Language: Arabic

Upending Literary Hierarchies: An Interview with kotobli, a SWANA-Focused Book Discovery Platform

August 30, 2023  |  in Interviews  |  by Alex Tan

“It shouldn’t be this hard,” we thought. So we decided to make it easier.

kotobli is a book discovery platform dedicated to amplifying cultural and literary production from the Southwest Asia/North Africa (SWANA) region, with a special focus on independent publishers and marginalized writers. Curated with care according to geography, genre, and even theme, kotobli’s lists create opportunities for readers to encounter their next great read based on affinity and interest. I corresponded with the largely volunteer-run team behind kotobli on their conceptualisation of the website; in the process, I learned a lot about the difficulties underlying literary circulation in the Arab world, and the groundbreaking, creative ways in which small SWANA-based presses navigate them.

Alex Tan (AT): How did you begin to conceptualise kotobli? What distinguishes it from other book recommendation/discovery platforms like Goodreads, or even Bookstagram and Booktok accounts?

kotobli (k): A couple of years ago, we were getting frustrated with how difficult it is to look for good books about the Southwest Asia/North Africa (SWANA) region online. We found them to be badly categorised and difficult to sort through—and if we were looking for books in Arabic, they were almost impossible to find with only keywords and a topic in mind. Without knowing which titles to look for, we could hardly discover books worth reading.

On a brief visit to Lebanon in spring 2021, one of our founders, Omar, was determined to find Layla Baalbaki’s Ana Ahya, which he had discovered through an academic paper on feminism in Lebanon. After unsuccessful online searches and hopping from one bookstore to another, he finally found a used copy.

“It shouldn’t be this hard,” we thought. So we decided to make it easier. kotobli started as a platform to help readers find interesting books from the SWANA region, by topic, genre, geography, the identity of the authors, and through our curated reading lists. We named it kotobli—written in all lowercase letters as a nod to its Arabic origin “كتب لي”—which means “books for me”.

Throughout the process of collecting book information to populate our platform, we noticed deeply entrenched weaknesses in the publishing landscape of Arab countries: many publishers, especially smaller and older ones, do not have any digital presence; as such, many readers, especially in the Arab diaspora, are missing out on incredible books just because they would never show up in internet searches. This is where our project “Daleel el Nashirin” (Publishers’ Guide) started. With a grant from Culture Resource, we’ve been digitising the metadata for thousands of books and more than a dozen publishers in the Levant and North Africa. We’ve also been building virtual tools with publishers and authors participating in the process, giving them a free webpage on our website that they can fully control through a simple and safe content management system. Additionally, the publishers themselves have access to statistics that show how many readers look up their books on kotobli. READ MORE…

Weekly Dispatches From the Frontlines of World Literature

August 11, 2023  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, Carol Khoury, and Wambua Muindi

The latest literary news from Palestine, Kenya, and the Philippines!

This week, our Editors-at-Large offer a fond remembrance of a recently-departed literary icon, and report on book fairs and BTS. From books on boats and boy bands to the changing texture of Ramallah mornings, read on to find out more.

Carol Khoury, Editor-at-Large, reporting from Palestine

Early mornings in Ramallah are varied, except for one scene: an older man, back almost fully straight, all-white head lowered, walking slowly towards one specific coffee house in the old city. A serene smile below a deep gaze, the man would sit in his friends’ company, not for long—just enough to empty his coffee cup, and his head from the thoughts that weighed him down on his way.

Since last week, the beloved older man has not appeared in the streets. Zakaria Mohammed, a celebrated poet and a Palestinian literary icon, now resides in his admirers’ hearts. At the age of seventy-three, Zakaria’s body was lowered to rest, but his soul will continue to visit Ramallah, reminding everyone that:

There is no death
There is only a tiny cloud that passes and covers your eyes
Like a friend who comes from behind and blindfolds you with his hands
There is no death
There is a black goat and a tattooed hand milking an udder
White milk fills your mouth and flows in your eyes
Again, there is no death
There is a Raspberry tree
It holds your shoulder and hurts you
because it wants to open the way for turtles
There is no death
There isn’t
at all

Read more of Zakaria’s poems, translated here by Sinan Anton.

