Translation Tuesday: “Cleaning Matters” by Alba E. Nivas

You don’t need to read poetry, or believe in myths and prophecies, to sense that humanity is undergoing a relentless metamorphosis.

For this Translation Tuesday, we’re bringing you an essay by French writer Alba E. Nivas, translated by Annuska Angulo Rivero. Beginning with a simple daily greeting, Nivas ponders what it means to be anchored to the world; she plunges into a meditation on the invisible rhythms of care, labor, and waste that sustain a city and a society. She deftly travels between personal and planetary scales, tracing connections from a Parisian courtyard to colonial legacies, domestic chores to Hindu cosmology. What forms the core of human consciousness, and what can we gain by giving up the idea of “humanity” entirely—instead, embracing an awareness of the myriad lifeforms that surround us and constitute our earth? It is an attempt to uncover, out of contemporary life, glimpses of a profound, interconnected vitality.

“Bonjour,” she greets me every morning. Sometimes we cross paths in the entry hall of my building, other times on the corner where I lock my bike near the subway entrance. At that hour, Paris streets are just beginning to fill with people on their way to work, parents holding their children’s hands, heading to school. Gradually, the pale morning light thickens with purposeful human motion. Eyes still heavy with sleep, most people avoid looking at each other, as if trying to hold on a little longer to the warmth of oblivion before surrendering to the strange rituals of routine. This woman, though, always smiles at me with a clean, direct gaze, as if we knew each other, even when she’s chatting away on her phone in what might be Urdu or Punjabi, probably with someone in a very different time zone. Every time, she seems more awake than I am. Somehow, the kindness of her greeting snaps me back to planet Earth. My day starts. 

Even though municipal policies have drastically reduced traffic in the city center, at this hour delivery vans crowd the streets, supplying shops, hotels and restaurants. Reluctantly, drivers of buses and cars suppress their impatience as the vans load and unload, blocking their way. We cyclists, driven by haste, dart around them, sometimes swerving onto sidewalks to a chorus of verbal abuse from pedestrians. There is tension in the air. We all feel like cogs in this hungry, about-to-wake-up machine, propelled by a relentless rhythm and wrenched from our quiet, domestic time and space. Our tiny, electrified Parisian lairs will sit empty for a few hours. Hundreds of thousands of men and women head out in pursuit of a paycheck, leaving disarray behind to rule their homes. 

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In the Aftermath of the Impossible: A Review of Effingers by Gabriele Tergit

It is easy to look back on history soberly, not so easy when it is happening as you write.

Effingers by Gabriele Tergit, translated from the German by Sophie Duvernoy, New York Review Books, 2025

There are few endings more shocking than that of Thomas Mann’s The Magic Mountain, when, after hundreds of pages of convalescence and long discussions, its hero is called down from the Swiss sanatorium to the battlefield:

Thus he lay; and thus, in high summer, the year was once more rounding out, the seventh year, though he knew it not, of his sojourn up here.

Then, like a thunder-peal—

Mann refuses to complete his sentence, specifying only that the thunder-peal “made the foundations of the earth to shake”; it is too well known what it portends. It is the Great War, and Hans Castorp must rejoin the world before he can leave it. Suddenly, from one paragraph to the next, he is in the trenches, and Mann can’t help but describe the scene. Castorp is in the mud, beneath the rain, a town on fire behind his back, the enemy before his eyes—and “What is it? Where are we? Whither has the dream snatched us? Twilight, rain, filth.” Whether he’s ill or not, the question that Mann has asked over the course of the novel, no longer matters: he’ll live or die on the battlefield.

That’s the trouble with writing a novel before history did us the courtesy of ending. Mann began The Magic Mountain in 1912, when all of Europe knew war was coming, and sat sagely at dinner tables discussing it. Two years later, that war had begun, and the world had ended. The novel Mann had begun could no longer be finished; what ought to have been the main performance could no longer be more than a happy prologue to the swelling act. The Magic Mountain was published in 1924. There was no more kaiser, there was no more tsar, there was no more Europe.

