Posts by MARGENTO

Translation Tuesday: The Strawberry Pickers by Felix Nicolau

freedom is expensive, paid up front!

This Tuesday, we’re excited to share a new poem by the Romanian poet, Felix Nicolau, whose work is a cutting and humorous comment on life for those crossing borders and coming into contact with other cultures, yet who are still at the very bottom of the social ladder. 


The Strawberry Pickers

is President Iliescu around—the sun will come out!
on Christmas we took our measure of freedom
seriously, didn’t the Star Poet of Pit Coal and his miner comrades from Jiu Valley invade
the capital?
didn’t they march through the springtime quarter or through the slums?
Hooray President Goatee!  Did he eat salami with soy like all of us?  Boo, Goatee!
we won’t sell our country out!
back then we had the means but no beans
now there’s lots of beans but no financial means
we’ve been hit by a nuclear bomb of whiskey and cigarettes
is President Iliescu around—the sun will come out!
the retirees applaud the miners the students heckle their grandparents
the scenery’s cleared of railroad locomotive plants
the sea is cleared of our fleet
freedom is expensive, paid up front!  Give us money to stay up front!
finally we can buy and sell the best football players
more powerful than the Chinese—we take all the strawberry picking jobs in Europe
we pick the strawberries on the bottom of the Atlantic
we emerge on the east coast and keep picking
watch out Alaska—WE’RE COMING!

Translated from the Romanian by MARGENTO and Martin Woodside


Felix Nicolau
is Professor in the Faculty of Theology and Literature, Lund University, Sweden. He is the author of eight books of literary and communication theory,
 five volumes of poetry
(Kamceatka—Time IS honey, 2014) and two novels. He is member on the editorial boards of The Muse—an International Journal of Poetry and Metaliteratura magazines. His areas of interest are translation studies, the theory of communication, comparative literature, cultural studies, translation studies, British and American studies, and Romanian studies. He is also swims, rollerblades, and rides a scooter. Sometimes he even reads more than writes.

MARGENTO (Chris Tănăsescu) is a poet, performer, academic, and translator who has lectured, launched books, and performed in the US, Southeast Asia, Australia, and Europe. His pen name is also the name of his multimedia cross-artform band that won a number of major international awards. He is co-author of poetryartexchange, his co-translations with Martin Woodside from Gellu Naum’s poetry (Athanor and Other Pohems) were nominated by World Literature Today as Most Notable Translation in 2013, and he has written the libretto for a rock opera composed by Bogdan Bradu. He deploys networks-of-networks and natural-language-processing algorithms in his collaborative poetry, and continues his work on the graph poem project together with Diana Inkpen and their students at the University of Ottawa. MARGENTO is Romania & Moldova editor-at-large for Asymptote.

Martin Woodside is a writer, teacher, scholar, and founding member of Calypso Editions. He is an interdisciplinary scholar who earned his MFA and a certificate of specialization in Children’s Literature from San Diego State University and his Ph.D. in Childhood Studies from Rutgers-Camden in 2015. He ​has written five books for children, a chapbook of poetry (Stationary LandscapesPudding House), and a full-length collection of poetry (This River Goes Both Ways, Wordtech). His translations of Romanian poetry have appeared in several books and journals, including The Kenyon Review Online, Asymptote, and the Brookyn Rail’s inTranslationHe’s published two collections of Romanian poetry in translation: Of Gentle Wolves, an anthology of contemporary Romanian poetry, and—along with MARGENTO—Athanor & Other Pohems, collecting the work of the brilliant surrealist Gellu Naum.


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Weekly Dispatches from the Frontlines of World Literature

The most important literary news from Hong Kong, Romania, Moldova, and the UK.

It’s Friday and that means we are back with the latest literary news from around the world! From Hong Kong, Editor-at-Large Charlie Ng brings us the latest on theater, literary festivals, and poetry readings. MARGENTO brings us exciting news about past Asymptote-contributors and other brilliant writers from Romania and Moldova. Finally, our own assistant blog editor, Stefan Kielbasiewicz shares news about poetry in the UK. 