Zakaria Mohammed - Apr 2023 - photo by Ahmad Odeh READ MORE…

The Air Itself Becomes Lead: On Mona Kareem’s I Will Not Fold These Maps

August 10, 2023  |  in Reviews  |  by Ruwa Alhayek

Are these scenes, these stanzas, dreams, memories, or prophecies? Or are they metaphors?

I Will Not Fold These Maps by Mona Kareem, translated from the Arabic by Sara Elkamel, Poetry Translation Centre, 2023

In 1986, just one year before the poet Mona Kareem was born, the stateless Arab population of Kuwait, who had been denied citizenship when Kuwait declared its independence in 1961, became categorized as illegal residents. Despite enjoying relatively equal status to Kuwaiti nationals until then, approximately 250,000 people were stripped of their access to free education, housing, and healthcare. Following the Iraqi invasion and the subsequent war of 1991, many of the Bidoon community, including Kareem’s mother’s family, were expelled from their positions or deported outside of Kuwait, accused of collaborating with the enemy. Forced to flee their homes, they became internal refugees when they arrived at Kuwait’s border with Iraq. For Kareem, memories of such scenes from childhood bleed into the present moment, where she is exiled in the US and denied the opportunity to visit the country in which she was born, as well as the members of her family who still reside there. I Will Not Fold These Maps, translated by Sara Elkamel, is a curated collection of poems covering twenty years of Kareem’s poetry, both previously published and new. It is a collection marred by exile, war, and the fraught relationships and ruins they leave in their wake.

Kareem’s poems are replete with unique images—they paint scenes in language that mirror the chaos of memory, the fragmentation of exile, and the mutilation of war. As Elkamel points out in her introduction, it seems that everything in Kareem’s poems has a body—one that bears the brunt of individual and collective traumas. At the same time, the poet is at a loss regarding what to do with her own body, as she tells us in her poem “My Body, My Vehicle” (Jasadī Markabatī). Her vehicle of a body is not one she can park or abandon just anywhere, for

When I go shopping, my wheels shatter
the glossy ceramic floors
and when I go to the beach
she sinks into the sand

small and dark, completed and broke
her windows are an almanac of winds
and her voice falters at rush hour.

READ MORE…

Summer 2023: Highlights from the Team

August 7, 2023  |  in News  |  by Catherine Xin Xin Yu, Heather Green, José García Escobar, Matilde Ribeiro, Michelle Chan Schmidt, and Rachel Rankin

Still looking for entry points into our brand-new Summer issue? Members of our multi-continental team offer you several!

From the Indonesian Feature in the Summer edition, I was intrigued by the poems of Nirwan Dewanto, in vivid translations by John H. McGlynn, including “The Way to the Museum,” which begins with “All eyeballs dipped in the vinegar of the bourgeoisie will become pickled eyeballs” and continues, in long lines, to contemplate class, blindness, and revolution. It resonated against the pathos and absurdity in excerpts from Ulrike Draesner’s Schwitters, translated by Sharon Howe, and Tatiana Niculescu’s play Brancusi v. United States, fresh portraits of European Modernist artists Kurt Schwitters and Constantin Brâncuși, respectively. In each case, as the exile of the artist comes to the fore, the language of their place of origin is woven into the text, along with glimmers of humor. I particularly appreciated the note from Niculescu’s translator Amanda L. Andrei, which describes the process of working, as a heritage speaker, with her father Codin Andrei: “The emotional challenge [of translating this work] lies in my own hang-ups of being a non-native speaker due to political and historical forces beyond my control. When we co-translate, my father and I converse about Romanian culture from a perspective free of Western stereotypes of communism, vampires, and oppression, and we are delighted.” Finally, I was swept up in the atmospheric excerpt from Habib Tengour’s Women of the Odyssey (tr. Teresa Villa-Ignacio) while listening to Tengour’s mellifluous reading of the subtle text in French, describing those who console themselves by “sticking ear in seashell” or the “Unfinished / Wave bringing you to the threshold.”

