In this week of literary news, we hear from our editors-at-large reporting from North Macedonia and the United States! From the recent poetry collection of a prominant North Macedonian poet to a dazzling few days of multilingual poetry and revelry, read on to learn more!
Sofija Popovska, Editor-at-Large, reporting from North Macedonia
In the last days of April, a new poetry collection by the prominent poet Katica Kulavkova, Na Vrv Na Jazikot (On the Tip of the Tongue), was published by Ars Lamina Press. The collection leans into an interrogation of the concepts of home and identity in the current day, a question that, in the Macedonian cultural context, is fraught with challenges and debates.
Katica Kulavkova (born December 21, 1951), whose work was featured in the Winter 2020 issue of Asymptote, is a poet, writer, and academic. She is a member of the Macedonian Academy of Sciences and Arts, the European Academy of Sciences and Arts, and a professor of theory and methodology of literature, hermeneutics, and creative writing. Her writing is deeply rooted in the interplay of the personal and collective; Kulavkova’s lyrical voice is informed by the negotiations between various aspects of being, as Macedonian, woman, mother, academic, artist, activist . . .
This complexity underpins her newest work, Na Vrv Na Jazikot, which is rich with historical allusions, apostrophic addresses to the Macedonian land and people, and features of proto-feminist figures such as Hypatia of Alexandria and Juana Inés de la Cruz. In fact, the structure of the collection itself recalls the 7/8 rhythm typical for Macedonian music. Na Vrv Na Jazikot is Kulavkova’s answer to the question of whether one’s native culture is an indelible and vital part of the individual; her attitude is sublimated in the poem Pismo do Makedoncite (Letter to the Macedonians). In it, the speaker calls for reverence towards “every foot/of your land” and “your ancient language -/that solace of the soul.” In his critical essay, So vrvot na jazikot se dopira dushata (The Tip of the Tongue Touches the Soul), also featured in the collection, the writer Venko Andonovski explores how the mother tongue, instead of serving as a starting point from which a “poetic language” is to emerge as a secondary system of meaning, is both the beginning and the end of Kulavkova’s project, wherein individual self-expression comes to embody the terse, “simple and strict” Macedonian song, returning to the root of the tongue (language, soul).
Alan Mendoza Sosa, Editor-at-Large, reporting from the United States
May burst with exhilarating creativity as the seventh edition of the Kerouac Festival took over different cultural centers in New York City. Between May 10–13, this celebration gave center stage to groundbreaking writers, musicians, and performers.
For three days, the festival transformed the poetic language from mere ink on paper to a powerful force that reverberated on stage, intertwining with music and riveting performances. The lineup was a testament to the festival’s commitment to bridging the gap between cities and countries while traversing continents with collaborations that expand the boundaries of poetic language.
The festival commenced with an electrifying Multilingual Open Mic event at the iconic Bowery Poetry Club. On that Wednesday evening, Samir Delgado, a visionary Spanish poet, took the stage, immersing the audience in a poetry reading accompanied by breathtaking art visuals. Marcos de la Fuente guided the proceedings, fostering an atmosphere of inclusivity and creative freedom.
As the festival unfolded, the Cervantes Institute Patio invited poetry to mingle with music. The audience was transported to a realm where language ceased to be a barrier and instead became a universal thread connecting every individual in the public. Acclaimed poets such as Lila Zemborain, Rocio Cerón, and Marina Perezagua captivated listeners with their powerful interventions. The sonic landscape came alive with the transfixing Spanish pop of Le Voyeur, whose songs filled the air with a groove that closed the second day of the festival in a high note of musical bliss.
The poetic journey continued at the prestigious King Juan Carlos I Center NYU. This presentation featured linguistic experimentation and boundary-crossing creativity. Bilingualism took center stage as Patricio Ferrari bridged cultures with his engaging poetry reading. David Nazario infused the evening with his unique brand of stand-up poetry. María Medín Doce celebrated the beauty of the Galician language and Sasha Stiles unveiled innovative AI-generated poetry. This second day also closed with the musical prowess of Le Voyeur and the infectious beats of DJ Lemar, igniting everyone’s spirit of celebration.
In a grand finale, the festival unfolded at the historic Gene Frankel Theater, with performances by Anne Waldman, No Land, Bentley Anderson, Daniel Carter, and Rocio Cerón. To close the three-week celebration, Marina Oroza paid homage to her father, the legendary Galician poet Carlos Oroza.
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