This week, we’re taking a look at the precise and haunting work of a thrilling young Argentinian writer, celebrating and revelling in Latin American Indigenous literatures, and queuing up for a veritable mélange of literary and artistic events in the international hub of Hong Kong. It’s been a pretty good month.
Scott Weintraub, Editor-at-Large for Chile, reporting from Buenos Aires and Berlin:
On January 1, 2019, the New York Times reviewed Megan McDowell’s powerful translation of Argentine writer Samanta Schweblin’s book of short stories, Mouthful of Birds (originally titled Pájaros en la boca). In this review, the Times reveals what fans of contemporary Latin American fiction have known for years: that Schweblin’s haunting, claustrophobic writing is fascinating and addictive. Admittedly, Schweblin had previously received ample praise from critics in both the Spanish-speaking and Anglophone world. Among other accolades, we might consider: in 2010, the British magazine Granta named her a top young Spanish-language writer; Schweblin is a winner of the prestigious Juan Rulfo short story prize; she appeared on the Bogotá 39 list (2017), which lauded the top 39 Spanish-language authors under 40 years of age. READ MORE…
Stuck in a literary rut? Our editors-at-large are back with up-to-the-minute recommendations for new translations, current literary festivals and exhibitions, and even an award-winning film!
Scott Weintraub, Editor-at-Large for Chile, reporting from the United States
In this second month of 2019, I would like to highlight some recent and forthcoming translations of Chilean poetry, since there have been several superb late-2018 publications and some exciting works slated to appear in 2019.
First, in September 2018, Cardboard House Press published Thomas Rothe and Rodrigo Olavarría’s remarkable translation of poète maudit Rodrigo Lira’s Testimony of Circumstances. This extraordinary book has received ample coverage in Asymptote—an excerpt of the translation appeared in the Winter 2017 issue, and an insightful review by Garrett Phelps appeared on the Asymptote blog. Late 2018 also saw the publication of Urayoán Noel’s brilliant translation of Pablo de Rokha’s poetry, titled Architecture of Dispersed Life. These inspired translations show off the complexity of de Rokha’s dark and humorous textualities and are “absolutely modern” in the Rimbaudian sense of the word. Also of note is the New and Selected Poems of Cecilia Vicuña (edited by Rosa Alcalá), which is particularly fascinating not only for the profound poetic and visual art explorations undertaken by Vicuña, but also for the work it features by several of Vicuña’s sharpest translators. And finally, I encourage readers to seek out Mónica de la Torre’s translation of Omar Cáceres’ Defense of the Idol (Ugly Duckling Presse, 2018). Cáceres was a cult poet highly praised by ranking members of the pantheon of Chilean literature, such as Vicente Huidobro and Pablo Neruda. READ MORE…
September 11, for many around the world today, is a date that is filled with images of the horrifying attack on the Twin Towers in 2001. However, in the shadow of that attack is another September 11, one that took place nearly thirty years before the tragedy in America. The murder of Chilean President Salvador Allende on September 11, 1973, marks the establishment of a brutal dictatorship in Chile. It is this date, as well as the latter September 11, that Carlos Soto Román contends with in his book 11. Erasure, algorithmic manipulation, and blank spaces take center stage in this evocative text, as Asymptote‘s Scott Weintraub discovers.
In his book-object 11—the winner of the 2018 Santiago Municipal Poetry Prize—Soto Román develops a material(ist) poetics steeped in absence, nothingness, the palimpsest, censorship, and the erased or altered quotation. He elaborates a profound politics of conceptualism in which no word or line is, strictly speaking, “by” the author himself. Soto Román’s writing, therefore, draws him near to certain North American poets associated with conceptualism in one way or another, such as Kenneth Goldsmith or Vanessa Place; his deep engagement with the ludic and the via negativa, however, allows one to associate him with the visual experiments of Vicente Huidobro (1893-1948), the carefully cultivated disappearance of the author practiced by Juan Luis Martínez (1942-1993), and the deconstruction of institutionalized discourses employed by Rodrigo Lira (1949-1981).
We’re back with our regular Friday column featuring weekly dispatches from our Asymptote team, telling you more about events in world literature. Join us on a journey to Guatemala and Chile, before heading to New York City, to find out more about the latest in world literature.
José García Escobar, Editor-At-Large, reporting from Guatemala:
We begin with great news coming from the Guatemalan author Eduardo Halfon whose novel Mourning (Duelo in Spanish) got shortlisted for the 2018 Kirkus Prize. Halfon, whom we interviewed for our blog last June, is sitting beside other fantastic writers such as Ling Ma, Nafissa Thompson-Spires, and Lauren Groff. Mourning, published by Bellevue Literary Press, was translated into English by Lisa Dillman and Daniel Hahn. The winner will be announced on Thursday, October 25, 2018.
Additionally, Halfon was just declared the recipient of the 2018 Miguel Angel Asturias National Prize in Literature, the most important literary prize in Guatemala.
On a much sadder note, recently, one of Guatemala’s most influential and emblematic poets, Julio Fausto Aguilera has passed away at the age of 88. He won the Miguel Angel Asturias prize, in 2002; he was part of the arts collective Saker-Ti, and one of the founding members of Nuevo Signo—arguably one of the most important literary groups in Central America. He wrote close to twenty books of poetry, and his family confirmed that he left two manuscripts that they hope will get published soon. Francisco Morales Santos, his friend en Nuevo Signo’s editor, called Julio Fausto a worthy and unbreakable man. Many other writers such as Vania Vargas and the most recent winner of the Miguel Angel Asturias Prize, Francisco Alejandro Méndez, also mourned the death of Aguilera.
To read more about Aguilera and Nuevo Signo, click here.