—Heather Green, Visual Editor

I adore the rush of the speaker’s voice in Enrico Remmert’s The War of the Murazzi (tr. Antonella Lettieri), and its syntactical verbality, meandering but never losing control, digressing into tightness, into an accumulation of narrative stress. I love as well the narrator’s contextualisations of the backdrop of Turin and its historico-social problems with violence, particularly in a refugee context: Turin feels masterfully integrated into the plotline, like a combattant in the Murazzi war itself, and the vivacity of its violence continues running, naturalistic, organic, as the “river never stops running.”

The textuality of Mateo Díaz Choza’s Precipitations (tr. Lowry Pressly) is staggering: the dual columns that inform multiple methods of reading the poem, as well as the materiality of the poem, almost transforming it into an object itself. The way the words waterfall down the screen mimic the “drop,” a kind of fall from heaven, in a mode that lends itself to the digital form undoubtedly better than it would a magazine or a standard-format book, in the “depths of the page” that ultimately do not supercede the infinite scroll of the screen. When the poem’s substance and words meet and meld into each other, the poem’s two columns also merge into one, into the “weather,” “snow-mute” but “beautiful” in the void of its meaning. Choza creates an aesthetics of decay, of death, of abandonment, but of regeneration as well. The drop recurs again and again; the speaker will continue to recognise his lover, again and again.

I love the adventure of Amyr Klink’s One Hundred Days Between Sky and Sea (tr. Rachel Morgenstern-Clarren), the sense of movement through space and time that underpins the narrator’s paradoxical stillness, immobility. It is remininescent of Jules Verne’s Voyages extraordinaires, venturing beneath the sea or into the heart of volcanoes, on a journey pushing against the boundaries of human capacity. Klink melds the joy and exuberance of a child discovering the world with a practical, didactical style of writing that underpins the veracity of his voyage. I find this piece particularly apt for Asymptote as a vessel in the sea of understanding, a buoy of translation in the archipelago of languages.

I appreciate Asymptote‘s continued dedication to featuring Ukrainian writing in each issue, particularly Ukrainian writing about the Russian invasion. In my view, this is one of the most essential tasks of literature in translation: to continually draw attention to the diversity of global experiences; to remind us that our lives are not insular, that we are not islands. To that end, I found Anton Filatov’s Finding Myself at War (tr. Patricia Dubrava) both heart-wrenching and vital. As his “eyes bleed” before the cruelty of false news stories, so do readers’ eyes before the horrors of Ukrainian soldiers’ war experiences. They are given voice not in those news stories, but in literature. Sharing their stories—and I love the detail of the abandoned cat, ironically (or not?) named Death, as well as the final section on cinema—is an act of taken care.

I find Nicole Wong’s discussion of translation theory in The Terroir of a Single Work: Redefining Scope in Approaches to Translation incredibly pertinent and eloquent, and I particularly enjoy the ‘close reading’ section where she dissects her own translation of Proust. It’s a priviledge to experience the clarity and sharpness of such a mind through this piece. Her style is reminescent of Kundera’s narrator in The Unbearable Lightness of Being: playful, heavy on metaphor without falling into abstraction, clear, enlightening (and bearably so!). Since reading this piece, I’ve found myself returning to it as I internalise and integrate her analysis into my own understanding of translation.

 —Michelle Chan Schmidt, Assistant Editor (Fiction)

READ MORE…

The Summer 2023 Issue Is Here!

