Interviews

When Shadows Evade Shadows: Wen-chi Li on Ko-hua Chen and Taiwan’s Tongzhi Literature

July 17, 2023  |  in Interviews  |  by Alton Melvar M Dapanas

Queer Taiwanese literature has inherited the motives of escape and exile from its pioneer writers.

Historicising tongzhi wenxue, or gay literature, in Queer Taiwanese Literature (2021), Howard Chiang finds the origins of this political and literary movement in the “changing sexual configurations of the post-WWII era and the militancy and vibrancy of tongzhi 同志 activism in the 1990s.” Since its origins, the writers and texts of this subgenre have been prolific and varied, from avant-garde politico-cultural magazines such as Daoyu bianyuan (Isle Margin) to Qiu Miaojin’s Notes of a Crocodile, Tsao Li-chuan’s The Maiden’s Dance, and Chu Tien-wen’s Notes of a Desolate Man. But what can be considered as the movement’s foundational text is Decapitated Poetry by Ko-hua Chen, a writer, visual artist, and critic who came out of the closet in that historical decade, making him Taiwan’s first openly gay—or tongzhi—writer. With more than thirty books and a body of work that span from poetry, film criticism, novels, paintings, scripts, photographs, and song lyrics, he merges in writing the thematics of Buddhist philosophical thought, science fiction, and porous queer masculinities. Chen, like his tongzhi writer-contemporaries, is living proof of a literature that has been tested by time, fortified by the activism of its believers, and has withstood the police brutality of the state and the skewed conservatism of religious groups. Decapitated Poetry came out in its Chinese original in 1995, and was published last April by Seagull Books in English translation by Colin Bramwell and Taiwanese anthologist, poet, and scholar Wen-chi Li.

In this interview, I asked Wen-chi about the history of tongzhi literature, the diverse Sino-specific gendered identities of Taiwan, the dynamics of co-translating Chen’s poetry collection, and the post-Sinophone/Japanophone futures of contemporary Taiwanese literature.

Alton Melvar M Dapanas (AMMD): In the introduction to Decapitated Poetry, you and co-translator Colin Bramwell “felt that it was important to give a sense of the broadness of Chen’s output as a writer,” referring to the poet’s transcending beyond the corporeal-cerebral binary. Can you speak further about your experience in co-translating the aesthetic and thematic expanse of Chen’s oeuvre? How was the selection process of the poems in this collection? 

Wen-chi Li (WCL): When we submitted a translation sample to Seagull Books, we originally chose Chen’s work “Notes on a Planet,” which was composed from 1978 to 1980. One of the editors, Bishan Samaddar, replied to us that he was searching for “explicit poetry” for the Pride List series, and this queer sci-fi might be too lyrical and spiritual. I said to Colin that we could then instead directly focus on the works in Decapitated Poetry. The text was a milestone in queer Taiwanese literature, the first to intentionally expose homosexual lewdness and muscle love in Sinophone communities. We thought its English collection should provide a broad view of Chen’s eroticism, so later works like “Body Poems” were also included in the compilation—but we still could not forget the glamour of “Notes on a Planet,” which intertwines topics of gay exploration and posthumanism in the form of lyrical epic (something so unique in world literature). Colin also thought that putting “Notes on a Planet” in the last part of the English collection created an upward scale from concupiscence to otherworldliness, from corporeality to spirituality. The English collection harmoniously combines such opposite elements.   READ MORE…

The Edge of Understanding: An Interview with Robin Munby

July 12, 2023  |  in Interviews  |  by Michelle Chan Schmidt

It matters a lot as a translator that you trust in the author, and the writing.

As Charlie Ng writes in her essay, ‘Translating Whale-Song into Human Speech’, the poetic ‘Song of the Whale-road’ embodies the “primordial unity” of humans and nature in the timeless, ahistorical figure of the whale. Published in Asymptote‘s Spring 2023 issue, ‘Song of the Whale-road’ is a series of experimental excerpts from the novel Oceánica by Yolanda González, arranged and translated by Robin Munby. It navigates the ocean not only as a landscape but as a powerful “symbol of the collective unconscious”, juxtaposing the false narrative of human godhood we tell ourselves against the whales’ magnitude in our shared planetary experience of nature and time. In this interview, I spoke with Robin Munby about his role in shaping the gravity and pull of this text, as well as about his piece ‘A New Vocabulary of Translation’, also published in Asymptote‘s latest issue, in which a serpentine glossary helps guide a critic’s review of translations.

Michelle Chan Schmidt (MCS): Robin, you almost seem to have gone beyond the remit of a translator with ‘Song of a Whale-road’. Building on González’s approach to Oceánica, you’ve brought ‘Song of a Whale-road’ into your own experimental realm of language, structure and presentation by compiling the text yourself. What was the creative process behind the piece’s cohesive form?

Robin Munby (RM): The way the piece came about is quite straightforward. I’d read and enjoyed Oceánica and planned to do something with it down the line, but it was the call for the Asymptote animal-themed special feature that gave me the prod I needed. Because I was translating the piece with that goal in mind, it made sense to focus on the intercalated sections running through the novel told from the perspective of a pod of whales, as opposed to working on sections from the novel’s various other strands.

