Interviews

Translating Indigenous Mexican Writers: An Interview with Translator David Shook

October 12, 2015  |  in Interviews, Translations  |  by Ryan Mihaly

"I suspect many casual bookstore readers might not know how many languages are still spoken in Mexico. The sheer diversity is astounding."

David Shook is a poet, translator, and filmmaker in Los Angeles, where he serves as Editorial Director of Phoneme Media, a non-profit publishing house that exclusively publishes literature in translation. Their newest book is Like a New Sun, a collection of contemporary indigenous Mexican poetry, which Shook co-edited along with Víctor Terán.

Seven translators in total—Shook, Adam W. Coon, Jonathan Harrington, Jerome Rothenberg, Clare Sullivan, Jacob Surpin, and Eliot Weinberger—translated poets from six different languages: Juan Gregorio Regino (from the Mazatec), Mikeas Sánchez (Zoque),  Juan Hernández Ramírez (Huasteca Nahuatl), Enriqueta Lunez (Tsotsil), Víctor Terán (Isthmus Zapotec), and Briceida Cuevas Cob (Yucatec Maya). I corresponded with Shook over gchat to speak with him about the project.

Today is Columbus Day, a controversial holiday in the United States. Several cities have recently adopted Indigenous Peoples’ Day over Columbus Day, clearly a victory for recognizing indigenous cultures in the United States. Which leaves me wondering: how are the indigenous Mexican writers recognized today in the Mexican literary landscape?

As someone who regularly visits Mexican literary festivals and also translates from the Spanish, I’ve observed the under-appreciation of indigenous writers firsthand. Mexico’s indigenous communities make up 10 to 14% of its total population, and you certainly don’t find anywhere near that percentage of literature being published in Mexico today. READ MORE…

Publisher Profile: Antena

September 24, 2015  |  in Interviews, Publisher Profile  |  by Alexis Almeida

"Language justice is difficult to see. The plight of the invisibility of translation is storied."

 

Antena is a language justice and literary experimentation collaborative founded by Jen Hofer and John Pluecker, both writers, artists, literary translators, bookmakers and activist interpreters. Antena activates links between social justice work and artistic practice by exploring how critical views on language can help us to reimagine and rearticulate the worlds we inhabit. Antena has exhibited, published, performed, organized, advocated, translated, curated, interpreted, and/or instigated with numerous groups and institutions, including Blaffer Art Museum, Hemispheric Institute for Performance and Politics, and Project Row Houses. I recently spoke with Jen Hofer and John Pluecker over email. 

 

Alexis Almeida: I’d like to start with Antena’s beginnings. It seems collaboration is a key element of everything you do. Can you talk a bit about how your different backgrounds/interests were able to coalesce in this project?

John Pluecker: As I’ve described previously in an interview Nancy Wozny did with Antena in 2014 for Arts + Culture TX, “Jen and I initially met in Tijuana, Mexico in 2006 at the Writing Lab on the Border, a six-week series of workshops organized by Mexican writer Cristina Rivera Garza. Jen’s ideas and thinking about translation, interpretation and writing blew me away from the very start. After our first meeting in Tijuana, we kept running into each other: as interpreters at the National Network for Immigrant and Refugee Rights and the US Social Forum, as literary translators at various gatherings and as poets in readings and events. Over the years, our friendship grew to the point that we decided to join forces.” READ MORE…

Finding Quiet Places: Interviewing Guest Artist Cody Cobb

September 23, 2015  |  in Interviews  |  by Berny Tan

Berny Tan, Asymptote's lead graphic designer, in conversation with the artist behind our July Issue.

Photographer Cody Cobb is Asymptote’s guest artist for the July issue. His poignant snapshots—a departure from the breathtaking landscape imagery that defines his practice—grace nineteen of our texts in the Fiction, Nonfiction, Drama, and Multilingual Writing feature sections. I interviewed him about his artistic motivations, his affinity for landscapes, and his experience contributing to Asymptote.

Berny Tan: I’d like to start with a question about your own photography practice. You describe your photography as “attempts to capture portraits of the Earth’s surface, devoid of human interaction and interference.” What motivates and informs this approach?