July 20, 2023  |  in News  |  by Lee Yew Leong

Featuring Amyr Klink, Enrico Remmert, Diana Garzas Islas, and Rio Johan in our Indonesian Special Feature

Wedged between sky and sea is the thin line we all know as the horizon, ever-present in Brazilian explorer Amyr Klink’s nail-biting account of survival in shark-infested waters—just one of many new works from this Rubik’s Cube-like Summer edition. Though this particular horizon is “defined” against a clear sky on the day of Klink’s wondrous salvation, the same line is also “dun-colored” in Ecuadorian author Solange Rodríguez Pappe’s profound fiction; “lacerated” in frequent contributor Habib Tengour’s Homer-inspired sequences; mottled with “dung heaps” in Nobel laureate Juan Ramón Jiménez’s poetry; or simply a vortex toward which the ocean ebbs in award-winning short story writer Nukila Amal’s description of the aftermath of the 2004 tsunami. Within the same Indonesian Feature, organized in partnership with the Lontar Foundation, Rio Johan’s brilliantly inventive “Fruit Maps”—about a drunk bioengineer!—finds a thoughtful echo in Nicole Wong’s Brave New World Literature entry invoking terroir and fruit to further problematize the mediating role of translation in world literature beyond mere tropes of “domestication” or “foreignization.” In Romanian playwright Tatiana Niculescu’s laugh-out-loud drama, on the other hand, it’s one particular foreigner with a very specific request who gives a museum guide grief; the museum is also the setting for Chapman Caddell’s thrilling review of Argentinian novelist César Aira’s latest “flight-forward” creation. All of this is illustrated by Singapore-based guest artist Eunice Oh, whose stunning photography graces our cover.

July-20_blog

Since the ongoing support of cultural institutions—or, in Asymptote’s case, lack thereof—makes a huge difference in what translator David Williams has wryly compared to the Olympics for being essentially a pay-for-play arena, we return to an interview series initiated two years ago and hear from four more fearless advocates who “work more backstage than onstage” to catalyze the transmission of their national literatures: Susanne Bergström Larsson from the Swedish Arts Council, Wenona Byrne from Creative Australia, Marieke Roels from Flanders Literature, and Shun Inoue from the Japan Foundation, the last sharing the same enthusiasm for manga as our Visual section’s Alexa Frank. “Because literature is such a powerful medium with which to explore the human condition and connect with one another,” Inoue says, “we must continue to look outward, not inward.” Hear, hear.

While we take some time off our issues to regroup and plan for a double milestone in January 2024 (the edition after this will mark both our 50th issue and 13th anniversary!), we hope you’ll join us in looking outward: apart from subscribing to our newsletter and international Book Club, following us in our daily blog, on Facebook, Twitter, our two Instagram feeds, and our newly launched Threads account, we invite you to come on board behind the scenes (apply by Aug 1st) or submit your own translations—who knows? you might share the same fate as contributor Anton Hur, double 2022 International Booker Prize longlistee and, as of eleven days ago, translator of BTS! Finally, if the work we do has similarly changed your life for the better, please consider advertising on our platforms, partnering with us on a Special Feature, or signing up as a sustaining or masthead member.

A toast to horizons in all their myriad forms—especially those that broaden perpetually!

READ THE ISSUE NOW

Weekly Dispatches From the Frontlines of World Literature

July 7, 2023  |  in Dispatches, News, Weekly Roundup  |  by Carol Khoury, Charlie Ng, and Wambua Muindi

The latest in letters from Hong Kong, Palestine, and Kenya.

This week, our editors are reporting on the intersection between literature and social movements. In Hong Kong, writers reflect on the June 4 protests at Tiananmen Square, in light of  the continual tensions between China and the island. In Palestine, a new podcast features writers orienting their own work within the \ body of Palestinian literature. And in Kenya, the country mourns the loss of revolutionary playwright Micere Mugo. 

Charlie Ng, Editor-at-Large, reporting from Hong Kong

Since the National Security Law in Hong Kong came into effect in June 2020, the annual candlelight vigil for commemorating the June Fourth Tiananmen Square protests have not been organized for four years; the event’s host, the Hong Kong Alliance in Support of Patriotic Democratic Movements of China, was also dissolved in September 2021. Additionally, the event’s traditional venue, the Victoria Park in Causeway Bay, was under renovation and not available to be booked this year.