Gabriele Tergit’s Effingers was conceived in the new world, eight years later in 1932. Things were different, the great break was over, the war was long behind her, and so too were the revolutions that followed. READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest from China and Nigeria.

This week, our editors bring news of what China’s recently announced five-year plan has in store for its writers and readers, and a(nother) reported death of Nigerian literature.

Xiao Yue Shan, reporting from China

I’m sure there are many who would agree with W. H. Auden’s assertion that: ‘In so far as poetry, or any other of the arts, can be said to have an ulterior purpose, it is, by telling the truth, to disenchant and disintoxicate.’ But the good members of the China Writers Association are not among them. 2026 marks the first year of the ‘Fifteenth Five-Year Plan’, which sets out China’s resolutions for social and economic development; within this ambitious blueprint (which interestingly highlights the state’s role in market management as well as the predictable emphasis on sustainability, innovation, and digital technology), there are distinct cultural goals, adherent to national ideology and inextricable from its constructions of power. Certainly, China has always held its literature in great esteem, exercising its political potentials more fervently than arguably any other nation, but even in our long parade of book-loving leaders, Xi Jinping has shown himself to be amongst the most ardent advocates for a symbiotic relationship between the arts and the state, following in the footsteps of Lu Xun in defining literature as first and foremost a form of guidance. As he stated in a speech at the 2014 Forum on Literature and Art: ‘Our contemporary writers and artists should take patriotism as the main theme in creation, guide the people to establish and adhere to correct views on history, the nation, the country, and culture. . .’

The ‘Fifteen-Five’, as the Plan is called, iterates the necessity of developing culture ‘in line with core socialist values’, mentioning seemingly innocuous intentions like ‘promoting the construction of a book-loving society’, as well as more zealous motives like ‘improving the ability to guide mainstream opinion’. Overall, it continues the lineage of CCP policies to unify, optimise, and regulate, with a lot of ‘expanding’ and ‘enhancing’ (toe-curling words for those of us who fear the hyperactive thrust of our moment). In following these mandates, some of the Association’s strategies are standard—such as the “全民阅读促进条例 Regulations on Advancing Reading for All’, which includes increasing publicly funded literary events, as well as a plan to send writers and literati to rural areas (sound familiar?) to encourage engagement and to ‘beautify’. Others are combating newly urgent issues such as AI, looking to fortify copyright laws and educate literature workers as to the available protections. READ MORE…

‘if you were alive I’d embrace you’: A Review of [dasein: defence of presence] by Yaryna Chornohuz

Chornohuz’s exhortation in defence of Ukraine’s presence is at once melancholy yet resolute.

[dasein: defence of presence] by Yaryna Chornohuz, translated from the Ukrainian by Amelia Glaser, Jantar Publishing, 2025

In 1922, the Spanish philosopher, essayist, and poet George Santayana wrote: ‘Only the dead have seen the end of war.’ Though initially penned when reflecting on the impact of World War I, his words would remain just as pertinent a century later. With this sombre message ringing strong as horrors continue to unfold in Africa, Eastern Europe, and the Middle East, Jantar Publishing brought us a transfixing collection in late 2025: [dasein: defence of presence], written by widely lauded poet and member of the Ukrainian Armed Forces, Yaryna Chornohuz, and translated by Amelia Glaser. Originally published in Ukrainian in 2023 and drawing on Heidegger’s principle of Dasein (‘being-there’ / ‘being-in-the-world’), Chornohuz writes of her experiences and reflections from the frontlines with harrowing lyricism, exploring themes of existence, mortality, and grief.

In Being and Time, Heidegger defines Dasein as ‘this entity which each of us is himself and which includes inquiring as one of the possibilities of its Being’—in other words, this philosophical principle is distinct from a mere essence or detached existence, but rather stresses the importance of active engagement with one’s environment and circumstances. This significance of inter-personal and inter-situational interaction challenges humanist interpretations, in which people are viewed through the lens of a static Cartesian subject. Further still, this involvement, being so consciously instigated, thereby inherently necessitates a confrontation with one’s own mortality as much as their personhood. READ MORE…

Niels Fredrik Dahl and “Reality Literature”: Writing to Become Visible to Yourself

. . . truth in literature is less about precision than about resonance.