Charlie Ng, Editor-at-Large, Hong Kong

November is a month filled with vibrant literary performances and festivals in Hong Kong. On stage from late October to early November, a Cantonese version of The Father (Le Père) by French playwright, Florian Zeller, winner of the Molière Award for Best Play, is brought to Hong Kong audiences by the Hong Kong Repertory Theatre for the first time.

The seventeenth Hong Kong International Literary Festival kicked off on November 3 with a grand dinner with Scotland’s well-loved crime fiction writer, Ian Rankin, who also attended two other sessions as a guest speaker: Mysterious Cities: the Perfect Crime Novel and 30 Years of Rebus with Ian Rankin. Carol Ann Duffy was another Scottish writer featured in this year’s Festival. The British Poet Laureate read her poetry with musician John Sampson’s music accompaniment on November 9. The dazzling Festival programme includes both international authors such as Hiromi Kawakami, Amy Tan, Min Jin Lee, Ruth Ware, Hideo Yokoyama, and local writers and translators such as Xu Xi, Louise Ho, Dung Kai-cheung, Nicholas Wong, Tammy Ho, and Chris Song.

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Translation Tuesday: Excerpts from Mediterranean Suite by Florin Caragiu

Not far away, the frescoes catch in their fishing nets The memory and the wind. Closely following behind us, the dolphins.

Today’s Translation Tuesday is brought to you by MARGENTO, Asymptote Editor-at-Large for Romania and Moldova, and poet and translator Marius Surleac. As you immerse yourself in these lines, it is worth keeping in mind Florin’s unique profile and approach to creation as he combines poetry, mathematics, and Eastern Orthodox theology. There is a specific emphasis on mystical practice, particularly the kind that involves “iconic Hesychasm.” These excerpts from Florin Caragiu’s work, Mediterranean Suiteexplore a sense of nostalgia, loss, and change.

Excerpts from Mediterranean Suite

It was only after long that we found the poet’s grave

In the graveyard by the sea. We barely made out

His name on the burial stone. We had passed

The spot several times

Without noticing it. Just as day after day people keep reaching

Your sight and you have no idea what they’re holding back.

Just as the blotchy calligraphic lettering

Overshadows a voice and its sharp beams

Coming out of a cloud of sea gulls, out of the lighted beacon

Piercing the sea’s costa and its coastal heart,

The wave amphitheater, and the city’s watery arteries.

 

Not far away, the frescoes catch in their fishing nets

The memory and the wind. Closely following behind us, the dolphins.

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Translation Tuesday: Excerpts from Tempodrome by Simona Popescu

"You have as many countries as the languages you speak."

Today’s Translation Tuesday is brought to you by MARGENTO, Asymptote Editor-at-Large for Romania and Moldova. The lyrical excerpts from Romanian essayist and poet Simona Popescu’s writing explore a mood—memories of the nineties related as if at a remove, stating plainly what the narrator saw, while encapsulating the myriad complications simmering beneath the still surface of the narration. 

“I confess I do not believe in time. I like
to fold my magic carpet, after use,
in such a way as to superimpose one part
of the pattern upon another.”
—Vladimir Nabokov, Speak, Memory

“Then everything regroups as if in a hot fog
where things recover among the obscure
plantations of the accidental.”
—Gellu Naum, The Blue Riverbank

“I have no idea of time, and I don’t wish to have”
—Wislawa Szymborska, On the Tower of Babel

In the house of my childhood, somewhere in my parents’ mixed up bookcase, leaning on a couple of books stood a black teddy bear in a white sash ribbon with some red lettering on it saying Grüsse aus Berlin. On other shelves there were other “souvenirs” from Abroad. For instance, a wooden cylinder with a lid in the shape of a Russian church dome, with a rose and the word “Bulgaria” burnt onto it. Inside was a vial of Bulgarian rose perfume. My folks never traveled Abroad. In fact, nobody in our little town ever traveled Abroad. Not even the Saxons and the Hungarians who, judging by the language they spoke, had to have another country somewhere, if push came to shove, right? You have as many countries as the languages you speak, the saying went. The Hungarians and the Saxons were therefore half foreign. But even so, even they never got Abroad—it was only the old people that sometimes went, but they always returned. Nobody needed them and they didn’t need anybody or anything except a quiet life in their homes. Only old people returned. They and the migrating birds.

