Posts by Lara Norgaard

Barbeque for Underground Poetry: Death and Life in the Subaltern Circles of the Buenos Aires Literary Scene

It was a space where anyone could perform anything, where anyone could consume anything, where the bathroom was not for the faint of heart.

Image credit: Andrés Toledo Margalef

It was hard to say goodbye to El Pacha. Tomorrow is the day, they would say, and then they’d say the same thing the next day, until half a month had passed. Finally, one day, they went into the patio and looked up at the unusual tree, its old roots amassed in concrete, and tore it to the ground. Anyone who wanted to could take a limb. Later, they returned to take chunks out from the wall in the library. On the final day—at least, what is remembered as the final day—they started throwing all of El Pacha’s innards out onto the street: decrepit couches, decorative broken TVs, pieces of wood, empty cases of beer, everything, out into the tiny alley that lies on the border between the neighborhoods of Villa Crespo and Almagro. They sat on the couches and, as in a cremation or medieval execution, lit the pile of debris on fire. They took out sausages and large cuts of meat from their bags and began to roast them over the licking flames. With the exception of that unusual feast, they spent the rest of the funereal night doing what they always had done: they drank, played guitar, and took turns reading their poetry aloud.

El Pacha was an important space in the Argentinian underground poetry scene until it closed roughly one year ago, in March 2018. It had operated illegally out of the second floor of a spindly residential apartment building; participants would be informed of weekend events through an email listserv, Facebook pages, or word of mouth. Though the space passed away, El Pacha still serves as an example of how writing is a community process and provides a window into how politics and economics mold the unique structure of Buenos Aires’ literary scene.

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Weekly Dispatches from the Frontlines of World Literature

From doublespeak in São Paulo and migrant caravans in El Salvador to a very British dystopia, catch up on the latest in world literature!

We’re back this week with dispatches from three countries where literature and politics have been interacting in unexpected ways: Brazil, El Salvador, and the UK. In response to the election of Jair Bolsonaro, Central American migration to the US, and the Brexit negotiations, museums and literary communities in these countries have been producing thoughtful exhibitions, fiction, and criticism that reflect on national identity and uncertain political futures. 

Lara Norgaard, Editor-at-Large for Brazil, reporting from Brazil

It is hot and humid in Brazil, and long summer days provide opportunities for new authors and space for reflection about writing as political resistance. Early career authors have an opportunity to submit their work for the SESC Prize for Literature, which is open for submissions from January 9 through February 14, when unpublished authors can submit their manuscripts; the Record Publishing Group will release winning texts.

For Brazilian writers interested in producing their own literature beyond the traditional market, 2019 also offers new opportunities. Graphic artist Rodrigo Okuyama hosts a series of free workshops on zine-making at the Centro Cultural São Paulo. On Saturdays from January 12-26, participants can learn about format, illustration techniques, and how to marry narrative content with visual form. These workshops allow new voices to join a growing independent publishing scene in Brazil, where small collectives like PANTIM work at the intersection of literature and the visual arts. READ MORE…

What’s New in Translation: January 2019

You won't be lacking reading material in the new year with these latest translations, reviewed by Asymptote team members.

Looking for new books to read this year? Look no further with this edition of What’s New in Translation, featuring new releases translated from Kurdish, Dutch, and Spanish. Read on to find out more about Abdulla Pashew’s poems written in exile, Tommy Wieringa’s novel about cross-cultural identities, as well as Agustín Martínez cinematic thriller.

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Dictionary of Midnight by Abdulla Pashew, translated from the Kurdish by Alana Marie Levinson-LaBrosse, Phoneme Media (2018)

Review by Jacqueline Leung, Editor-at-Large for Hong Kong

Dictionary of Midnight is a collection of several decades of Abdulla Pashew’s poetry as he recounts the history of Kurdistan and its struggle for independence. Translated from the Kurdish by Alana Marie Levinson-LaBrosse, the work includes a map of contemporary Iraq and a timeline of Kurdish history for those unfamiliar with the plight of the Kurds, something Pashew, one of the most influential Kurdish poets alive today, has taken upon himself to convey and to honor.