What does it mean to write truth into literature? In recent decades, books that are largely autobiographical but also explicitly include fictional elements have become a very popular genre in Scandinavia. It’s a conversation that crosses borders and has many names, from “reality literature” in Norway and Sweden (or sometimes “witness literature”) to “autofiction” in Denmark. More and more authors from Scandinavian countries are working in this genre, taking inspiration from authors like Tove Ditlevsen and her The Copenhagen Trilogy and penning highly lauded literary work based on their lived experiences. Recent examples include Andrev Walden’s Bloody Awful in Different Ways, Vigdis Hjorth’s Is Mother Dead and Karl Ove Knausgård’s My Struggle. Though these titles differ in many ways, they also share much in common. If “reality literature” has one unifying claim, it is that writing should bring us closer to truth. But truth in literature is never simple and in autofiction two approaches matter: one based on fact, and one based on feeling. One insists that truth is found in lived experience backed up by historical records and documents; the other suggests that creative reconstructions can produce a truth of their own.

Norwegian poet, playwright, and novelist Niels Fredrik Dahl—sadly not yet translated into English—enters this conversation with a diptych of sorts, consisting of Mor om natten (2017) and Fars rygg (2023), the latter of which was awarded the Nordic Council’s Literature Prize in 2024. In these two autofictional works, he returns to the silences, absences, and fractures in his family history—first, in a portrait of a mother who battles depression, and later in a reconstruction of his father’s childhood before, during, and after World War II. Of course, as with most good family portraits, these books are also a portrait of the author himself, as a child growing up with his mother’s sadness and a father he never quite knew, and as an adult, dealing with a profound sense of loneliness. By shifting between autofiction’s two modes across his two works, Dahl demonstrates that truth in literature is never a stable concept, but always a matter of perspective and curation.

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Translation Tuesday: “Their Eyes are Like That” by Jayant Kaikini

The market at dawn rubs out a night with its feet

Have you ever slept with your eyes open? In the Kannada verses of Jayant Kaikini, what might seem like a curse is re-conceived as a gift: in the strange spectacle of people who sleep with their eyes open and unblinking, the speaker of the poem finds a symbol of the slow, deliberate attention we might bring to every second of our waking lives, missing nothing, finding something holy in every mundane thing, “every plant, pillar, post.” Writes translator Carol Blaizy D’Souza, “I have tried to pay special attention to the play woven into his poetry, to preserve the tenderness, the supple freshness of the narrator’s gaze.” Read on!

Their Eyes are Like That

People who are asleep with half-open eyes
Do not wake them up just in jest; their eyes are like that
Like a looted marketplace

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How to Find Your Home: A Review of Tangerinn by Emanuela Anechoum

Tangerinn is . . . a story of blooming beyond the social images and pressures that can get confused with a meaningful life.

Tangerinn by Emanuela Anechoum, translated from the Italian by Lucy Rand, Europa Editions, 2026

When Mina, the first-person narrator of Emanuela Anechoum’s debut novel Tangerinn, returns to her childhood home in southern Italy after the death of her father, she is argumentative and defensive. She fights with her sister Aisha who picks her up at the airport—about hair removal, head scarves, who knew their father best. Though some of this prickliness could be due to grief, her pre-loss self has already been established as someone quick to judge, who has shored up a levee of self-defense. Mina readily admits to herself that she is a knot of “inadequacy and fear” and is most on edge trying to answer the question of who she really is. Though this query is always loaded, it is particularly so in this novel that takes on the weighty contemporary topics of cross-generational immigration and the social digital landscape.