It was me who had brought the rose perfume home. I was 12 when I went, without my parents, on a trip—well, yes—Abroad. I don’t recall much. It was I think in spring, there was I think a crisp sun, I was on a terrace I think by the sea, somewhere on a cliff, there were breakers I think in front of me, not very close though, I think I never went down the stairs to dip my toes in the sea. In the “vision” conjured by the word “Bulgaria” in which I’m a child a milky light and a bluish expanse approach me. And I’m all alone there, for a second, my back turned on everybody else. And I can hear a roaring wind. (I am back there anytime I want. I’m 12 and then—as I keep adding now—44. I hold an invisible butterfly net in my hand and collect images with it.) READ MORE…

Weekly Dispatches from the Frontlines of World Literature

Probably the best source of global literary news available.

It’s the official start of Autumn in the Northern Hemisphere and Spring in the South―the beginning of a new season where minor plans and promises are made that we desperately try to be faithful to. Or maybe not. Maybe it’s just the temperature that changes. Nonetheless, here at Asymptote we’ll always fulfill our promise of bringing you the latest news from around the globe, just in time for the weekend, with this week’s reports from Argentina, Romania and Moldova, and Taiwan. 

Lara Norgaard, Editor-at-Large, brings us the news from Argentina:

August in Argentina was a month for reading. Buenos Aires celebrated Jorge Luis Borges’ birthday on August 24 by organizing a walking tour tracing Borges’ most notable haunts. The 24th is also the country’s annual Día del Lector, commemorating the renowned writer.

On August 23, the Latin American Art Museum of Buenos Aires (MALBA) hosted a conversation between North American policy analyst David Rieff, and Argentine novelist Luisa Valenzuela on the topic of collective memory. Valenzuela is known for her novels that recall state violence, written during and after Argentina’s brutal last military dictatorship. The topic of historical memory is especially relevant right now as the Argentine public protests the alleged disappearance of indigenous rights activist Santiago Maldonado, who went missing at a protest in Patagonia on August 1.

In the midst of September’s Bienalsur, a major visual art biennale, literary events still abound in Buenos Aires: one upcoming highlight is the celebration of Latin American women writers, El silencio interrumpido, to be hosted at MALBA on September 6. The free event includes speakers such as Argentine novelist Reina Roffé and poet Tamara Kamenszain, as well as Cuban critic José Quiroga.

Such literary events are not limited to the city of Buenos Aires proper. The province of Buenos Aires partnered with cities Lanús and Quilmes on August 26 to host Un día de libros, a wide-ranging event series featuring everything from free lectures on literature to the release of Diez lugares contados, an anthology of stories about life in the province. Between September 18-23, FIDEO (Festival Intergaláctico de Escritores (Oficial)) will take place in San Miguel de Tucumán in northern Argentina. The festival, organized by cultural organization EsCuchara with support from the National University of Tucumán, is a free, open, and experimental space for writers to meet.

Finally, readers across the country celebrate a new translation of Polish author Witold Gombrowicz’s diaries into Spanish. Gombrowicz, who lived in Argentina from 1939-1963, had significant influence on 20th century Argentine literature. Translators Bozena Zaboklicka and Francesc Miravtilles’ rendering of Diario make the author’s personal insights available to the Spanish-speaking world.

MARGENTO, Editor-At-Large, gives us the latest from Romania and Moldova:

The second edition of the Gellu Naum Festival, co-organized by the Romanian Literature Museum and Gellu Naum Foundation on August 4-5, has as its MCs the poet and Naum critical authority Simona Popescu and French-Romanian poet and translator Sebastian Reichmann, and feature over twenty poets (from big names such as Emil Brumaru and Angela Marinescu to rising stars like Asymptote past contributors Emilian Galaicu-Păun and Radu Vancu, and Elena Vlădăreanu) reading to the jazz music performed live by pianist Mircea Tiberian. Naum (1915 – 2001), is an outstanding representative of European surrealism.

Poet and translator Paul Vinicius, this year’s winner of Le Prix du Public du Salon du Livre des Balkans, has announced a forthcoming critical anthology of English-language poetry edited and translated by himself, excerpts of which he has already published in major literary venues, while also editing the collected works of Vintilă Ivănceanu, a foremost representative of the oneiric poetry school who spent most of his life in political exile. Vinicius has also recently started an independent writers association in opposition to the central one (led by Nicolae Manolescu) dating back to communist times and marred by nepotism and abuse.