In the context of the novel, the sections which became ‘Song of the Whale-road’ function a little like the Greek chorus. For that reason, I wasn’t sure until I’d compiled them and really until after I’d had a go at translating them, whether they would work as a standalone piece; there’s something a little absurd about presenting the chorus without the play. But I felt there was an internal logic to them and a music that would hopefully come through even outside of their original context. Though translation always involves re-forming and re-contextualizing to varying extents, I’m sure I’d have made different decisions had these pieces been translated alongside the rest of the novel. In particular, the translation of the wider novel would likely have influenced my approach to these sections, and I’d have had to focus slightly less on their internal coherence and more on the points at which they resonate with and speak to the novel’s other strands. I’ll come back with a fuller answer if/when I translate the rest of the novel! READ MORE…

Language Is Not a Means to an End: An Interview with Hajar Hussaini

July 6, 2023  |  in Interviews  |  by Terézia Klasová

Engaging with texts from Afghanistan is only one pathway toward recognizing our imperialist hearts and colonizing minds. . .

Poet and translator Hajar Hussaini has made her mark powerfully with the debut collection, Disbound, which navigates the distance between her two countries—Afghanistan and the United States—with musical precision and great sensitivity to linguistic friction and spark. Additionally, in her work to bring the texts from her native Persian into English, she is continuing a vital poetic lineage of political urgency, independent voice, and pathways towards empathy—powerfully exemplified in her translation of S. Asef Hossaini’s poems in our Spring 2023 issue. In this following interview, Hussaini discusses her personal statement of a “poetics of abandonment”, the communication channel between nations, and writing from “within” as opposed to “about”.

Terezia Klasova (TK): In an essay you wrote for The Poetry Foundation, you suggest an approach to writing called a “poetics of abandonment.” Is it characteristic only of your writing of poetry, or do you consider it descriptive of most, if not all, of your writing? Do you think it can be applied to other types of writing or other authors, and if yes, how so?

Hajar Hussaini (HH): I intended the “poetics of abandonment” to be a statement on my poetry collection, Disbound, and I’ve described it as the culmination of political and personal losses that manifest in a radical offering of language, sincerity, and understanding—in the hope of creating a (perhaps false) sense of equilibrium between the poet and her reader. I used the Persian concept of Taroof as the central metaphor of this poetics; I understand Taroof, in its essence, as a refusal to become the subject of pity, and through writing about it I came to see it as the only way out of certain intrinsically hierarchical relationships.

As I explained in the essay, writing abandonment is contingent upon the circumstances in which a poet writes. Of course, Afghan poets of my generation share this context, and some may conceive of composing poetry similarly (e.g. in giving one’s all to the poem). But I don’t know if categorizing their works under “poetics of abandonment” is helpful because the poets I translate have a readership in Persian, whereas I write in English. Their readers come from similar sociocultural backgrounds and are familiar with that loss because they share a collective memory, whereas that memory does not have an equivalent currency for my readers because the average English reader of American poetry who would gravitate toward my work is presumably less familiar with my literary and political references. In this way, I have lost something that an Afghan poet writing in Persian has not, but I have also gained readers that they will only have in English if a translator mediates.

It’s important to mention something about being an Afghan who has lived in between Afghanistan and Iran. I write poetry in English, and Persian is my mother tongue; I know both languages very intimately. Like Hossaini and myself, many Afghans have lived in Iran—and those who have not, have read Iranian books, watched Iranian films, and listened to BBC Persian. So, contemporary Afghan literature in Persian is a blend of Kabuli and Iranian Persian.

I think of the poetic statement genre as simultaneously personal and public. The statement traces the conceits of one poet while inviting other poets to similarly conceive. Regarding the influence of writing “abandonment” over my translations, I think it has so far played a role of gravitating me toward sincere and honest texts. READ MORE…

Dipped One in Dusk: Mai Serhan on the Diasporic Memoir and Translating Lyrics and Letters

July 5, 2023  |  in Interviews  |  by Alton Melvar M Dapanas

I had a lot I needed to clarify, plenty of stereotypes to debunk, a narrative that was screaming at me to rewrite. . .

Short story writer, poet, memoirist, and translator Mai Serhan was born to a Palestinian father and an Egyptian mother, and raised between the United Arab Emirates and Egypt. Going on to study between Cairo, New York, and Oxford and work in Cairo, Dubai, and China, this mapping of her personal cartography and her transnational lineage transcends the borders of postcolonial nation-states—and so does her forthcoming memoir, Return is a Thing of Amber, which touches among national histories, letters, and the personal essay.

In this interview, I asked Serhan about her book in the landscape of the larger Arab memoir from the diaspora; the languages and genders that thrive in the liminalities of modern Egyptian literature; state censorship in publishing and the consequent rise of the literary blog; and translating the songs of Egyptian composer Sayyed Darwish as well as the letters of Palestinian activist Ali Shaath. 

Alton Melvar M Dapanas (AMMD): The language of contemporary Egyptian literature, de facto, is Modern Standard Arabic—but there are writers who write in colloquial Egyptian Arabic and Ṣaʽīdi Arabic, echoing the lived reality of Egyptians in a gamut of dialects. Can you tell us the lingual milieu you write from—and how your decision to write in English come in? 