The beginning of Tangerinn takes place in London and shares resonances with Vicenzo Latronico’s Perfection, published in English earlier this year. Like Mina, Latronico’s couple have moved from Italy to northern Europe and define themselves by their curations—what brands, plants, colors, furniture, and neighborhood they live in. But while the insecurities of Perfection remain mostly placid below this veneer, Mina dislikes her acquiescence to this powerful, social dictate, which is represented by her roommate/mentor/idol Liz. Before Mina receives the call about her dad’s death, she and Liz are having a conversation about envy, at which Mina thinks: “I envy everyone, all the time. I constantly envy people who are beautiful, rich, happy, sure of themselves. I’m full of venom for other people’s privilege, and I also envy their merits. I hope Liz loses everything she has.” Yet Mina must have Liz as her friend, because only Liz—the influencer who has everything—can be the reassurance that she is getting her life in London right.   READ MORE…

Weekly Dispatches from the Front Lines of World Literature

The latest literary news from Egypt and Canada!

This week, our editors fill us in on the controversial withholding of a young writers short story prize in Egypt and an exciting new Canadian-led digital humanities initiative. Read on to find out more!

Ibrahim Fawzy, Editor-at-Large, Reporting from Egypt

The announcement of the winners of the twenty-first edition of Egypt’s Sawiris Cultural Awards was quickly overshadowed by the controversy surrounding the jury’s decision to withhold the first prize in the Best Short Story Collection (young writers category). This decision became a public cultural reckoning, reigniting long-simmering questions about literary authority, generational tension, and the role of prizes in a precarious literary ecosystem.

At the center of the controversy were remarks made by the chair of the jury, member Gerges Shoukry, an Egyptian writer and poet, during the awards ceremony. Explaining the decision to withhold the prize, Shoukry stated that “the overwhelming majority of submitted texts lacked the basic principles of the short story,” framing the jury’s decision as a message to young writers that “knowledge is the path to excellence.”

The backlash was swift. On social media, writers emphasized that juries have the right to withhold prizes; what they rejected was the tone of “generalization,” “rebuke,” and “moral instruction” that accompanied the decision. Questions also emerged about the jury’s process: if most submissions were deemed so fundamentally flawed, how did four short story collections make it to the shortlist in the first place? The collections in question were Pet Mice by Nesma Ouda, Violent Love by Hoda Omran, A Distance Fit for Betrayal by Noha El-Shazly, and Death Has Three Knocks by Iman Abu Ghazala. For the writers, the announcement felt less like a neutral judgment and more like a public invalidation of their efforts. READ MORE…

Cairo Without Euphemism: An Interview with Belal Fadl and Osama Hammad

Don’t even think about taboos, or moral values. If you do . . . you’ll stop focusing on the act of storytelling.

In The Completely True Tales of Um Mimi and Sharawi the Adulterer, Egyptian screenwriter and author Belal Fadl introduces the underground of Cairo with fierce humor and unbridled intensity, drawing on the vividity of vulgarity and the frenzy of the marginalized to capture the explosive nature of the capital. The book was banned in Egypt, though achieved notoriety beyond the nation for both its style and content, lauded for its refusal to censor or sanitize. In this interview, Fadl and translator Osama Hammad speak to us about authorial honesty, the book’s colorful reputation, and about what it means to face reality in fiction.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.

Ibrahim Fawzy (IF): Belal, how did The Completely True Tales of Um Mimi and Sharawi the Adulterer first come into being?

Belal Fadl (BF): It grew out of my personal experience as a student at Cairo University in the 1990s—though I wasn’t thinking of it as a novel. Like many other writers, I believed my first novel had to be epic, something like Dostoevsky’s Crime and Punishment. You start with imitating the works that impress you, and only later do you discover your own voice. García Márquez’s greatest tip is to write what you know.

When I started writing short stories during my journalism work in 1995–96, I tried—unsuccessfully—to write a story about a barber called Sharawi (from the Arabic word for hair). I don’t know why I chose him, but maybe because a barber can be such a distinctive character. I failed, but I felt that the material belonged to something longer and deeper. READ MORE…

The Choice to Write: A Review of A Fictional Inquiry by Daniele Del Giudice

Del Giudice recreates an existing landscape in miniature to play around with his protagonist.