Although public commemoration was forbidden, remembrance could still be possible through writing; Cha: An Asian Literary Journal called for short submissions of reflections written about June 4, 2023—which could be directly, indirectly, or even not related to the event. The project, “Just Another Day”, also welcomed written works accompanied with photos or artwork. Fifty-four submissions were published on Cha’s blog, presenting a wide range of reflections from local and overseas writers. Translator Lucas Klein contemplates on the protest culture in Hong Kong and what he witnessed outside of the Victoria Park in his post, while Hong Kong poet Jennifer Wong contributed a prose poem on the importance of memory. Asymptote’s assistant editor of fiction Michelle Suen interweaves childhood nostalgia and postcolonial politics in her reflection, and I also tell a brief story of my personal experience of June Fourth over the years. Varied as they are, the texts testify to the unstoppable impact of the historical event, in both people’s mind and reality.

Meanwhile, as issue 72 of local bilingual poetry magazine, Voice & Verse, was just published, the magazine is organizing a reading session in collaboration with Cha, a crossover that echoes the issue’s English section theme: “Crossings”. The reading session will take place on July 12, hosted by Tammy Ho and Matthew Cheng. Local and international contributors to both journals have been invited to read their works. 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…

Announcing Our June Book Club Selection: Where I Am by Dana Shem-Ur

June 29, 2023  |  in Book Club, Reviews  |  by Laurel Taylor

Reut senses more and more how even common tongues can quickly become incommensurable walls, especially within the confines of her family.

In our global village, a great many of us have found ourselves in liminal states between cultures, countries, languages, and selves—whether in travel or in daily life. As the world becomes seemingly smaller, however, our internal universes have continued to expand and multiply, as demonstrated in Dana Shem-Ur’s penetrating and incisive novel, Where I Am—our Book Club selection for the month of June. Portraying the conflicts and multitudes of a woman inhabiting the very definition of a cosmopolitan life, Shem-Ur brilliantly encapsulates the alienations that pervade contemporary existence, tracing all the detritus of when an individual collides with place.

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.

Where I Am by Dana Shem-Ur, translated from the Hebrew by Yardenne Greenspan, New Vessel, 2023

In the world of literature, the question of one’s own “where” takes on new dimensions. “Where” dances sinuously with class, language, education, climate, religion, politics, and more, each amorphous construct reinforcing and transforming the others, driving back the question of origin into the unknowable. The concept of “where I am” is dictated not only by the objective latitudes and longitudes of geography, but also by the subjective constructs that layer over each other—over “me” and “you.” Reut, the protagonist of Dana Shem-Ur’s Where I Am, translated from the Hebrew by Yardenne Greenspan, embodies this dance even more strongly in her position as a foreign resident and translator, amidst the confusingly cosmopolitan yet prescriptive Paris literary scene.

READ MORE…

From Silly to Deadly: On Shalash the Iraqi by Shalash

June 21, 2023  |  in Reviews  |  by Alex Tan

. . .key to the humourist’s arsenal is none other than language itself—its malleability, its capacity for aggrandisement and diminishment alike.

Shalash the Iraqi by Shalash, translated from the Arabic by Luke Leafgren, And Other Stories, 2023

Anonymity fascinates and seduces. Endless speculations have circled invasively around who Elena Ferrante “truly” is; Catherine Lacey’s recent Biography of X reckons with erasing a layered past with a single letter of the alphabet; the first season of Bridgerton, the hit Regency-era romance on Netflix, has its narrative engine propelled by the question of Lady Whistledown’s real identity. These instances from the Global North exemplify the allure of mystery, but they fail to account for the stakes of remaining nameless in a political climate where to unveil oneself might be to threaten one’s own safety.

One might, in a moment of facetiousness, think of the eponymous chronicler of Shalash the Iraqi as the Lady Whistledown of Iraq’s Sadr City (or Thawra City, as it is lovingly christened by Shalash). Both issued frequent dispatches from within the epicentre of social disarray, guaranteeing the pleasure of gossip. More importantly, their pseudonymous veneers facilitated a lurid candour that might not otherwise have been possible.