Mai Serhan (MS): Let me first map my geo-genealogical gamut. I was born to a Palestinian father and Egyptian mother, and carried a Lebanese passport for most of my life, since it is where my father’s family moved after 1948, and Egyptian mothers did not have the right to pass their nationality down to their children until 2009. When the Lebanese Civil War broke in 1975, my paternal grandparents moved to Cyprus where they waited for the war to end for fourteen years. It is there that I spent all my summers and Christmases as a child and teenager. The rest of my Palestinian family would fly into Limassol from all corners of the world—Qatar, Saudi Arabia, Kuwait, Jordan, the UK, and the US—and I spent all my formative years exposed to these different registers around me. After university, I joined my father in China where he worked in the export business, and I got to help him until the final year of his life. We travelled far and wide there, meeting with many of his Arab clients. After his death, I moved to Lebanon briefly, then Dubai where I worked as an English copywriter, then to New York where I studied screenwriting at New York University, eventually ending up in Oxford for my Creative Writing degree. All these places have deeply informed my upbringing—which is quite an international one.

I write in English because I went to a private British school, then to American and British universities. It’s the language I have been formally trained in all my life, both academically and professionally. I know how to express myself very well in Arabic, but the written word is definitely more present to me in English; it’s the language that has housed my scholarly and creative pursuits the most. That said, I am able to slip between Arabic and English with total ease and I am the bicultural product of both the East and West—and pretty much everything in between as well.

If we were to speak of my memoir, Return is a Thing of Amber, specifically, I would say the choice to write in English was a political one first and foremost; I wanted to address the English-speaking world, to debunk its many myths about land and people, and to promote awareness, compassion and understanding when it comes to Palestine and Palestinians. READ MORE…

A Pointed Atemporality: Mui Poopoksakul on Translating Saneh Sangsuk’s Venom

June 22, 2023  |  in Book Club, Interviews  |  by Barbara Halla

He's very aware of the rhythm and musicality of this text . . . he said it should take something like an hour and thirty-seven minutes to read.

In our May Book Club selection, a young boy struggles with a snake in the fictional village of Praeknamdang, in a tense battle between beauty and cruelty. In poetic language that is nostalgic for the world it describes without romanticizing it, Saneh Sangsuk creates a complex and captivating world. In this fable-like story there are no simple morals, in keeping with Sangsuk’s resistance to efforts to depict a sanitized view of Thailand and to the idea that the purpose of literature is to create a path to social change. In this interview with translator Mui Poopoksakul, we discuss the role of nature in the text, translating meticulous prose, and the politics of literary criticism.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.   

Barbara Halla (BH): How did you get into translation, especially given your law background?

Mui Poopoksakul (MP): I actually studied comparative literature as an undergrad, and then in my early twenties, like a lot of people who study the humanities, I felt a little bit like, “Oh, I need to get a ‘real job.’” I went to law school, and I worked at a law firm for about five years, and I liked that job just fine, but it just wasn’t what I wanted to do for the rest of my life. 

So, I started thinking, What should I be doing? What do I want to do with myself? I had always wanted to do something in the literary field but didn’t quite have the courage, and I realized that not a lot of Thai literature been translated. I thought, If I can just get one book out, that would be really amazing. So, I went back to grad school. I did an MA in Cultural Translation at the American University of Paris, and The Sad Part Was was my thesis from that program. Because I had done it as my thesis, I felt like I was translating it for something. I wasn’t just producing a sample that might go nowhere.

The whole field was all new to me, so I didn’t know how anything worked. I didn’t even know how many pages a translation sample should be. But then I ended up not having to worry about that because I did the book as my thesis.

BH: You mentioned even just one book, but did you have any authors in mind? Was Saneh Sangsuk one of those authors in your ideal roster?

MP: I wouldn’t say I had a roster, but I did have one author in mind and that was Prabda Yoon, and that really helped me get started, because I wasn’t getting into the field thinking, “I want to translate.” My thought was, “I want to translate this book.” I think that helped me a lot, having a more concrete goal. 

READ MORE…

A Small Darkening Sky: Huda J. Fakhreddine on the qaṣīdat al-nathr, the Arabic Prose Poem

June 19, 2023  |  in Interviews  |  by Alton Melvar M Dapanas

Every great poem is a rebellion. . .

Working within the vast world of Arabic poetry, writer, translator, and professor Huda J. Fakhreddine has done much to elucidate the movements of literary forms throughout history, the necessity of constantly interacting with tradition, and the inner universe of poems as they communicate and exchange with one another. Through her extensive knowledge and sensitivity to the capacities of poetic language, Fakhreddine has demonstrated powerfully that, as in a piece by her father that she translated: “Poetry is the deepest sea, distant yet more urgent than surf breaking on rocks.” Here, in this wide-ranging interview, Alton Melvar M Dapanas speaks to her on the importance of form and meter, the necessity of removing Arabic poetry from reductive study, the ongoing engagement of reading and translation, and the intimate way she came to love and feel safe in the world of a poem.