Cody Cobb: Finding quiet places to be alone on a planet with over 7 billion humans is my motivation. This seems to be getting harder, so I end up trekking way out into the mountains and forests. READ MORE…

The Uncanny Listener… (Part 2)

September 21, 2015  |  in Interviews, Multimedia, Podcast  |  by Emma Jacobs, Marjorie Sandor, and Sally Decker

More stories from the shadows, featuring Franz Kafka, Yoko Ogawa, Dean Paschal and Mansoura Ez-Eldin.

The Uncanny Listener: Stories from the Shadows (Part 2)

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We’re back with a second portion of scary stories! Following on from last month’s episode, part two of our audio anthology ventures even further into the dark and dingy corners of world literature. This installment features haunting tales from Japan, Egypt, America, and the Austro-Hungarian Empire, with writing by Franz Kafka, Yoko Ogawa, Dean Paschal, and Mansoura Ez-Eldin. Along the way you’ll find a hallucinatory giant, a doll with a mind of its own, a hideously disfigured carrot, and the Statue of Liberty as you’ve never seen her before. Plus there’s a conversation with cultural critic Adam Kotsko about the epidemic of creepiness on our TV screens, from Happy Days to Mad Men to the Burger King commercials. Join us as we continue exploring the questions: What is the uncanny? And why do we enjoy it so much?

READ MORE…

Translator’s Profile: Natasha Wimmer

September 14, 2015  |  in Interviews  |  by Katrine Øgaard Jensen

Q&A with Roberto Bolaño-translator Natasha Wimmer.

Natasha Wimmer‘s translations include The Savage Detectives and 2666, by Roberto Bolaño. She lives in New York City. 

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Who are you? What do you translate?

In an attempt to avoid the obvious, I’ll borrow the 25-things-people-don’t-know-about-you meme from years ago. Except let’s make it five, and keep it translation-specific.

1) The first word I ever spoke in Spanish was ”hola”—except that I pronounced it ”olé.” 2) I learned lots of Spanish from watching dubbed versions of Highway to Heaven (Autopista hacia el cielo) and Murder She Wrote (Asesinato Escribió). 3) My first translation project was Pedro Juan Gutiérrez’s Dirty Havana Trilogy, which stretched my skills to the breaking point with its Bukowskian cool and scatological sex scenes. 4) I was once given the wrong draft of a novel and had to go back over every word of the translation to make sure it matched the proper version. 5) My working title for the translation of The Savage Detectives was The Wild Detectives.  6) (bonus point) I was convinced that American readers would respond better to The Savage Detectives than to 2666—the popular success of 2666 in the U.S. was a total surprise (to me, at least).

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Publisher Profile: Ugly Duckling Presse

August 27, 2015  |  in Interviews, Publisher Profile  |  by Alexis Almeida

"I think there’s an interest among the editors in finding new translators, allowing the work of new translators to shine."

Ugly Duckling Presse is a nonprofit publisher for poetry, translation, experimental nonfiction, performance texts, and books by artists. Matvei Yankelevich is the co-founder and co-executive director of the press, and Rebekah Smith is an associate editor who spent the summer in Buenos Aires. We chatted over Skype about the press’s origins, as well as two of its translation series: EEPS (the Eastern European Poets Series) and Señal, which Rebekah and Matvei both curate. 

Alexis Almeida (AA): I want to first ask about Ugly Duckling’s origins. I read recently that you started as a zine and over time evolved into a small press. Can you highlight a few major transformations that the press went through during in this time? What were you goals for the press initially, and how have they changed over the years, especially as you expand to include more collective members and publish new kinds of books?

Matvei Yankelevich (MY): Well, it’s important to say first that the press has very little to do with what the zine was, although the name stuck. When I moved to New York, I kept using the name for new collaborative projects with people I met. When we decided to actually do something more substantial, in the late 90s, we were just a group of writers, artists, and theater people. It wasn’t necessarily going to be a publishing house, but we decided to keep the name, Ugly Duckling Presse. What united us, or gave us the idea of working together, was that we were making books with each other, or for each other, so books were a common language. And the original idea was that we would publish things, maybe have a space, have performances and shows, but that was very difficult in late 90s New York. READ MORE…

Translating Borges into Trees: An Interview with Book Artist Katie Holten

August 20, 2015  |  in Interviews  |  by Katrine Øgaard Jensen

"I think of the book as an archive of human knowledge filtered through branches of thought."