Iulia Militaru is the Romanian poet invited to read and perform at the Brussels Poetry Festival whose 4th international edition scheduled for Sept 8-10 has as a theme the work of surrealist painter René Magritte and his “La Trahison des Images.” Militaru is also currently writing a series of articles to Arta on censorship in/as literature interspersed with and commenting on illustrative “pop-up pastorals” from past Asymptote (journal and blog) contributor Jennifer Scappettone’s latest collection The Republic of Exit 43.

Claudiu Komartin and his editorial team have launched the 19th issue of Poesis International, the longest running international poetry journal in Romania to date, showcasing Danish, Bulgarian, American (Frank Bidart), Albanian, French, Hebrew, Argentinian (Alejandra Pizarnik)—and much more—poetry in translation alongside Romanian literature in a bulky 236-page issue.

In Moldova, the editors of Metaliteratura journal, Aliona Grati and Nina Corcinschi have just launched an impressive and much awaited Literary Theory Dictionary.

Vivian Szu-Chin Chih, Editor-At-Large, reporting from Taiwan:

Taipei has been welcoming international athletes for the  2017 Summer Universiade since mid-August. The opening ceremony performances featured multifaceted Taiwanese cultures including the aboriginal ones, and the event has attracted more attention from around the globe to the island.

The Taiwanese writer Shu-Hau Liao (廖淑華), whose novellas and essays won several literary awards, published her first collection of novellas, Cotton Milkbush (《唐棉》) in early summer, with the funding from the National Culture and Arts Foundation. From her own life experiences in a small town in Yunlin County of central Taiwan, Cotton Milkbush is a representative of Taiwan’s “town literature” (小鎮文學), in which the writer vividly depicts daily lives of the town people, dialect spoken by these people, as well as the landscapes and architectures of the small town. In a realistic tone, Liao puts more emphasis on her female characters and has carried forward the legacy of Taiwanese town literature.

One of the oldest literary magazines in Taiwan, Wenhsun (《文訊》), has published an excerpt of the novelist Li Yongping’s unfinished wuxia novel, A New Picture of the Swordswoman (《新俠女圖》) in its August issue. The renowned Malaysian-born novelist, professor, and translator, who has lived in Taiwan for decades and retired here, has been composing his first wuxia novel in illness. Wenhsun decided to pay their tribute to the writer with its first-ever double covers, one of which has been dedicated to Li’s long-awaited wuxia novel.

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In Review: Nanni Balestrini’s Blackout and the Poetry of Radicalism

Radicalism itself thus gets subverted, in the sense that any possible single-minded version of it is blown up.

Written in the mid-through-late seventies, Blackout was released in the wake of the 1968 moment, which involved a wave of radical students and anti-capitalist workers’ unrest surging throughout Western Europe. But unlike in France, that “moment” lasted in Italy for over a decade. And it is the prolonged endurance and mostly tragic ramifications that inspired Nanni Balestrini to write this outstanding algorithmically-experimental work.

It is perhaps useful to note from the very beginning how Balestrini’s radical allegiance gets in fact filtered through, mixed with, and ultimately shaped by the various cacophonous kinds of discourse he feeds into his algorithmic procedures. He is not the first to inform digital poetics with radicalism—in the US for instance, a father figure of algorithmic/digital poetry, John Cage, had professed Maoism as the ideology consistent with his own “m: writings” and “mesostic”-generating operations as early as the 1960s—but he is indeed a singular case of focusing a whole book of algorithmic writing on a radical movement. Balestrini in this respect is a pioneer, since if 21st century digital poetry can be partly characterized by a radical, anti-capitalistic ethos (albeit diffused by lingering postmodernist reflexes), back in the day digital poetics focused a lot more on the method rather than the political implications of its subjects.

Balestrini’s “how” therefore enacts a remarkably nuanced view on the “what.” Perhaps the most relevant if intriguing paradox of this book is its unrelenting focus on the radical movement and related events, expanded by an inclusive, democratic perspective that invites diversity and a discordance of viewpoints and voices—all of which is eventually turned on its head, political stance included. Radicalism itself thus gets subverted, in the sense that any possible single-minded version of it is blown up by the most uncompromising—and therefore inclusive—radicalism of all: that of the (politically and commercially unsanctioned) algorithm.