Alton Melvar M Dapanas (AMMD): Certain paradoxes and ironies made an impression in me after reading your latest book, The Arabic Prose Poem (2021): that the Arabic free verse, or the qasīdat al-tafīla, is not “free” in the way  of its Anglophone (free verse) and Francophone (vers libre) counterparts, and that Arabic free verse poets like Nāzik al-Malāʾika and later on, Ahmad ʿAbd al-Muʿtī Hijāzī, are, surprisingly, the fiercest opponents of the prose poem. 

Huda J. Fakhreddine (HJF): Meter is the marker of poetry in the Arabic tradition, even if symbolically and not fundamentally. It is the fence that separates poetry from other forms—even those that have strong claims to the poetic. The modernist movement of the 20th century was the first organized and theorized effort to jump the fence of meter; this doesn’t mean that the fence was not jumped before, only that it was not done so in such a collective and deliberate manner. The Arabic free verse poem was the result of that formal experimentation or innovation. 

But a more accurate label than “free verse” is qaṣīdat al-tafʿīla. The tafʿīla is the single foot or metrical unit, and a pattern of tafʿīlas makes up a meter in classical prosody. The modern poets no longer committed to the meters in their full patterns, but simplified them or reduced them to their building units (the individual tafʿīla), and often in qaṣīdat al-tafʿīla, the poem is built on a single metrical unit and its variations. The term free verse (al-shiʿr al- ḥurr) is thus confusing and not very accurate, since such poems still adhere to metrical considerations. The use of the term free verse is a testament to the influence of translation in the formative years of the Arabic modernist movement—though, as I argue in the book, translation was not that most decisive influence. I think the conversation with the Arabic poetic tradition, even when antagonistic and fraught, is really at the core of that movement, and is the real springboard to its most significant contributions. This is also why the term qaṣīdat al-tafʿīla is the most reflective of the movement’s intervention in form and its thinking about the role of meter. 

READ MORE…

Internal and External Dialogues: PEN Grantee Isabella Corletto on Being Multilingual and Coming to Translation Through Publishing

June 14, 2023  |  in Interviews  |  by Isabella Corletto and José García Escobar

Constantly switching back and forth or speaking in Spanglish, gave me a lot of flexibility with the way I use language and approach the world.

Earlier this year, PEN America awarded the 2023 PEN Grant for The English Translation of Italian Literature to Isabella Corletto, a young Guatemalan translator based in Crown Heights, Brooklyn. The grant awards $5,000 to an individual working on translating an Italian literary fiction or nonfiction text into English, and with it, Isabella will complete the translation of Giorgia Tribuiani’s Padri (Fazi Editore), a novel whose prose, according to her, “blurs the lines between narration, internal dialogue, and external dialogue”, built around “the tension between the mundane and the extraordinary”.

As a translator working with multiple source languages, Isabella also translated from Spanish into English Amalia Andrade’s Things You Think About When You Bite Your Nails (Cosas que piensas cuando te muerdes las uñas) in 2020, and currently works at Indent Literary Agency (home of authors like Leila Guerriero, Dolores Reyes, Oscar Martínez, and Guadalupe Nettel) and Words Without Borders as their 2022-2023 editorial fellow.   

A talented polyglot born in Guatemala City but with access to an international education, she has been formed by a myriad of languages: Spanish, English, Italian, and Portuguese. In her work, she sees no borders between them. “The more language and literature classes I took, the more interested I became in reading exophonic and multilingual writers, many of whom I realize now are also translators,” she said.

Recently I had a chance to talk to her about her craft and being multilingual. We discussed growing up bilingual, working in publishing, the authors that shaped her as a person and reader, and the need and importance of translating more Guatemalan and Central American authors into English.

 José García Escobar (JGE): I feel like we can ask translators the following question a limited number of times before it gets redundant. So, I’d like to take advantage of the moment. What drew you to translation?

Isabella Corletto (IC): I’ve always loved reading and writing, and I grew up bilingual—yet I never really thought much about translation growing up. While I always knew it was a useful skill and was grateful for it, I think I took speaking both fluently for granted, to a certain extent. Probably because most people around me growing up also spoke both languages. I always knew I wanted to write and work with books, but I never considered literary translation as a possible career path.

Learning Italian made me realize how much I love learning and working with multiple languages. For the first time, I had to think about all of the grammatical and idiomatic particularities of a language I was learning, but also of the two I grew up with.

READ MORE…

Forceful in Fury, Forceful in Beauty: An Interview with Alex Braslavsky on Translating Zuzanna Ginczanka

June 7, 2023  |  in Interviews  |  by Piotr Florczyk

She is incredibly important to the Polish tradition and, at the same time, I believe she is a world’s poet.

Zuzanna Ginczanka is a name that poetry readers will soon become very familiar with—if she hasn’t enraptured you already. In thrilling, Dionysian verses of musical, mythic, and magical beauty, the young Polish poet astounded her contemporaries during her brief lifetime, and is now being introduced to a new generation of readers with the same powerful lyricism and sensual joy. We were delighted to feature some of Ginczanka’s poems in our Spring 2020 issue through the electric translations of Alex Braslavsky—who has since published a bilingual edition of Ginczanka’s selected poems, On Centaurs & Other Poems, with World Poetry Press.