Katie Holten is an Irish artist. She represented Ireland at the 50th Venice Biennale. Solo museum exhibitions include New Orleans Museum of Art (2012); Dublin City Gallery The Hugh Lane (2010); The Bronx Museum, New York (2009); Nevada Museum of Art, Reno (2008), and Contemporary Art Museum St. Louis (2007). Committed to social causes, especially as they pertain to environmental issues, Katie is fascinated with the inextricable relationship between man and the natural world in the age of the Anthropocene. She is the artist behind About Trees, the first book in Broken Dimanche Press’s new series Parapoetics: A Literature Beyond the Human. Her artwork can be found at katieholten.com.

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Asymptote: How would you describe About Trees to someone who hasn’t heard of the project?

Katie Holten: About Trees is a book about trees written in trees. It’s a collection of texts about trees, about the notion of trees, and a constellation of tangential tree-related things. Everything is translated into Trees, a new typeface that I made especially for the project. At the core of the book is a Tree Alphabet with trees replacing each of the 26 letters of the standard English/Latin alphabet. These characters were transformed into a font, the typeface called Trees. READ MORE…

Translator’s Profile: K. E. Semmel

August 19, 2015  |  in Interviews, Translator's Profile  |  by Katrine Øgaard Jensen

Q&A with K. E. Semmel, translator from the Danish and 2016 NEA Literary Translation Fellow.

K. E. Semmel is a writer and translator whose work has appeared in Ontario Review, Washington Post, World Literature Today, Southern Review, Subtropics, and elsewhere. His translations include books by Naja Marie Aidt, Karin Fossum, Erik Valeur, Jussi Adler Olsen, Simon Fruelund and, forthcoming in winter 2016, Jesper Bugge Kold. He is a recipient of numerous grants from the Danish Arts Foundation and is a 2016 NEA Literary Translation Fellow.

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Who are you? What do you translate? 

First, thank you for asking me to do this interview. I’ve started an interview series with the Santa Fe Writers Project (SFWP) called “Translator’s Cut,” in which I travel the globe, so to speak, interviewing translators about their work. So I’m more used to being on the opposite side of an interview.

Who am I? I’m a literary translator and writer, working from Danish to English (though I’ve translated some Norwegian and would do it again if the right opportunity presented itself). My educational background is in History and Literature, and my professional background is in the nonprofit world. For the past couple years, however, I’ve been translating full time. Like with any translator, I suspect, my primary reason for translating is that I love books and literature and want everyone to experience some really fantastic books that I happen to be able to render in English. READ MORE…

Translator’s Profile: Susan Bernofsky

August 13, 2015  |  in Interviews, Translator's Profile  |  by Katrine Øgaard Jensen

Q&A with Susan Bernofsky, translator from the German and Director of Literary Translation at Columbia University.

Susan Bernofsky directs the literary translation program in the School of the Arts MFA Program in Writing at Columbia University. She has translated over twenty books, including seven by the great Swiss-German modernist author Robert Walser, Kafka’s The Metamorphosis, Hesse’s Siddhartha and, most recently, The End of Days by Jenny Erpenbeck. Her many prizes and awards include a Guggenheim Fellowship this year, as well as the Helen and Kurt Wolff Translation Prize and the Hermann Hesse Translation Prize. She blogs about translation at www.translationista.net.

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Asymptote: Describe your current/most recent project. Why is it cool? What should we know about it?

Susan Bernofsky: I’m working on a gorgeous and bizarre novel about polar bears by Yoko Tawada called ETUDES IN SNOW. It’s a three-generation story inspired by the short, tragic life of Knut, the baby polar bear born in the Berlin zoo in 2006, but that’s just the jumping-off point for her novel. It’s really a book about identity (national, species, etc.) All the main characters in the book are polar bears, and are described in their physicality as polar bears, but at the same time they move in human society, without any acknowledgment that there might be a contradiction here. The grandmother character, born in the Soviet Union, becomes a writer. As an author of polar bear extraction, she’s an ethnic minority. She later emigrates to Canada, from where her daughter returns to Europe, landing in East Germany, where she takes a job at a circus and experiences the fall of the Berlin Wall. It’s a funny, sad, moving book.