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We Can All Be Walking Poets: Sauntering Verse and Dada

“Walking artists walk to create something. So actually, you could argue that you are the walking artist.”

Sauntering Verse, a new app for auto-generated poetry, uses Dadaist language to redefine the experience of physical space. In this essay, Lara Norgaard tests the app while reflecting on its implications for our relationship with technology, and the art that it creates. What contexts do we bring to the art we create and consume? What does it mean to be an artist when art is made possible just by taking your phone on a walk?

It is warm and cloudy on the afternoon following the first round of Brazil’s presidential election. The extreme right-wing candidate Jair Bolsonaro received just over 46% of the popular vote—he would come to win the run-off election just weeks later. It feels like the world I woke up to earlier that morning was not precisely my own, as if a body-snatcher stole my world instead of my skin.

The day is a blur: I walk a few meters from the living room to the kitchen in my apartment. Outside the window, the skyline of nearly identical high-rises in the Brazilian city that I call home glint in clouded sadness, weighed down by more than 186 thousand people who voted for a man whom The New Yorker has called a cross between Donald Trump and Rodrigo Duterte. Perhaps he will not win in the second round, but perhaps what is already bad will get worse. This eventuality feels so surreal that I focus on boiling water for a calming mug of coffee. I glance down at my phone. It wrote me a poem:

She skipped it

A rear Jesus

They of them

The sagging can retract or sagging sagging

A quirky staging

She pots him

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Weekly Dispatches from the Frontlines of World Literature

This week, the global literary world was busy with prizes, language politics, and festivals.

Join us on a journey around the world from Hungary to Morocco and Brazil to find out more about the latest festivals, prizes, and news in world literature. Come back to our blog next week for other news and pieces about world literature. 

Diána Vonnák, Editor-at-Large, reporting from Hungary

One of the highlights of the Hungarian literary scene, Margó Festival and Bookfair took place between 18-21 October. The festival happens twice each year, and while the summer edition focuses on contemporary writers in general, autumn is dedicated to emerging new voices and to literary translation.

The Margó Award is a relatively new initiative that helps to launch a young prose writers’ career each year, awarded to the best debut novel or short story collection of the year. Previous winners include Benedek Totth, whose debut novel Dead Heat (Holtverseny) will be published in English by Biblioasis in 2019 and Mátyás Szöllősi, whose new novel Péter Simon is out now. Short stories of this years’ winner, Anna Mécs peek into young women’s lives as they navigate the chores of adult life. Mécs writes in a voice that merges accuracy with much-needed lightness and acerbic humour.

The audience could meet authors in dozens of readings and roundtable discussions during these densely packed four days. Man Booker winner László Krasznahorkai’s new novel, Aprómunka egy palotáért follows librarian Hermann Melvill’s wanderings in New York into his labyrinth inner world, delivered in Krasznahorkai’s signature, meandering sentences, while György Dragomán’s Rendszerújra collects his politically themed short stories that grapple with oppressive systems, be they political or technological.

Many eagerly awaited new works were discussed from the emerging new generation as well: Boldizsár Fehér debuted with a satirical utopia of social experiment, and a new novel by Péter Gerőcs follows a portrait photographer’s quest against forgetting, Sándor Neszlár published a volume of experimental prose that pairs every kilometre he ran with a sentence, while Ilka Papp-Zakor‘s new collection sketches out a surreal Budapest with zoo-animals on the run. Two documentary films rounded the experience, portraits of Nádas and Krasznahorkai.

