Posts by Henry Gifford

What’s New in Translation: November 2025

New work from India, Serbia, France, Colombia, Mexico, Puerto Rico, Iran, Spain, Lithuania, Palestine, and the Vietnamese diaspora!

This month, we’re bringing reviews of eleven different titles from eleven different regions, from a trilingual text of experimental fiction that veers between Vietnamese and English, a visceral and psychically frenetic portrait of a marriage gone wrong, a rich collection from a master Iranian poet that gestures towards his remarkable life, and the latest metafiction from a Spanish literary giant. 

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Dog Star by Nabarun Bhattacharya, translated from the Bengali by Subha Prasad Sanyal, Seagull Books, 2025

Review by Jason Gordy Walker

Something’s rotten in the city of Kolkata. A corrupt managerial class—within which mad scientists and war-mongers play a major role—has conspired with local authorities to capture, confine, and starve as many canines as possible. While the city’s “dead serf-servants and healthful, cellphone-carrying ever-connected mummies and balloons” stagger through their dystopia, the dogs have disappeared from the urban bustle, and no one cares. Animal rights groups have been eliminated, and in the way of Nazi death camps, the system targets even newborn pups. What’s a dog to do in these last dog days? “Bark! Bark!” replies the snappy refrain of Dog Star, the lyrical, subversive, and highly re-readable novella by Bengali writer and poet Nabarun Bhattacharya, delivered in a kinetic English by Subha Prasad Sanyal, who has doubtlessly advanced this innovative author’s reputation in world literature.

A self-proclaimed fable, Dog Star leads the reader through dark alleys where street dogs—“nerikuttas”—hide from “pincers,” form alliances, trade information about current dangers, and strategize escape plans, looking to the constellation “Lubdhok, aka Dogstar, aka Sirius aka Alpha Canis Majoris” for liberation. These survivors, along with their unlikely feline allies, are anthropomorphized in their emotions and dialogues, and their plight, although set in West Bengal, is familiar enough to seem representative of any place under political (dis)order. The Netanyahu regime’s genocide against Gaza comes to mind, for example, as do the active “detention centers” in the US: “They’ll yank and drag you by your neck with the pincers to the caged car. Then throw you in.” Bhattacharya does not avoid visceral descriptions of animal torture, but he balances its brutality with astute irony, giving the murderers absurd lines like: “We must pay heed that there aren’t ridiculous expenses.” READ MORE…

What’s New in Translation: June 2025

New publications from Iran, Argentina, Spain, Peru, Mexico, Japan, France, Finland, Sweden, China, and Italy!

This month, we’re delighted to be bringing twelve brilliant titles from eleven different countries. Find here the novelization of a famous chess match that reveals the greater geopolitical game playing us all; a summery fiction that melds the structures of nature and human architecture; a poetry collection rendering tender portraits of working-class women; a lyrical rewriting of a remarkable nun-turned-conquistador’s New World adventures; and so much more.

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Oblivion: and Other Plays from Post-revolutionary Iran, edited by Nahid Ahmadian and Ali-Reza Mirsajadi, translated from the Persian by Nahid Ahmadian, Ali-Reza Mirsajadi, and Hesam Sharifian, Seagull Books, 2025

Review by Henry Gifford

In order, the five plays included in Oblivion: and Other Plays from Post-revolutionary Iran are set in Arabia in the fifth century AD (The Sacrifice of Senemar by Bahram Beyzaie); China in the second century BC (Oblivion by Hamid Amjad); Spain in the twentieth century (Dance of Mares by Mohammad Charmshir); somewhere (per stage directions and blank spaces left in the dialogue) in the city you’re in, on the day you’re reading it (The Child by Naghmeh Samini); and a laundromat in Los Angeles at three in the morning (Bird of Dawn by Sepideh Khosrowjah). Their narratives are of a hubristic yet indecisive king and his palace; imperial bloodshed and familial betrayal; sex and mariticide; an infant born on a migrant raft, protected at the border by three women who all deny being his mother; and three generations of Iranian immigrants, each with romantic trouble and divided identities. Some are epic, and others are everyday. None of them are set in ancient Persia or modern Iran, and only the first and last are explicitly about Persians or Iranians.

Yet these are, in fact, plays from the same country over the same quarter-century, from 1995 to 2019. The diversity of their settings and scale is a wise editorial decision intended to highlight the diversity of theater in Iran, but it also reflects a practical need of addressing contemporary, local problems obliquely under a censorship regime. What is more interesting is the collection’s consistency, and in particular the nonchronological approach taken within almost all of the plays. Oblivion, for example, begins with two siblings going to meet their adoptive brother after years apart; the encounter then extends over the course of the play as a frame to the story of their lives and their parents’, acted out in shadows on a scrim behind them. The formal blending extends this sense of collapsed time; as the editors’ introduction explains in great detail, shadow puppetry (khayāl-bāzi) is an old Persian form, here embedded within a more modern, European-inflected mode. The other plays are similarly mixed—traditional aspects and motifs cohering with contemporary themes and styles.