In the following interview, Piotr Florczyk talks to Braslavsky about how translations can encourage active engagement with the source language; the sensoriums, pyrotechnics, and complex metaphoric mechanisms at work amidst Ginczanka’s words; and what makes this poet a necessary inclusion within the Polish—and the global—canon.

Piotr Florczyk (PF): If I’m not mistaken, On Centaurs & Other Poems is your first book-length translation. Could you talk a little bit about how you got started as a translator and, secondly, how you came to this project?

Alex Braslavsky (AB): As an undergraduate, I took a poetry workshop in which we read Tomas Tranströmer and Wisława Szymborska’s work in translation, and I remember being really struck by the intimacy I felt in Clare Cavanagh’s English versions of Szymborska—that was when I fell in love with Polish poetry. When I went on to pursue my master’s in the United Kingdom, I had the opportunity to start learning Polish. I also started attending Oxford Comparative Criticism and Translation seminars run by Kasia Szymańska.

I shared my interest in poetry with Kasia, and she informed me that a full volume of Zuzanna Ginczanka’s poetry had just been released in Poland in the fall of 2019. I had never heard of the author, but I am really indebted to Kasia, because I remember that on the first day she and I sat down to read Ginczanka’s poems, I recognized it as some of the most sophisticated poetry I’d ever laid eyes on, and I also realized that my sensibilities could mesh with Ginczanka’s; I had the urge to translate her work.

PF: Your book is the first of at least two volumes of Ginczanka translations to be released this year. How do you account for this sudden and growing interest in her work?

AB: There has been a lot of push in Poland for Ginczanka to get her due recognition. Over the past decade, she has entered the canon of Polish poetry. Although she was long overlooked by Polish poets and scholars, she is now included in the prominent textbook, the Nasiłowska History of Polish Literature. Several monographs have also been written about her work over the last decade, and in 2020, Izolda Kiec’s biography of Ginczanka, Nie upilnuje mnie nic (Nobody Will Police Me), was published—then adapted into a play. Artists like Krystyna Piotrowska have also exhibited artwork paying homage to her. There is a pressing urge on the part of many to make sure Ginczanka’s life and work is thrown into high relief on the international literary stage. Mine is one of, I believe, four different translations of Ginczanka’s work to be released this year, all by female translators, and it is a special moment because her work is so brilliant. She deserves this array of renderings to her name.

PF: Although born in modern-day Ukraine to a Russian-speaking Jewish family, Ginczanka chose to write in Polish. Can you speak to what might have influenced her decision to do so?

AB: Although Ginczanka was a Nansen passport holder (never being granted Polish citizenship because she was Jewish), she felt throughout her life that she was Polish and was closely connected to the Polish poetic tradition. Her parents left her with her grandmother in Poland when she was still an infant, and she was raised in Równe, Poland (now Rivne, Ukraine). She went to Polish school, attending the prestigious Tadeusz Kościuszko State Gymnasium from the age of ten, and though she spoke Russian at home, she elected Polish as the language of her pen. READ MORE…

A Weird Alchemy of Taste and Determination: Speaking with Taylor Bradley of Honford Star

May 25, 2023  |  in Book Club, Interviews  |  by Laurel Taylor

That’s what is cool about Specters—it tries to explore how government censorship affects the world of art.

South Korean author Hwang Yeo Jung’s scintillating, multi-layered novel, The Specters of Algeria, was our Book Club selection for the month of April; in a narrative that holds fictions inside facts, facts inside fictions, Hwang brilliantly builds and unravels with the double-speak and intimate language of life under authoritarian governance. This invigorating book has come to us by way of the East Asia-centric publisher Honford Star, a small press that has continued to undertake the vital and thrilling work of bringing groundbreaking writers to English-language audiences. In this following interview, Laurel Taylor speaks with the co-founder of Honford Star, Taylor Bradley, about their process from obtaining rights to publication, their mission and goals, and why The Specters of Algeria is such a special title.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.  

Laurel Taylor (LT): It’s been six years since Honford Star’s founding. What led you and your co-founder Anthony Bird to form this new publishing house?

Taylor Bradley (TB): Anthony and I had known each other since 2008, when we were both English teachers at the same school in Korea. Fast forward to 2015, my wife and I were on our honeymoon in London, where we met up with Anthony and his wife for a pint at this 300-year-old pub called the Chesire Cheese. Charles Dickens was a regular there, and perhaps feeling the inspiration of the Ghost of Literature Past, Anthony and I talked about how nice it would be to have a publishing company. I continued on my honeymoon and didn’t think about the conversation again until a few months later, when Anthony messaged saying he wants to publish the classic Korean author Kim Dong-in and asked me if I want in. I said yes.

Our purpose for starting a new publishing company was to bring a broader range of East Asian stories into English. At the time, we felt the types of books being published were from an extremely narrow band. For example, there hadn’t been much, if any, Korean sci-fi translated into English. We hoped to bring things from areas like classic literature, sci-fi, and queer fiction into English. Fortunately, I think that the translated field has changed a lot in the past eight years, thanks to the efforts of indie and university presses.

LT: You and Anthony were both already working in the publishing sphere prior to Honford Star’s founding, but I’m wondering if there been any unexpected challenges along the way? Unexpected rewards?