As the festival is over, celebrations give way to anxiety over the ongoing culture wars of the Orbán government, that switched to a higher gear in the past months, dismissing the director of Petőfi Literary Museum, and airing plans about a potential centralisation of literary publishing. Meanwhile, many writers protested against a new law that criminalises rough sleeping. Politics and literary production are increasingly different to disentangle, but events like the Margó Festival are strong testimonies of resilience.

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Winter 2018: A Treasure Hunt Without A Map

That viewer is me, is you, is us: readers of Asymptote, a journal offering the freedom of infinite interpretations.

Thanks to the hard work of Duncan Lewis, Jacob Silkstone, József Szabo, Marina Sofia, Emma Page, Kyrstin Rodriguez, Giorgos Kassiteridis, Tiffany Tsao, Alexander Dickow, and myself, November 2017 sees the launch of the Asymptote Book Club, a sustainability initiative meant to support independent publishers of world literature while also helping Asymptote stay afloat. By January 2018, after an intensive marketing campaign (e.g., I answer some questions about the Book Club here), we succeed in attracting more than 120 subscribers. In addition, our seventh anniversary is greeted by two important milestones, both to do with the number 100: We cross the 100 mark for number of team members on our masthead, and, with the addition of Amharic and Montenegrin in the Winter 2018 edition, we have gathered work from exactly 100 languages in our archive of world literature! In his interview with Asymptote that we ran in this issue, Lithuanian editor Marius Burokas laments that, as with many peripheral literatures, Lithuanian writing “can only speak of a one-way influence” from English at the moment; that said, Lithuanian literature is by no means a “small [one].” “There are only writers who are not good enough,” he observes wryly, “or writers who are not publicized enough.” This speaks to the very heart of Asymptote’s mission, which is why we have whole teams (from social media to graphic design) set up for the purpose of marketing the work that we’ve been entrusted with, as detailed in an earlier post where I released this publicity report. Where we direct our efforts applies to where we direct our funds as well: For instance, by January 2018, the money we’ve cumulatively thrown at Facebook promotion alone has exceeded $10,000 USD. It’s not only money that I’ve staked personally; in our eight years, I’ve supported almost every single Facebook post in order to encourage other team members as well as our own readers to engage with Asymptote’s feed, all so that we can be a more powerful advocate for so-called “small literatures.” Cruelly, then, around this time, because of the backlash from Russian interference of the 2016 US elections, Facebook deprioritizes social media pages like ours, hurting our ability to connect authors with new readers. I know because I was still supervising the new English Social Media Managers (as well as the Assistant Director of Outreach—whose day job was in social media analytics—I was hoping to install as a permanent team member) from the hospital ward where I was quarantined after radioactive treatment, anxious as much about our falling social media engagement as my own Geiger counter reading (which on the other hand refused to fall as quickly as the doctor and I had hoped, thereby prolonging my hospitalization and resulting in a larger medical bill). Here to introduce the Winter 2018 issue is Brazil editor-at-large Lara Norgaard.

Two parallel snapshots of everyday scenes spliced by double-circle frames form the cover image of Asymptote’s Winter 2018 issue. A woman calmly pushes a stroller on the left, mirroring a different woman on the right who wears dark sunglasses and stares directly into the camera, allowing us to only guess at her penetrating gaze. In these cover photographs, the edition’s guest artist, Elephnt, captures one of its central components: the way each contribution takes a powerful approach to perspective. The authors in this issue all write with a particular and intense gaze that confronts or perhaps commiserates with the reader.

I decided to look back at the woman on the right as I prepared to write this reflection. It is not just her staring back at me that catches my eye; she seems to recognize the camera, to acknowledge how the image representing her was created. The Winter 2018 issue of Asymptote was my first as part of the magazine’s team. I witnessed—and participated in—the compilation of so many voices into one unified whole. READ MORE…

What’s New in Translation: August 2018

Find respite from the heat with these new reads.

