re not burdened with a big list to look after that perhaps stops you from spotting these little gems...

Oneworld was founded in 1986 by Juliet Mabey and her husband Novin Doostdar. The press is now based in London and publishes over 100 books a year. Most of these continue to be non-fiction titles across a broad range of subject areas. In 2009, Oneworld launched their fiction list, and shortly thereafter began releasing novels in translation. To date, the press has published authors from 40 countries and works originally written in 26 languages. Asymptote’s Editor-at-Large for Argentina, Sarah Moses, spoke to Juliet Mabey over Skype to discuss the importance of reading fiction from across the globe and Oneworld’s commitment to diversity in publishing literature in translation.

Sarah Moses: Can you tell me a bit about how Oneworld came to be?

Juliet Mabey: My husband Novin Doostdar and I had always been interested in books and bookshops. We were in university in Edinburgh together, where we met and got married, and we decided that we wanted to set up a company ourselves. It was really a choice between setting up a bookshop or a publishing company. In fact, originally we wanted to set up both, but we never really had time to do the bookshop. We set up Oneworld in 1986, very much with a view of publishing accessible, authoritative narrative non-fiction across quite a broad range of subjects.

At that time there was no Internet. If you wanted to learn a bit more about psychology, and you went into a bookshop, all you could find were say, the complete works of Freud or an A-level textbook of an introductory nature. So we felt there was a big gap in the market for books that were written by experts or academics but in an accessible style. That was very much what we intended to do, across philosophy, psychology, history, popular science. In fact, it’s still very much the core of our non-fiction list. The first year in 1986 I think we published four books. We then built it up very slowly. Neither my husband nor I came from a publishing background so we learned as we went along and talked to booksellers and that sort of thing.

SM: How did you decide to make the move into fiction?

JM: That’s a really interesting question. There were certain factors that came to a head around the same time. On the one hand, I kept reading novels that I felt were very sympathetic to our kind of ethos in our non-fiction list; that if we had a fiction list, we would be interested in publishing ourselves. But of course we didn’t. That went on for a few years before we took the plunge.

For example, novels like Chimamanda Ngozi Adichie’s Half of a Yellow Sun and Purple Hibiscus offered a very interesting way of learning all about Nigerian culture, its history, and that part of the world. They’re fantastic novels in their own right. They weren’t a worthy introduction to Nigeria at all, but they took you there. That seemed to be very much the sort of thing I would have loved to publish if we’d had a fiction list. By this point we’d been in publishing for just over twenty years. Finally I just thought, you know what, I’m going to tell everybody that I’m interested in starting a fiction list, and we’ll see what happens. So we went to Frankfurt in 2008 and I started telling people, “By the way, we’re hoping to start up a fiction list.”

One of the first novels that was suggested to me was Marlon James’s The Book of Night Women, which we went on to publish the following September, in 2009. That was the start of our fiction list. So we were just incredibly lucky. You know, sometimes it happens. And when you start fresh, you’re not burdened with a big list to look after that perhaps stops you from spotting these little gems that are sitting there, which (in the case of James’s novel) everybody had turned down already because it was written entirely in Jamaican pidgin English. Then his next novel—the second novel we published of his—went on to win the Man Booker Prize in 2015. So it was truly a very propitious start to our fiction list.

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Weekly Dispatches from the Frontlines of World Literature

Your literary update from Romania, Cuba, and the UK

This week, we dock first in Romania, where Editor-at-Large MARGENTO updates us on the political climate and how it’s influencing literary output. Then we sail southwest to Cuba, where we’ll hear from Blog Editor Madeline Jones about the foreign diplomats barred from an awards ceremony, as well as highlights from the International Book Fair in Havana. Finally, back across the Atlantic, M. René Bradshaw, Editor-at-Large for the UK, maps out the best literary events taking place in and around the capital throughout March and April.

MARGENTO, Editor-at-Large for Romania & Moldova, catches us up on the Romanian literary scene:

The recent wave of rallies that have swept Romania, where hundreds of thousands took to the streets to protest the government’s decrees decriminalizing certain corruption-related offences, has sparked reactions both on social media and in literary and creative circles.  The “light revolution” received huge global media coverage when tens of thousands of smartphones converged their glows outside the government building in Bucharest, sending a blinding anti-graft message while also forming the image of a huge national flag.  The true hallmark of this revolution has been internationally perceived as the deployment of digital apps and catchy, pun-filled slogans in both English and Romanian, inundating social and mass media with what hip-hop star Călin “Rimaru” Ionescu has termed the new “OUGmented reality” (OUG being the Romanian acronym for a governmental decree).  As #Rezist has gone viral across digital media channels, it is apt to share from our past archives a celebration by Asymptote contributor Ruxandra Cesereanu of what she sees as a revival of the anti-Soviet and anti-communist rezistance, a Romanian partisan movement that heroically lasted from the late 1940s through the mid-1960s.

In a similar vein, American poet and translator Tara Skurtu—currently in Romania on a Fulbright grant—has revisited the Romanian gulag in a poem inspired by the recent protests and published in the Huffington Post. A couple of days later, the same publication ran an interview on similar issues with Radu Vancu, also an Asymptote contributor.  Still, one of the authorities on modern and post-communist history Mircea Stănescu, who has consistently and shrewdly chronicled and analyzed the protests, maintained a cautionary stance, pointing out the generation gap strongly manifest in the current movement and warning about deeper political and educational issues that might remain unaddressed and resurface later.  Yet it seems that the ongoing rallies and sense of solidarity are a breath of fresh air that has already inspired a great deal of writers. Poet, novelist, and essayist Cosmin Perța has already announced a forthcoming #Rezist literary anthology.

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