TB: We did have experience with printing and publishing, but we had never been in charge of doing an entire book. So finding good translators, editors, artists, printers, distributor, publicists, and sales team has been a journey of trial and error. We’ve been fortunate that our network has really grown into strong group of collaborators, and we have a great printer in Korea that can make the most gorgeous books. Our sales team are a group of wizards, and the distributor is very reliable.   READ MORE…

Translating Le jour des corneilles: A Conversation with Alice Heathwood

May 24, 2023  |  in Interviews  |  by Tyler Candelora

But I always try to play by the rules of the source text. It’s as if I can dance, but always to the music of the author.

Asymptote’s most recent Spring Issue includes an excerpt from Alice Heathwood’s translation of Jean-François Beauchemin’s idiosyncratic and playful Le jour des corneilles (translated as The Day of Crows). The novel plays with language and voice, creating a sense of whimsy that counterbalances the darkness of the story. In this interview, Tyler Candelora talks to Alice Heathwood about translating Beauchemin, the tension between translating the reading experience one had and leaving open the possibility of other readings, and inventing words.

Tyler Candelora (TC): Can you tell me what led you to Jean-François Beauchemin’s work, and why you decided to translate this story in particular?

Alice Heathwood (AH): I came across Le jour des corneilles many years ago. I was going through a period where I was craving fiction, but just couldn’t find the right book for me. It had been ages since I’d fallen in love with a novel, and I missed that immersion in another world that you get from really good stories. I asked a friend who worked in a bookstore for a recommendation and she handed me Le jour des corneilles. It sucked me in completely from the first line. The language is so lyrical, so striking, so odd yet so inviting. Fortunately, my friend had told me nothing of the plot, which is dark, and would be difficult to handle if not wrapped in the book’s particular prose, or I may never have read it. But it is exactly that juxtaposition of light and dark that makes the book so compelling. It was my first taste of Beauchemin’s work and a strange sort of introduction, as his other works, while very poetic, do not play with language in this very idiosyncratic way. Of course, being so struck by the prose, I couldn’t help wondering how it could be translated: occupational hazard. But for years I dismissed the idea as crazy, until eventually, I just could not resist the challenge. It was as if the book wouldn’t leave me alone. 

TC: Do you typically translate from Quebecois French, or was this a new venture for you? 

AH: Being based in Paris, I normally translate from the French of mainland France. I wouldn’t necessarily take on any book from another culture, but the book’s unique style places it, in some ways, outside of its particular literary context. At the same time, I want to be careful not to brush that context entirely aside. I’m aware of the dangers inherent in translating a work from a culture in which I am not immersed. However, I think there are ways to mitigate our blind spots and approach the work with respect and a willingness to learn. In practical terms, this means reading more Quebecois literature, listening to podcasts, watching films from Quebec and talking to fellow translators and the author himself. Recently, I participated in a week-long event with other literary translators at the International College of Literary Translators in Arles, France (the ateliers ViceVersa, run by the French association for the promotion of literary translation, ATLAS and brilliantly facilitated this year by Mona de Pracontal and Ros Schwartz). We each brought along an extract of our work to workshop with the others. It was a wonderful, enriching experience. One colleague in particular, Arielle Aaronson, who lives and works in Montreal, really helped me rethink my approach. I think it’s great to collaborate with other translators. In my experience we are always willing to help each other out.  READ MORE…

Tampoco tenemos nombre / We, too, are nameless: A Conversation with Ilana Luna

May 17, 2023  |  in Interviews  |  by Alton Melvar M Dapanas

When I translate, my approach is much more of an interpretation, in the musical sense; it is a jazz riff, it is a feeling . . .

I discovered one of my favorite poets—the musician, filmmaker, and diplomat Gaspar Orozco—through Ilana Luna in the pages of Scotland-based Reliquiae: A Journal of Nature, Landscape, and Mythology. In Luna’s lulling translation, Orozco’s El Libro de los Espejismos (The Book of Mirages) meditates on the lacuna between memory and myth, and the interstices between sentience and sleep. In this interview, I asked Luna about, among other things, translating Mexican poet Gaspar Orozco and essayist Carlos Monsiváis, as well as Mexican literature in translation, with small indie presses as their prime movers. 

Alton Melvar M Dapanas (AMMD): I love your translation of Gaspar Orozco published at Reliquiae Journal! And you have a forthcoming book of translation from Orozco’s poems under the Corbel Stone Press imprint, Xylem Books. What should Orozco readers like me expect from this new title? 

Ilana Luna (IL): In fact, we have several manuscripts we’ve been working on. The first we completed is El libro de los espejismos/The Book of Mirages. It’s quite a marvelous book, with prose poetry as well as formal poetry, haiku, sonnet, octaves. They were the most fun to translate, truth be told; I love the puzzle or game-like challenge that formal limitations pose. Several of these poems appeared in Reliquiae, as well as in the July 2021 issue of Indian publication Poetry at Sangam. The one you mention, with Corbel Stone Press, is what we’re currently working on. It is more of an anthology of Orozco’s work, with a focus on natural phenomena and a mythic tone, taken from across his ten-book corpus. As always, Gaspar’s poetry is full of luminescent landscapes, vignettes, and often, has a mesmerizing, rhythmic quality. I try to capture this in my translations.