From Icelandic landscapes to art history, August brings with it an exciting new selection of books. Whether you’re looking for a book to pass the hot summer days, or are in the market for inspired poetry, the Asymptote team has something for you in this new edition of What’s New in Translation. And if that’s not enough, head over to the Asymptote Book Club for fresh reads, delivered to your doorstep every month!

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Öræfi: The Wastelands by Ófeigur Sigurðsson, translated from the Icelandic by Lytton Smith, Deep Vellum, 2018

Reviewed by Jacob Silkstone, Assistant Managing Editor

One of the many epic stories retold in Ófeigur Sigurðsson’s Öræfi: The Wastelands (“that punctuation mark… both pushes words (and worlds) away from one another and means they’re roped together,” according to translator Lytton Smith) is the story of Öræfi itself. Formerly known as Hérað, the Province, a place in which “butter drips from every blade of grass,” it was devastated by the most destructive volcanic eruption in Iceland’s recorded history:

The chronicles record that one morning in 1362 Knappafjells glacier exploded and spewed over the Lómagnúpur sands and carried everything off into the sea, thirty fathoms deep… The Province was destroyed, all its people and creatures annihilated; no sheep or cattle survived, no creatures left alive anywhere… the corpses of people and animals washed up on beaches far and wide… the bodies were cooked and tender and the flesh so loose on the bones it fell apart.

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Weekly Dispatches from the Frontlines of World Literature

Our weekly roundup of literary news focuses on Latin America.

It was a busy week for literature in Latin America. Festivals, conventions, and prize ceremonies brought writers and translators together, and our team members are soothing our fomo with their reporting. Find the latest news about world literature on the Asymptote blog every Friday!

Lara Norgaard, Editor-at-Large, reporting from Brazil:

The hottest summer I ever saw was the winter I spent in Rio de Janeiro. That is likely what writers and readers say as they flock to the tropical state for major literary festivals this July and August.

Brazil’s most important literary event of the year, the Paraty International Literary Festival (Flip), took place from July 25–29 in Paraty, Rio de Janeiro. The festival organizer, Joselia Aguiar, explains in an interview that this year’s edition focused on interiors—“love, death, desire, God, transcendence.” Aguair also sought to include other artistic genres at the event, inviting guests such as actor Fernanda Montenegro. Also in Paraty and simultaneous to Flip, a group of publishers hosted book releases and even more literary programming in an event called Casa Paratodxs.

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Ricardo Lísias, the Brazilian Novelist on Trial for Unconventional Form

If an author designs his text to inspire a reader response in a specific social context, is translation even possible?

Featured in our Summer 2018 issue, Brazilian writer Ricardo Lísias’s “Anna O.” examines Latin American politics and memories of dictatorships in the region. In her translator’s note, Lara Norgaard discusses the way Lísias blends truth and fiction to create a unique reading experience: “Lísias’s many references are a key component of the unique relationship he builds between text and reader. The author’s goal is to cause confusion in his audience, to break the boundaries of the book as a discrete object, separate from the world. Nonfiction pours into his fiction and, conversely, the reader reacts to his stories in the real world. In ‘Anna O.,’ Lísias plays with the expectations and knowledge of his audience.” In the following essay, Norgaard further explores this exciting young author’s work.

Ricardo Lísias should be on everyone’s radar.

In Brazil, he already is, and in unconventional ways: two of the writer’s novels over the past four years have landed the writer in court trials. The first, a detective fiction eBook series; the other, a novel signed “pseudonym: Eduardo Cunha,” the name of a prominent right-wing senator currently in prison for corruption charges.

Lísias has the uncanny ability of ruffling feathers in a country where literature too often falls by the wayside. These trials—the former, a charge for the falsification of state documents; the latter, for the defamation of character—might indicate a lack of understanding or urge to control experimental art, both within the justice system and in the general public. But they might also imply that this specific author has managed to escape the bubble of traditional literary readership. His work is controversial, in a broad sense. And yet, despite his dramatic reputation in Brazil, and despite having been named one of Granta’s best young Brazilian novelists, only two of Lísias’ texts have appeared in English translation: the short stories “Evo Morales,” published in Granta and “Anna O.”, just released in Asymptote’s Summer 2018 issue.