A Fictional Inquiry by Daniele Del Giudice, translated from the Italian by Anne Milano Appel, New Vessel Press, 2025

A Fictional Inquiry, Daniele Del Giudice’s first novel, is called Lo Stadio di Wimbledon (Wimbledon Stadium) in its original Italian—a reference to the end, when the protagonist journeys to Wimbledon to finish his, as translator Anne Milano Appel puts it, “inquiry.” The English title is clever; it places the conundrum of Del Giudice’s story right on the cover.

The titular inquiry is regarding the Triestean writer Roberto Bazlen, whose novels were published posthumously. The unnamed protagonist of A Fictional Inquiry travels first to Trieste and then to London, trying to understand why Bazlen did not or could not write while he was alive: “‘How did he hit upon the fact of not writing?’ I ask. ‘I mean the fact that he only wrote in private?’” Obviously, this inquiry concerns a writer of fiction, but it is not solely a question about what it means to write fiction; in a double meaning, the man’s inquiry is itself fictional, tossed out to the reader to cover up the protagonist’s (or Del Giudice’s) other, hidden, purpose.

This character arrives in Trieste with the supposed goal of interviewing Bazlen’s surviving friends and colleagues. He claims, during these encounters, to be gathering information in order to figure out why Bazlen never revealed himself as a writer, and as a result, these conversations map out his subject’s literary life. For some reason, however, the man is continually uninterested in the conversations he’s having. While speaking to a poet in her hospital room, he thinks: “I don’t care to listen to anymore; I want to leave, but I’m anxious about the formalities.” Before and during other meetings, he is just as hesitant. When asked if he is available to see a person of interest on that day, he responds: “Yes of course,” even while admitting to us that: “Truthfully I don’t know if I want to.” READ MORE…

Translation Tuesday: “A Full Meal” by Nam Cao

How simple life would be if people didn’t have to eat. But food never just jumps into your mouth—you have to work for it.

For this week’s Translation Tuesday, we bring you a short story by Vietnamese writer Nam Cao, translated by Brett Wertz. Detailing the twilight years of an old woman, it lays bare the brutal calculus of a life spent in poverty, where maternal labor is an investment that yields few returns. Betrayed by her aging body, and unable to make a living in a world that has no use for her, she slowly gives into starvation. Nam Cao’s unflinching style, with its refusal to moralize or dole out happy endings, can make for a discomfiting read—but it presents a realistic portrait of the harshness of village life. A year after “A Full Meal” was published, the worst famine in modern Vietnamese history would begin, eventually claiming the lives of up to two million people, including one of the author’s own children.

The old woman cried out for her dead son all through the night. It was always like that—whenever she came to the end of the road, with no more ways to make ends meet, she would cry out for him. She wailed as if it was his fault she should be hungry now. And indeed it was. Her husband had died just as the boy slid from her womb, and so she raised the tiny little toddling thing on her own. It was her hope that she might be able to rely on the boy when she was old and weak. But before she had the chance to ask for even the smallest thing, he up and died. Her labor had been wasted.

The boy’s wife was inhuman. She had no compassion at all for her old mother-in-law! She remarried at once, hardly pausing to mourn her dead husband. Then, she abandoned their five-year-old daughter, leaving her with the old woman to raise, stooped and bent as she was. Thus, at nearly seventy years old, the old woman had no choice but to take her granddaughter in. She’d already given both flesh and bone for her son, and now would give all that was left for her granddaughter. What more could she hope for?

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What’s New in Translation: January 2026

New titles from China, France, Peru, Italy, Romania, Brazil, South Korea, Mexico, Sweden, and Japan!

Looks like 2026 isn’t coming in slow. Despite the chaos, we’re looking forward to another year of illuminating the best of what world literature has to share—and we’re starting off with plenty to go around, with thirteen titles from ten countries. Find in the mix a new translation of one of the Peruvian canon’s most dazzling and convulsive works; a novel depicting the delicate indigenous customs of a region between Siberia and northeast China; a shocking, propulsive novella from a Japanese cult writer; a story of transformative grief from an enthralling Romanian voice, and so much more.