AMMD: In his prólogo to Lapidario: Antología del aforismo mexicano (2014), critic-translator Hiram Barrios maps the presence of aforismos en verso (“aphorism taking refuge in the short poem”) within Mexican poetry since the late nineteenth century, naming Gaspar Orozco’s father as a practitioner of this “anomalous” free-verse that “questions the nature of genre.” Do you think Orozco has followed in his father’s footsteps, and how, if so, has that influenced the way you translated his works?

IL: I’m quite sure that Orozco was deeply impacted by his father’s love of literature, and he tells stories of youthful interactions with preeminent Mexican scholars and literati—for example, the infrarealist poet José Vicente Anaya, also from Chihuahua, whose famous poem “Híkuri” is a reference in our “Notas de un cuaderno de híkuri”/ “Notes from a Peyote Journal.” Orozco’s prose poetry has been elegantly analyzed in “‘Image Machine’: Gaspar Orozco’s Book of the Peony and the Prose Poem Sequence as Perceptual Trick,” Helen Tookey’s chapter of Prose Poetry in Theory and Practice (Routledge, 2022). As for how this paternal influence has impacted my translation, I’d have to say not very much—or at least not directly. I know I can’t be alone in this, but when I translate, my approach is much more of an interpretation, in the musical sense; it is a jazz riff, it is a feeling, it is something like a cover. It is always a direct interface between me and the poem, nothing else. As sheer as that, it is an immersion and a remaking, a new thing unto itself. 

READ MORE…

Reading Palestine in French: In Conversation with Kareem James Abu-Zeid

May 11, 2023  |  in Interviews  |  by Tuğrul Mende

The translation on its own should be so powerful or important that it serves as its own aesthetic justification.

Born in Haifa in 1944, Olivia Elias is a poet of the Palestinian diaspora  writing in French. During her childhood, she lived as a refugee in Beirut, but later moved to Montreal and then to Paris in the early 1980s. While she started to publish her poetry quite late in comparison to other poets, she has authored several collections since 2013. Her poetry is characterized as precise and rhythmic, and the Palestinian cause is a recurring theme throughout her work. Elias’ poem “Flame of Fire” opens:

I was born
In this
Eruptive time
When my country’s
Name was changed

Though Olivia Elias began writing poetry at a later stage in her life, she quickly gained maturity in the craft. With her third collection, Chaos, Crossing she reached an artistic peak, which has been brought into English in Kareem James Abu-Zeid’s translation. While the collection contains previously published poems, it also features  poems which haven’t yet been published in French before. In this interview, Kareem James Abu-Zeid discusses his introduction to Elias’ work, the influences and intricacies of Elias’ poetry, and the process of bringing Chaos, Crossing into English for the first time.

Tuğrul Mende (TM): You studied French literature in the past. Can you tell me what drew you to the subject and what drew you to translate Olivia Elias?

Kareem James Abu-Zeid (KJAZ): It’s funny, because I did study French literature and poetry—French was my major as an undergraduate—but that wasn‘t how I discovered Olivia‘s poetry. She was introduced to me by another Palestinian poet, Najwan Darwish, in May 2020, and I immediately wanted to translate her work.

I wasn’t reading a lot of French poetry at the time, and I was mainly translating Arabic. All of the literary projects I had done up to that point were in Arabic. I do a lot of academic and professional translations from French and from German, but I hadn’t done many literary texts. Up until 2003, when I graduated from college, I was reading a lot of French poetry, but then I began translating Arabic and French literature dropped away a little bit in my translation life. So this project somehow felt like it connected those disparate parts of my life.

TM: What do you do differently when translating from those various languages?

KJAZ:  I don’t consciously do anything differently. There are different things that happen and different challenges that arise with different languages, of course. For me, it always starts with understanding the source text, whatever its language. Then, hopefully, you develop a more empathetic connection to the source text, you really connect with it on a deeper level. The goal is to have the translation work as poetry in English.

There are different challenges with each language, and certainly with Arabic. When translating from Arabic to English, for example, the way the two languages work is so different that anything resembling a word-for-word translation is pretty much impossible. You’re forced to get very creative in terms of syntax, rhythm, etc.

With this project in particular, what I noticed is that I felt (for a little while) that I was going to be able to produce a translation that looked, at least on the surface, more like a mirror of the original French. I got lulled into a false sense of security, because the two languages are so close to one another in so many ways. But later on, I realized that the English wasn’t quite ”clicking” in the way I wanted, and that I couldn’t always mimic the French syntax or rhythms, or go with English cognates for French words—I had to step back a bit and really allow myself to recreate the texts as English-language poetry. I learned that there are unique difficulties when the languages are so close to each other as well. There were several times when I thought I had something good in English, and I was pleased, because in many ways it looked very close to the French. But then, when I managed to forget about the source text and just consider the English on its own, I realized that something was definitely sounding a bit “off” in my translation. READ MORE…

As Close to 600 BC As We Are to Tomorrow: A Conversation with Saudamini Deo

May 8, 2023  |  in Interviews  |  by Tristan Foster

The role of the translator is to madden a language, drive it insane, do unimaginable things with it.