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Weekly Dispatches from the Frontlines of World Literature

Never miss a world literature update again.

We are back with literary news you simply cannot miss! This week we will take you to Romania where MARGENTO will help you discover the intricate networks of performance art. Also reporting from Europe is Fiona Le Brun who discusses the eclectic list of recent French literary prize winners, while subtly underlining the theme of migration that cuts across the various literary events. Far away from Mexico, Paul Worley and Kelsey Woodburn will highlight the increasingly important role of translation in its contemporary cultural landscape. 

Editor-at-Large from Romania and Moldova, MARGENTO, provides us with an insider’s view of the exciting world of Romanian artistic experimentation:

The Bucharest International Poetry Festival featured last month an impressive line-up of international writers and performers, among whom were Christian Bök from Canada, LaTasha Nevada Diggs from the US, Steven Fowler of the worldwide prolific Enemies Project, Max Höfler (the tireless organizer of the yearly Text-World—World-Text Symposium in Graz, Austria), the multilingual performance vocalist Maja Jantar of Belgium, the Bucharest-based American poet and translator Tara Skurtu, and many more, alongside local poets such as Claudiu Komartin and Razvan Tupa.  Organized by London-based Romanian poet and curator Simona Nastac, this annual event has grown more and more visible and central in a country where the tradition of performance poetry going at least as far back as Tristan Tzara’s DADA seems to be thriving more than ever, with festivals thrown from Craiova in the south to Brasov and Sibiu in Transylvania to Cluj and Iasi up north (some of them performance-driven events, other more standard literary ones with a strong reading or performance section).

Petrila is a one-of-a-kind venue among all of the above, both in Romanian and international terms.  The derelict milltown riddled with condemned coal mines and shutdown falling-apart factories has been transformed over the last two decades by visual artist, political caricaturist, and curator Ion Barbu into a mecca of non-conformist festivals (initially thrown in his own backyard), eclectic or scandalous arts events, and improbable post-communist absurdist or faux-kitsch museums (including one that has resonantly revived the memory of once-censored outstanding dissident writer I.D. Sirbu).  A competitor—or rather concurrent event—has been the CUCA Festival organized over the past couple of years in Cartisoara, up in the mountains of Sibiu County, where cutting-edge and indie performances and installations converge with Romanian traditional architecture restoration work done by international volunteers.  A long-feature documentary titled Planet Petrila casting Ion Barbu in the lead role and portraying his eclectic personality and work against the background of the (post)communist history of his hometown has recently been widely praised and awarded at the international film festival TIFF.

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What’s New in Translation? May 2017

We review three new books available in English, from Yiddish and Hebrew poetry to an extraordinary Russian account of exile.

 

golden_cockerel_600x600

The Golden Cockerel & Other Writings by Juan Rulfo, translated by Douglas J. Weatherford, Deep Vellum

Reviewed by Nozomi Saito, Senior Executive Assistant

Juan Rulfo’s prominence within the canon of Mexican and Latin American authors has been undeniable for some time. Regarded by Valeria Luiselli as one of the writers who gave her a deeper understanding of the literary tradition in Mexico and the Spanish language, and depicted by Elena Poniatowska as a figure deeply rooted in Mexican culture, it is clear that modern Mexican and Latin American literature would not be what they are without Rulfo. Indeed, Rulfo often has been credited as the figure to whom the Latin American boom of the 1960s and ‘70s is indebted, and Gabriel García Márquez has said that it was because of Rulfo’s works that the former was able to continue writing and ultimately produce One Hundred Years of Solitude.

Yet for all the recognition that Rulfo’s works have so rightly earned, there has been a persistent misconception that he only published two works of fiction, The Plain in Flames (El Llano in llamas, 1953) and Pedro Páramo (Pedro Páramo, 1955). The Golden Cockerel (El gallo de oro, c. 1956) for too long remained excluded from Rulfo’s oeuvre, even being miscategorized as a text originally intended for the cinematic screen. To reclaim and secure its position in Rulfo’s canon, Douglas J. Weatherford has brought forth The Golden Cockerel and Other Writings, which provides deep insight into the work, ruminations, and personal life of the legendary writer.