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Weekly Dispatches from the Frontlines of World Literature

Our weekly roundup of literary news brings us to France, Brazil, and Argentina.

It’s never a slow news day on Fridays at Asymptote. This week we bring you the latest publications, events, and news from France, Brazil, and Argentina.

Barbara Halla, Editor-at-Large, reporting from France

Is it perhaps time to talk about a renaissance for French literature in English translation? More classic French literature has always had an audience in the English-speaking world, but in the past few months new authors are taking the literary world by storm. Édouard Louis is only twenty-five but already a public figure in France. His latest book, a semi-autobiographical work, History of Violence (translated by Lorin Stein) was published to great acclaim in late June. Alison L. Strayer translated for Seven Stories Press Annie Ernaux’s The Years (published in the UK by Fitzcarraldo Editions), an innovative collective autobiography that is both memoir and social critique of our times. To continue the trend, in June came also the publication of Gaël Faye Small Country (translated by Sarah Ardizzone), a coming-of-age story that tackles hard issues, including the Rwandan genocide and Civil War in Burundi. The Guardian went so far as to call Faye “the next Elena Ferrante.”

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In Conversation: Ketty Valêncio, Founder of Livraria Africanidades

Teaching someone that she can be anything she wants to be is revolutionary, and that’s why what I do is activism.

Selling books can be a form of political activism. That’s according to Ketty Valêncio, who founded the initiative Livraria Africanidades, a unique bookstore in São Paulo that only sells books that focus on and valorize black women.

Africanidades Bookstore began online in 2014 and opened its physical location in December 2017. The walls of its new home have murals created by black women artists and its bookshelves are lined with fiction, poetry, feminist theory, nonfiction, and even cookbooks, the vast majority of which are written by black authors from Brazil’s peripheries. The space carries the fruitful results and future promise of selling books by authors who reside on the margins of the Brazilian publishing scene—or who are excluded entirely from the traditional literary market.

Here, Ketty Valêncio tells Asymptote Editor-at-Large in Brazil, Lara Norgaard, some of the challenges for women of color in Brazilian publishing and the power of increasing visibility for writers of color, both in Portuguese and in translation. 

Lara Norgaard (LN): How did you come up with the idea for the Africanidades Bookstore?

Ketty Valêncio (KV): The bookstore came about because of my struggle to understand myself as a black woman. I never felt that I fit in anywhere. And then I came across Afro-Brazilian literature, texts that have black characters as protagonists. I understood my blackness through literature, through these books written by black authors and also by a few white authors who place value on black characters. I came across these narratives and thought, wow, there are people writing about me, about who came before me, about my ancestors and my memories.

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Weekly Dispatches from the Frontlines of World Literature

Our weekly roundup of literary news brings us to Brazil, Indonesia, and the United States.

We are back with the latest literary news from around the world! This week we hear about various happenings in Brazil, Indonesia, and the United States. 

Lara Norgaard, Editor-at-large, reporting from Brazil:

Brazil made international headlines when black feminist city councilperson Marielle Franco was assassinated in Rio de Janeiro on March 14. Renowned authors from around the world, including Chimamanda Adichie, Ta-Nehisi Coates, Angela Davis, and Arundhati Roy, signed a petition demanding an investigation into the death of the activist and civic leader. One of Brazil’s most prominent black women writers, Conceição Evaristo, recited a poem in Marielle Franco’s honor during the days of protest and mourning that followed the murder.

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In Memoriam: Victor Heringer

Borders, designed to be crossed and, whenever possible, abolished, were recurrent themes in Victor's oeuvre.