Writer and translator Saudamini Deo is expanding the English-speaking world’s understanding of Hindi literature, working to translate forgotten works by avant-garde literary outsiders into English for the first time. Several years after she began this series of translations with a collection of short stories by Bhuwaneshwar, the second book in the project, Traces of Boots on Tongue by Rajkamal Chaudhary, is being published by Seagull Books as part of their India List series. 

I first spoke to Deo about her translation project in 2020, at the beginning of the COVID-19 pandemic. The writers she was interested in were almost totally unknown outside of India, and I was curious to know what it meant to have them recovered, translated, and presented to an English readership navigating life in the twenty-first century. We exchanged questions and answers while both of our countries were in strict lockdowns—her in India, me in Australia. In the fog of fear and uncertainty that had overcome us, I wondered if Deo’s project was a way of coping with the immediate reality of living through something lifted straight from a history book—would it last beyond those early days of COVID-19 or was it a mere distraction?  

Three years later, the project has not only outlasted lockdowns, it has expanded and matured, taking on the shape that Deo had envisioned from the beginning: where Bhuwaneshwar’s stories are dreamy and deeply pessimistic, Chaudhary’s stories face the concrete absurdity and hardships of the everyday head on—their subjects span time and culture. As Deo states in her introduction: “Written more than 70 years ago, the stories sometimes read like they were written just this morning.”

Chaudhary wrote at a time when India was still a young nation, yet its promises of a future filled with hope and opportunity were slipping further and further beyond the horizon; as Deo puts it, it was a “world where there is no longer either god or morality, not even the desire for it.” Maybe, regardless of time and place, we always feel as though the riches we were promised never actually eventuate.

I asked Deo about the act of translation, the direction her translation project will take from here, Chaudhary the writer, and the parallels between his time and the present moment.

Tristan Foster (TF): Your English translation of Traces of Boots on Tongue by Rajkamal Chaudhary is due to be published by Seagull Books. What, in your view, makes Chaudhary significant to a modern English readership?

Saudamini Deo (SD): I think, in the last few decades, there has been some interest in Indian writing and Indian writers in the anglophone world. However, this interest or exposure is, to a large extent, limited to diaspora writers and writing. It’s about time that India is no longer seen or understood as a mere background to its diaspora. It’s not just a reference point or historical source, it’s a living and evolving country where people live fully human and complex lives, and is just as interesting or incomprehensible as anywhere else in the world. Rajkamal Chaudhary takes his readers through this maddening incomprehensibility of the modern Indian existence in the 1950s and 1960s. And India is not just about India much the same way as Europe is not just about Europe. It’s part of the entire world, it’s part of the reason why our present reality looks and feels the way it does. Chaudhary’s work would be significant to anyone interested in arriving at a fuller understanding of the human existence in these mad modern times. READ MORE…

To Save My Own Life With Experimentation: A Conversation with Yan Jun

April 26, 2023  |  in Interviews  |  by Matt Turner

[I]t's about doing something, anything, or nothing in a mundane environment—and treating it as everything.

 Yan Jun is a poet, experimental musician, impresario, critic—and, notably, a creative driving force in Beijing’s experimental music scene since the early 2000s. In his illustrious career, he has published not only his own poetry and music, but also the work of colleagues who might not easily be seen elsewhere. A local fixture with global presence, he’s been featured journals of both literary and sound culture, played in venues from Beijing to Berlin, and has collaborated with many international musicians. His work stands out for spanning genres and straddling media, and his perspective is important not only as an artist, but also as someone negotiating different traditions.

I first came to know of Yan Jun through his Sub Jam label, and subsequently through his Waterland Kwanyin experimental music night, which featured different musicians every week for improvised performances. Much later, I had the pleasure of co-translating (with Haiying Weng) his 2018 sequence of irreverent poetry, 100 Poems of 10,000 Elephants, and then his new book of prose, Berlin Reflections, a collection of reminiscences and reflections on aesthetics and the function of art. In this following interview, I spoke with him on his various writerly and musical projects, which span intimate experiences of ritualized sound-making to large-scale installations of ambient imagination. 

Matt Turner (MT): To begin, can you say a little bit about your poetry, as well as the relationship of your music to poetry?

Yan Jun (YJ): I started writing poetry when I was thirteen years old, when around half of my classmates were also writing it—it was a bit of a trend in school for a while. Back then, I thought I would be a poet, but I just spent many years pursuing the phantom of being a poet, complete with romantic cliches like being drunk on stage, having a chaotic personal life, that kind of thing.

When I began making music around 2003, the way I wrote changed, and I slowly adopted a rather quiet and reflective style. Of course, my music had already been already going that way; eventually, I no longer wanted to scream out in public as either a musician or poet. After some turns musically, I arrived on a new stage—where I no longer concerned myself with reputation, but instead allowed myself to make stupid, or even failed music.

At the time I didn’t know what that meant, but I felt I could be a stupid musician making my own sounds and performing my own way. The poems then, also changed—from feigning a quiet Buddhism to writing from my tiny and odd mind. I’ve been away from the poetry scene long enough that I write only for myself now. It’s really wonderful to give up on being a good poet or a good musician. Of course, I’d still say that my poems deal with my past, and its phantoms.  READ MORE…