READ MORE…

Defying Sameness: A Conversation With Danny Lawless of Plume

August 10, 2015  |  in Interviews  |  by Alex Cigale

An in-depth look at Plume Poetry and Plume Anthology with Danny Lawless, editor-in-chief.

Alex Cigale: “Le jardin reste ouvert pour ceux qui l’ont aimé.” Plume’s motto is the concluding line of Jacques Prévert’s “Vainement.” Could you connect for us Plume’s literary influences with the spot you see Plume inhabiting on the poetry journal literary map?

Danny Lawless: Michaux, Prevert, Follain, Parra, Ponge. These, and so many others, are transformational apparitions from a world beyond my provincial one, growing up in Louisville, Kentucky.

There was Breton, of course, the most famous name, whose poetry I now think did not prosper in the shade of his political and artistic manifestos that descended into fiats and excommunications. But one proceeds by allusion, right? A sort of overhearing. So in the course of taking in all of Breton—I was persistent—I made the acquaintance of Desnos, Reverdy, Char.

The book that all but exploded in my hands was Benedikt’s The Poetry of Surrealism: An Anthology. And so I read these people for years and years—over four decades, and when it was time to begin work on what would become Plume, there was no question regarding what its “aesthetic” would be. And, I suppose, making Plume was an act of conservation, for these poets had fallen out of fashion, if they were ever in it, in the United States.

I wanted to introduce these voices to other readers, to connect with those who knew and loved them as I did. I thought if future contributors had read as I had (and I discovered many had), then we would be of like minds, sharing certain affinities and antipathies—that their work would be what I liked and admired, and that publishing it would be a pleasure. READ MORE…

Translator’s Profile: Alyson Waters

August 3, 2015  |  in Interviews, Translator's Profile  |  by Katrine Øgaard Jensen

Q&A with Alyson Waters, translator from the French and managing editor of Yale French Studies.

Alyson Waters’s translations from the French include works by Louis Aragon, René Belletto, Eric Chevillard, and Albert Cossery. She is the 2012 winner of the French-American Translation Award for her translation of Chevillard’s Prehistoric Times. Waters has received a National Endowment for the Arts Translation Fellowship, a PEN Translation Fund grant, and residency grants from the Centre National du Livre, the Villa Gillet, and the Banff International Literary Translation Centre. She teaches literary translation at New York University and Columbia University and is the managing editor of Yale French Studies. She lives in Brooklyn.

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Asymptote: Describe your current/most recent project. Why is it cool? What should we know about it?

Alyson Waters: My current project is a translation of Jean Giono’s Un roi sans divertissement for New York Review Books. The title comes from one of Pascal’s Pensées:  “A king without diversion is miserable; and therefore we see a great number of people constantly about the king whose sole task it is to amuse and avert the thought of the king from himself.” It’s an amazing book, a kind of existential mystery/roman noir. It has a very complicated structure, moving back and forth from the time of the telling of the story to the time of the events, and told in several narrative voices in an almost oral style. There’s a great passage in the book (among many) where the main narrator (or Giono?) inserts in the middle of his story the following:

“Obviously there exists a system of references comparable, for example, to the economic understanding of the world and in which Langlois’ blood and Bergues’ blood have the same value as the blood of Marie Chazottes, Ravanel, and Delphin-Jules. But there exists, encasing the first, another system of references in which Abraham and Isaac move logically, one following the other, toward Mount Moriah; in which the obsidian knives of the priests of Quetzalcoatl logically drive deep into selected hearts. And we are informed of this by beauty. One cannot live in a world where one believes that the exquisite elegance of the guinea fowl’s plumage is pointless. This is just an aside. I wanted to say it, and I did.” READ MORE…

Bullet in My Mother Tongue: An Interview with Alisa Ganieva

July 30, 2015  |  in Interviews  |  by Genevieve Arlie

Alisa Ganieva on translation, perfunctory patriotism, and literary hoaxes.

Last month, Alisa Ganieva was in Iowa City to teach global literature in English and the Russian-language workshop of the Russia-Arabic session of Between the Lines, a summer program for writers between the ages of 16 and 19 who spend two weeks in shared cultural and artistic dialogue about the literary traditions of their home countries. I sat down with Alisa to discuss her rise to literary fame and the new translation of her novel, The Mountain and the Wall, out this month with Deep Vellum Publishing.