The result is a text that is refreshing and diverse. The titular story follows the rise and fall of Dionisio Pinzón, an impoverished man whose crippled arm prevents him from farm labor, the only viable work in the town, and whose destiny changes when someone gives him a golden cockerel that has been badly beaten, having comprised the losing side of a cockfight. While the majority of the story follows Pinzón’s migration in pursuit of wealth, his path eventually intersects with that of the singer Bernarda Cutiño, familiarly called La Caponera, whose own migratory wanderings lead them from one town to the next, to various cockfights throughout Mexico.

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What’s New in Translation? April 2017

We review three new books available in English, from Hebrew poetry to haunting fairy tales.

milk of dreams

The Milk of Dreams, by Leonora Carrington, tr. by the author, New York Review Books

Reviewed by Beau Lowenstein, Editor-at-Large for Australia

Leonora Carrington grew up listening to folktales told by her Irish nanny in Crookhey Hall. She spent most of her life in Mexico City and became renowned as a Surrealist painter, artist and novelist. Her children recount how they used to sit in a large room on whose walls their mother’s fantastical stories were brought to life. There were deranged creatures and wild forests, and mystical persons standing amid steep, clouded mountains. Carrington’s breath as a storyteller was as broad as her genius for painting and imagery, and the paring of the two resulted in a small notebook she called The Milk of Dreams (New York Review Books, 2017) – perhaps the only surviving relic of that enchanting time where, each day for her children, she opened the door to a realm of fantasy and wonder.

We are introduced to Headless John on the first page, which immediately sets the tone:

The boy had wings instead of ears.

He looked strange.

“Look at my ears,” he said.
The people were afraid.

Her stories, which are often not much more than a few lines in length, give a sense of whimsical creativity; the kind that is not just rare in literature but exceedingly so in children’s stories. Meet George, who enjoys eating walls and eventually grows his head into a house; Don Crecencio the butcher and his goat’s meat roses; and the monster Chavela Ortiz, who has six legs, a golden jewel, pearls, and a portrait of Don Angel Vidrio Gonzalez, the head of the Sanitary Department. There is a freedom in Carrington’s tales that is both outrageous and unpredictable, and yet underlying is the realness of raw experience. These are not watered-down shadows of a story like so much of fantasy writing seen today – they delve into genuine emotions, which are often dark and complex.

And yet Carrington imbeds a wicked humour in her stories, too. In “The Horrible Story of the Little Meats,” an old and ugly woman is nicknamed Lolita by her friends and captures three children, imprisoning them and cutting off their heads. They are saved by a Green Indian who, in his ignorance, reattaches their heads to their hands and feet and buttocks, though, “the children were happy in spite of having their heads stuck on such funny places.”

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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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Weekly Dispatches from the Frontlines of World Literature

Your arts and culture update from Mexico, Ecuador, and Romania

It’s been a big week in literature around the world, with major awards, book fairs, and new publications vying for media attention in a particularly crowded news cycle. But the book world keeps turning even when it seems like everything else has come to a standstill. Blog Editor Madeline Jones reports from south of the border in Mexico, Editor-at Large MARGENTO gives us the update on Romania, and Contributor George Kirkum checks in from Ecuador.

Madeline Jones, Blog Editor, brings the literary update from Mexico:

Hundreds of Mexican artists have been mocking the President Elect of the United States, Donald Trump, by way of political cartoons. Now that he’s clinched the elections, the value of the peso has plummeted and Mexicans on both sides of the border are speaking out about their disapproval of Trump’s platform as well as their own fears for the future. Poet, novelist, and activist Javier Sicilia told El Universal, “This man unified fragments of fascism that were scattered throughout North America. And he’s creating proposals for destruction…it doesn’t matter if Trump wins, the theme is systemic.”* Well-known Mexican author and historian Enrique Krauze’s op-ed in The New York Times also captures the sentiments of many, in Hank Heifetz’s translation from the Spanish.