The Last Quarter of the Moon by Chi Zijian, translated from the Chinese by Bruce Humes, Milkweed Editions, 2026

Review by Mandy-Suzanne Wong

The opening lines of Chi Zijian’s wondrous novel, The Last Quarter of the Moon, set a carefully measured tone for this enchanted story of Evenki nomads: “A long-time confidante of the rain and snow, I am ninety years old. The rain and snow have weathered me, and I too have weathered them.” this rich and essential passage gently, and with deference, opens a window into a world where humans confide in rain. Chi and translator Bruce Humes indulge the word weather in at least three of its meanings, conveying the narrator’s resilience and hinting at her costly intimacy with other-than-human energies.

A word exchanging its meaning for other meanings—as if adopting different bodies to slide between existential contexts—invokes the dynamism of the shamanic Evenki cosmos, wherein earth and sky, humans and nonhumans, the embodied and the disembodied, dance together in precarious balance and tender reciprocity. Everything is alive in the Evenki’s animist multiverse, every entity ensouled, each Earthling an embodiment of the Spirits, and every human owes a debt to the Spirits for the lives of nonhumans killed for food. In turn, when a human child goes missing, in danger of freezing to death, a reindeer child must go “to the dark realm on [the human’s] behalf,” in a mimetic exchange.

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Weekly Dispatches from the Front Lines of World Literature

The latest literary news from France, China, and the Philippines!

This week, our editors report on the cancellation of a controversial comics festival in France; the Arabic-language launch of an important literary account of Spanish colonization; and the awardees from one of China’s most prestigious prizes in children’s literature. Read on to find out more!

Kathryn Raver, Assistant Managing Editor, reporting from France

The fifty-third annual Angoulême International Comics Festival—a renowned celebration of comics and graphic novels slated to take place January 29 – February 1, and which I have written about for Asymptote twice in the past—has been cancelled for 2026. Save for one cancellation due to the COVID-19 pandemic, this is the first time in the festival’s history that it will not be taking place.

The festival’s organizers, a group called 9e Art+, announced the news in early December, asserting that this cancellation is due to lack of funding. However, authors and contributors—including Anouk Ricard, the winner of the festival’s grand prix last year—have been raising calls to boycott the festival for the past few months following multiple ignored sexual assault cases, un-transparent business practices, and commercial excess. Over four hundred authors called for a boycott in April of 2025, and multiple others have joined the call in the time since. READ MORE…

The Radicality of the Fracture: A Review of What Remains by Leylâ Erbil

Erbil is a chronicler of the cracks, of what disrupts a sense of wholeness and cohesion but also evades hegemonic structures of conformity.

What Remains by Leylâ Erbil, translated by Alev Ersan, Mark David Wyers, and Amy Marie Spangler, Deep Vellum, 2025

In 2022, the publication of A Strange Woman (Tuhaf Bir Kadın) introduced the renowned Turkish writer and activist Leylâ Erbil to the Anglophone literary world, a step made possible by the efforts of translators Nermin Menemencioğlu and Amy Marie Spangler. What Remains (Kalan) now gives us a new side of Erbil—her first novel, characteristic with her uncompromising commitment to exploring the taboo. In a delightful moment of parallelism, Maureen Freeley’s translation of Journey to the Edge of Life by Tezer Özlü, one of Erbil’s most beloved friends and regular correspondents, came out in April, making 2025 a watershed year for Turkish women writers in translation.

Ayten Tartıcı’s insightful introduction to What Remains sets the stage beautifully, giving the reader enough context to get a sense of Erbil and her work while preserving room for mystery and surprise. Born in 1931, Erbil grew up in Istanbul and was an autodidact who did not believe in shutting herself inside the ivory tower of academia. She read widely, immersed in the work of her Turkish contemporaries but also global thinkers and writers like Kafka, Proust, Freud, Faulkner, and Marx. Undeniably a brilliant and prolific writer (as the first Turkish woman to be nominated for the Nobel Prize in Literature), she was passionate, opinionated, and politically engaged in both her texts and her life, advocating for freedom of expression in Turkey and beyond. READ MORE…