At 24, you won the prestigious Russian literary Debut Prize of 2009 for your novella, Salaam, Dalgat!, which you wrote under a male nom-de-plume. How did you choose “Gulla Khirachev” for your pseudonym?

My goal was to hint those from Dagestan that I’m not a real author. That’s why I took a real name, “Gulla,” which means “bullet” in my mother tongue—in Avar language—but has not been used for many years. I found out there is actually an old man called Gulla, but he might be the only man with this name. So when my Gulla Khirachev appeared, many of those in Dagestan—journalists and writers—guessed that it must be a pseudonym, and they began trying to find out who it was. They guessed there must be a person, a young man, who lives in Makhachkala, since he knows it so well. They argued with each other and named different candidates, but always missed.

So you meant for the name “Gulla Khirachev” to be transparent as a pseudonym?

Yes, so the name means “bullet,” and the lexical root of this surname means “darling” in my native language. So it’s something piercing, but at the same time, it’s something . . . nonaggressive. READ MORE…

Making Narrative Witness: A Caracas-Sarajevo Collaboration

July 27, 2015  |  in Essays, Interviews  |  by Stacy Mattingly

A revolutionary collaboration spanning countries, languages, and memories

THE SCENE

The scene is an online video meeting. (Does that qualify as a scene?) In it are several Venezuelan writers and photographers gathered in a classroom in Caracas (all men but one, though not everyone is present) and their counterparts in and around Sarajevo, Bosnia and Herzegovina, gathered mostly in twos and threes at laptops in apartments (all women but two; everyone is present).

A couple of Caracas photographers also tune in from what appear to be their flats. One Bosnian is in the town of Bihać. A Croatian writer from the Sarajevo group joins from Spain.

The Venezuelans in the classroom are having technical difficulties with their audio, and people move close to the room’s single computer to be heard. We make introductions. A few jokes. We lay out our plans. At least one Sarajevan, a redhead perched on a sofa, enjoys a cigarette.

READ MORE…

In Conversation: Alex Cigale, Guest Editor of the Atlanta Review’s Russian Poetry Issue

June 11, 2015  |  in Interviews  |  by Patty Nash

An interview with Alex Cigale on editing the Atlanta Review's Russian Poetry Issue

 

I interviewed Alex Cigale, guest editor for the Russia issue of the Atlanta Review, to pick his brain about the editing process, the special issue, and the state of Russian poetry at-large.

Alex Cigale (former Central Asia editor-at-large for Asymptote!) has collaborated with the editors of the anthologyCrossing Centuries: the New Generation in Russian Poetry (2000), and more recently, the online Twenty First Century Russian Poetry (Big Bridge 16, 2014). Independently, he has presented a score of contemporary Russian poets to Anglophone readers. This year, Cigale was the recipient of an NEA in Literary Translation for his work with poet of the St. Petersburg philological school, Mikhail Eremin.

The Atlanta Review is known for its long-established and respected annual contest, offering publication in each of its fall issues, with a $1,000 top prize and 20 publication awards for finalists (including 30 merit awards for semi-finalists). In its 20-year history, it has published a long list of established poets, including Seamus Heaney, Rachel Hadas, Maxine Kumin, Stephen Dunn, Charles Wright, Billy Collins, Derek Walcott, Paul Muldoon, and so on.

PN: What did the Atlanta Review ask from you for its Russia Issue? How did you approach the editorship and solicit contributions?

AC: My directions were quite open: curate an 80-page section of contemporary Russian poetry. In every Spring issue, the Atlanta Review includes an international feature. In recent years, it had shone a spotlight on international hotspots (Pakistan, Afghanistan, Iran, etc.) as well as on Anglophone or partly-Anglophone nations in the news (India, Ireland, and Scotland, the latter forthcoming in 2016).

While each is planned two years in advance, the editorial phase itself is quite brief: in my case, I only had this past late fall/early winter to work on the curation, so its contents were largely determined by what unpublished work in translation was available at the moment. As I noted in my introduction, above all else, the issue is a “slice of life”—what (primarily American) translators of Russian poetry are working on right now. The world of Russian poetry translation is a fairly small community, so I was able to put out early word of the issue on social media and correspond with nearly each translator personally to discuss their projects. READ MORE…