Every nation has history, but I wonder, reading the plays of Oblivion, if there is something about Iran—a young nation of an ancient culture—that has made its past more palpable, fraught, and vividly present. READ MORE…

What’s New in Translation: January 2025

Discover new work from Palestine, Sudan, Syria, Iraq, Greece, Italy, China, Sweden, Germany, Chile, and the Democratic Republic of the Congo!

In the first month of 2025, the offerings of world literature are as rich as ever. To help you on your year of reading, here are ten titles we’re most excited about—a new translation of a stargazing Greek classic; the latest from China’s most lauded avant-gardist; a rediscovered Chilean novel of queer love and revolution; a soaring, urgent compilation of Palestinian voices; surrealism and absurdism from an Italian short story master—and many more.

arabic between love and war

Arabic, Between Love and War, edited by Norah Alkharashi and Yasmine Haj, Trace Press, 2025

Review by Alex Tan

 Addressing itself to the subtle but immense interstice between the Arabic words for ‘love’ and ‘war’, which differ by only one letter, Trace Press’s community-centric poetry anthology is as much a testament to beauty and survival under the conditions of catastrophe as it is a refusal to perform or fetishize suffering for a white gaze. The bilingual collection is, further, an intergenerational gathering of voices: canonical luminaries like Fadwa Tuqan are assembled alongside contemporary lodestars like George Abraham.

Throughout the volume, language gives in to its fecundity, at times carried by a voice that “condenses history to the depths of silence”, at others seeded within a word that “alone was enough to wither a tree”. The whispered syllable, across utterance and inscription, temporarily suspends the cruelties of the real: “I love calling you habibi / because then I feel as though they haven’t destroyed our cities.” In shared intimacy, an interregnum emerges, fragile as the stroke of an ر.   

But how far can one measure the ruin and the specter of love in sentences? “I write rose and mean nothing,” the poet Qasim Saudi ventures, as if refuting the possibility of romanticism. The surveying ego can also be a trap—“my I wounding me”. Many of the writers here disclose a longing for dissolution, for blunting the edges of the self so that a liquid, collective consciousness might emerge in its stead. In Lena Khalaf Tuffaha’s idiom, “you never saw it coming, this cleansing, / how we have become this ocean”. Nour Balousha’s plangent question echoes, “Who told the wind that we were leaves?”  READ MORE…

What’s New in Translation: September 2024

Ten translated titles that hit the shelves this month!

When we first started the What’s New in Translation column in 2015, it was to offer readers a look at the incredible work done by writers, translators, and publishers all around the world. Gathering some of the most exciting publications coming out each month, the column featured regular reviews from trusted critical voices, giving the spotlight over to this great wealth of literary work. A lot has changed in the last decade; though English still reigns, we’ve seen the advocates of literary translation win a lot of battles as they seek to make our reading landscape a more various, inclusive, and interconnected space. As such, we now feel the need to extend our purview to include more of these brilliant voices, more of this innovative work, more of the insights and wonders that they bring. We are delighted to announce that our monthly column will now feature a greater number of titles —but with the same incisive critical insight that we’ve always aimed to bring.

From Argentinian horror to the latest from a Hungarian master of form, an intergenerational Greek tale to haiku interpretations, read below for a list of the ten most exciting books out in September.

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Documentary Poetry by Heimrad Bäcker, translated from the German by Patrick Greaney, Winter Editions, 2024

Review by Fani Avramopoulou

Documentary Poetry compiles a selection of German poet Heimrad Bäcker’s documentary poems and photographs with his published interviews, lectures, and essays, offering a richly contextualized introduction to his many decades of work documenting and reflecting on the Holocaust. Bäcker does not conceal his relation to the Nazi Party; he was an avid member for about a year, joining at the age of eighteen. He then denounced the Nazi ideology in the wake of the Nuremberg trials, and spent the rest of his life meticulously chronicling the Third Reich’s atrocities through photography and a poetic method he described as his “transcript system.” The collection’s title essay introduces what feels like the conceptual seed of Bäcker’s work: a reflection on the Nazis’ use of ordinary language to conceal, sanitize, enable, and systematize the horrors of the Holocaust. His conceptualization of language as a participatory, covert administrative tool of the Nazi ideological agenda leads to this development of the transcript system as a form of intervention—a way of undressing such language and purging it of its duplicities.

READ MORE…