Eduardo Lizalde, who is recognized as one of the most important living poets in the Spanish-speaking world, was awarded the Premio Internacional Carlos Fuentes a la Creación Literaria en el Idioma Español this week. The judges said that his collection El tigre en la casa [The Tiger in the House] is “one of the most influential and poignant books in several generations.”*

2017 marks the 40th anniversary of the reopening of diplomatic relations between Mexico and Spain after the Franco regime ended. Last week, the organization la Cátedra México-España, which was founded with the purpose of studying and fomenting the historical, cultural, and linguistic links between the two nations, celebrated its tenth year. Attendants at the anniversary conference noted that the international relationship is still in its “honey moon” phase and the first ten years of the organization’s work have seen significant academic collaboration across the Atlantic.

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Weekly Dispatches from the Frontlines of World Literature

I wrote whenever anything struck me. As I started to write, I began to revive little by little, from my fingernails to my hair.

Happy Friday, readers! The Asymptote team has some exciting news: starting this week, we will be replacing our Friday literary news round-up with a more diverse and decidedly international column, brought to you by our team members around the world. We’ll have the latest and most pertinent updates on the literary scenes from various regions each week, from national trends to local events. This is your one-stop, world tour!

Starting this week in India, Poorna Swami, Editor-at-Large for India, updates us by region:

Noted Assamese poet Nalinidhar Bhattacharya passed away on September 2 in Guwahati at the age of 95. The Sahitya Akademi Award winner’s books include five poetry collections, five essay collections, and even a translation of Dr. Zhivago into Assamese.

But while the country lost a literary great, it also regained one. Tamil writer Perumal Murugan ended his self-determined literary exile on August 22. His reentry in to the literary world comes a year and a half after he publicly declared to quit writing because his book, Madhorubhagan [One-Part Woman], faced attacks from Hindu fundamentalist and caste-based groups. He had said on his Facebook page: “Perumal Murugan the writer is dead. As he is no God, he is not going to resurrect himself.”

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Forthcoming Autumn Translations, in Review

Asymptote’s own review brand new translated literature.

 

wayward

Wayward Heroes, by Halldór Laxness, tr. Philip Roughton. Archipelago Books.

Review: Beau Lowenstern, Editor-at-large, Australia

The process of reading literature in translation is to dip into the perennial pool: possible meanings are compounded by language, we splash and struggle and only when we begin to get on our feet do we realise how much deeper and longer the cave goes. Often great writers see only a tiny fraction of their oeuvre translated for a wider audience—as a reader, we must play a game of guessing the size and shape and clarity of the submerged iceberg from only its superficial crown. Not to mention the person we all know who constantly admonishes us that if we had only read the original

Iceland’s Halldór Laxness falls into this lamentable category, with the majority of his collection of stories, essays, novels (including a four-volume memoir), plays and poetry frozen in time to all bar those with a blue tongue. Published in Iceland in 1952 as Gerpla, The Happy Warriors was the title of the original, sparsely recognised English translation, though it contributed to his body of work for which he was awarded the Nobel Prize in Literature in 1955. 

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Crowdsourcing a Poet

"...I asked a number of significant writers for an input on the place of this writer in our literature..."

Have you ever thought of starting a poetry crowdsourcing? While contemplating writing on Alexandru Muşina’s magnetic personality (as a tie in to Ruxandra Cesereanu’s article in our July issue), the idea presented itself to me as the best way of introducing him to Asymptote’s readers; definitely an exciting opportunity to bring people together around the work of this amazing poet. Why? For at least two reasons. First, Muşina is one of the most important poets of Generation 80 (the poets that changed the face of Romanian poetry starting back in the 1980s), and arguably its most influential theorist, teacher, and public figure. Therefore, given the writer’s impressive public profile, crowdsourcing arises as a truly viable option in trying to unveil the many facets of his personality as mirrored by poets, critics, and theorists from various schools and walks of life. Second, taking the pulse of the current literary scene by asking some of its most outstanding representatives for input on the matter would obviously provide remarkably candid insights into the writer’s legacy, but it may also add up to a quick x-ray of Romanian letters, a sort of present-day portrayal of a young literature as revisiting an established man…; this latter aspect may prove of interest particularly since Cesereanu’s article focuses mainly on the place of Muşina’s poetry (and specifically his poem “Budila Express”) in the historical context of the communist regime and Ceausescu’s dictatorship (when the poem was first published). READ MORE…