We are well into the World Cup, which means endless amounts of football (or soccer, depending on your location) for the serious fans and a chance to dabble in that world for those less-serious fans of the sport. The group stage is coming to a close and there have been more than a few surprises, including Iceland’s humbling of Messi and Argentina, Poland going down against the tenacious Senegalese team—and Germany? Really?
The World Cup, an event that very much goes beyond the ninety minutes of twenty-two players and a ball, generates an endless amount of controversy, discussion, national pride, rivalry, and politics from all sorts of people, including our favorite writers. With that in mind, today we bring you a special treat as Asymptote team members and readers share their favorite pieces of writing about the game.
From Austria: Elfriede Jelinek
Already, the 2018 World Cup has delivered its quota of surreal moments. Some have been joyfully surreal—the director of Iceland’s 2012 Eurovision video leaping to keep out a penalty from one of the greatest players of all-time; Iran’s failed attempt at a somersault throw-in during the final seconds of a crucial game against Spain—but others have had a more sinister edge. Among the defining images from the opening match was the handshake between Vladimir Putin and Mohammed bin Salman, two star players for the Axis of too-wealthy-to-be-evil.
Welcome back for a fresh batch of literary news, featuring the most exciting developments from Slovakia, Brazil, and Egypt.
Julia Sherwood, Editor-at-Large, reporting from Slovakia:
Hot on the heels of the prolonged Night of Literature, held from 16 to 18 May in sixteen towns and cities across Slovakia, the fifth annual independent book festival, BRaK, took place between 17 and 20 May in the capital, Bratislava. In keeping with the festival’s traditional focus on the visual side of books, the programme included bookbinding, typesetting and comic writing workshops, activities for children, and exhibitions of works by veteran Czech illustrator, poster and animation artist Jiří Šalamoun, as well as French illustrators Laurent Moreau and Anne-Margot Ramstein. The last two also held illustration masterclasses, while the German Reinhard Kleist launched the Slovak translation of his graphic novel Nick Cave: Mercy on Me, accompanied by a local band.
Spring is creeping in and we have just launched a very special and very exciting new issue full of amazing literary voices from around the world, including Jon Fosse, Dubravka Ugrešić, and Lee Chang-dong. Check out the Spring 2018 issue here! In the meantime, we are here with the latest literary news from around the world. This week we report from Albania, Hong Kong, and Brazil.
Barbara Halla, Editor-at-Large, reporting from Albania:
Classic and contemporary Albanian literature is heavily focused on male authors and the male experience, a status-quo challenged recently by “Literature and the City.” Throughout April and May, journalists Beti Njuma and Alda Bardhyli will organize the second installment of this event consisting of a series of discussions and interviews exploring trends in contemporary Albanian literature. This year the encounters will highlight the work and world of Albanian women, through discussions with authors including Flutura Açka, Lindita Arapi, Ardian Vehbiu, Edmond Tupe, and Fatos Lubonja. A particularly exciting event was the conversation conducted with Ornela Vorpsi, a prolific author who writes in French and Italian but who remains virtually unknown in the Anglophone sphere. So far, only one of her books has been translated into English by Robert Elsie and Janice Mathie-Heck: The Country Where No One Ever Dies.
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.”