Today we bring you a reflection on the life of Brazilian writer Victor Heringer. Victor’s elegant and thought-provoking non-fiction piece “Notes for a General Theory of the Arriviste” was featured in the Summer 2017 issue of Asymptote where we have been long-time admirers of his work. Victor, who would be thirty this week, passed away on March 7, 2018. Today we celebrate his literary work.

Victor Heringer was a multi-genre, multi-faceted artist. It’s not enough to remember him as “Victor, the poet” or “Victor, the writer.” Victor drew and made films and sound installations. He wrote poetry, nonfiction, novels. It was as though the borders between genres were not so fixed or important. Indeed, borders, designed to be crossed and, whenever possible, abolished, were recurrent themes in his oeuvre.

“Being Brazilian, and especially being from Rio de Janeiro, was something I had to learn how to do,” said the writer, born in Rio in 1988, in an interview. “I spent my childhood moving between cities and countries, mostly Argentina and Chile. For a few years, I was sure I would stay in Santiago forever and become a Chilean citizen. When I came back to Brazil as a teenager, it took me a long time to lose the accent. I felt Chilean. In Chile, I’d felt Argentinian; in England, Brazilian; in Peru, where I am now, I’m starting to feel that I am nothing at all, maybe just a stateless person with documents and a few languages mixed up in my head.”

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An Inconvenient Newspaper: Robert Cox and the Buenos Aires Herald

"I know what a country without journalism means, and it’s the most terrible thing you can think of.”

“An Inconvenient Newspaper” is an essay about the recent closure of the Buenos Aires Herald, a paper that wrote against the Argentine military dictatorship, in English, in the 1970s and 1980s. The Buenos Aires Herald closed in July, just as an Argentine indigenous rights activist disappeared. The full profile of Robert Cox, the director of the Herald, was published in a Portuguese translation in issue no. 133 of the Brazilian magazine Piauí, released in October 2017. This English translation is an abridged version of the original Spanish article by Josefina Licitra.

“Any news?” That’s how Robert Cox greets me. He says “hello” and “nice to meet you” with an affectionate kiss on the cheek. But in the following sentence he always probes for the unexpected, for the possibility of news. It’s 10 a.m. on a Thursday and Cox looks like he just woke up. His eyes are still sleepy and his white hair finger-combed.

“Not that I know of,” I reply.

Cox makes coffee in the kitchen and brings it to the living room: a pleasant space scattered with paintings, family photos, and other decorations. He lives with his wife, Maud Daverio, in Charleston—in the United States—but also keeps this old, elegant Buenos Aires apartment, which he visits every year. This is where he lived after getting married, in 1961. This is where his five children were born. This is where he lived when the Buenos Aires Herald, the English-language newspaper that he directed from 1968 to 1979—one of a kind in Latin America—became the Argentinian publication that spoke out about human rights violations during the last military dictatorship, at a time when no other media institution would. And this is the place that he had to leave when a series of threats—also directed against his wife and one of his children—forced his family into exile.

Cox looks through the voile curtains. Outside the window is a narrow street lined with the pompous buildings of the Recoleta neighborhood, one of the most European areas of Buenos Aires. “I don’t know what happened with Santiago Maldonado…” he says, and clicks his tongue with an audible tsk. “Still no news? Weird.”

Santiago Maldonado is—was?—an artisan who supported the struggle of radical indigenous groups that reclaim land in Patagonia. This past August 1st, after a protest that stopped traffic, he disappeared in the middle of a confrontation with the Gendarmería—border officers. Some say that the police arrested him and accidentally killed him through the use of excessive force. Others say that there is no evidence to show that the government was at fault—and to this day there still isn’t—but they also can’t come up with a different explanation for his disappearance. Since then, demands to find Maldonado alive—or to find him at all—have deepened the divisions between Argentina’s governing party and its opposition. While the government refers to Maldonado as an “artisan,” kirchneristas and left-wing parties call him a desaparecido—one of the “disappeared.”

That term, in Argentina, dredges up the history in which Robert Cox was involved.

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