There the similarities end. The respectable circles of upper-crust London did not live in the penumbra of foreign occupation. Nor were they plagued with the constant risk of spectacular sectarian violence, or hampered by a corrupt government that has “thieves, cheats, swindlers, traders in conspiracies” for politicians. It was against such chaos that Shalash released his explosive, timely blog posts, garnering a rapidly expanding local readership despite patchy Internet access in the country. The academic Kanan Makiya tells us, in his introduction, that people were printing out the posts, “copying them longhand,” “bombarding Shalash with questions and opinions.” Even high-ranking cadres could not resist partaking in the fanfare: one official expressed admiration while entreating Shalash not to mock him, for fear of his children’s potential disappointment. Another claimed that upon reading the daily communiqués, he would fall off his chair laughing.

Laughter, perhaps, can always be counted on to forge an affinity, if not a unity, beyond fractures of sect, status, and ethnic affiliation. Iraqis would “drop everything for a good laugh”; they gather in bars and down glasses of arak to immerse themselves in a “great, communal, and nondenominational drunkenness.” Shalash knows this, and abundantly turns it to his advantage. Nothing and no one is spared from the crosshairs of his ridicule, populated by a variegated cast that encompasses sermonisers, soldiers, suicide bombers, and donkeys. A vice-president’s verbal pomposity sounds like “he just ate a few expensive dictionaries and is about to lose his lunch.” A woman about to be married off to an Australian cousin is told, should her fiancé divorce her, “just tell everyone that he’s a terrorist and you’ll have nothing to worry about.” An odious neighbour, eager to save a spot for himself in paradise, proselytises the necessity of voting in the referendum for Iraq’s new constitution: “Don’t you know the going rate for rewards in heaven for helping ratify the constitution? It’s worth a hundred visits to the shrine of the Eighth Imam, and that’s on the far side of Iran!” When the narrator casually uses Google Earth, he is accused of lecherously spying on the women of his residence, sparking off a widespread hysteria—and court case—about the “violation of the morals of the block.” Each instance of mockery is a shard in a wider mirror of collective trauma.

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…

Weekly Dispatches From the Frontlines of World Literature

June 9, 2023  |  in Dispatches, News, Weekly Roundup  |  by Bridget Peak, Wambua Muindi, and Xiao Yue Shan

The latest from Kenya, Canada, and Oman!

In this week of literary news, our editors on the ground are bringing stories of triumph, mourning, and commemoration. In Kenya and Ghana, readers mourn the loss of pioneering feminist author Ama Ata Aidoo; in Canada, a Quebec initiative supports readers in finding more books by Indigenous writers; and in Oman, a lauded author brings home the prestigious International Prize for Arabic Fiction. Read on to find out more!

Wambua Muindi, Editor-at-Large, reporting from Kenya

The end of May seemed to position itself as a direct communication to geo-literary production history; on May 27, a bilingual anthology of East African short stories, The Heart is A Bastard, launched at the Goethe Institut Library, Nairobi. Edited by Elias Mutani and Zukiswa Wanner, the collection is a result from the Kenyan writing workshop under the auspices of the Univerity of East Anglia International Chair in Creative Writing. The inaugural chair for Africa, Zimbabwean author Tsitsi Dangaremba, expressed her delight over the launch, which includes stories in English and Swahili translations. Some of the emerging writers featured in the anthology include Gladwell Pamba—from whose story the anthology’s title is taken, Fatma Shafii, Nyasili Atwetwe of Writers Space Africa Kenya, Charlie Muhumuza, Noella Moshi, and Sia Chami. The anthology not only holds space for these writers but also represents the creative breadth of the region, while simultaneously embedding a language politics given its bilingual character.

However, this joy was dislodged by the unfortunate news of a writer’s death. On May 31, Ama Ata Aidoo, the Ghanaian author of Our Sister Killjoy (1977), a pioneering feminist novel, died at the age of 81. As such, Africa is mourning; Ghana is mourning and Kenya, too, is mourning the novelist, playwright, short story writer, and committed radical feminist, who wrote to assert the agency of African women within literary history. As reverential eulogies have been paraded across the world, the Kenyan literary community joined in the outpouring of grief in a country where her influence not only transcends her writing, but is also compounded by a teaching stint she had at the then named Kenyatta College, now Kenyatta University, as well as the literary contributions of her Kenyan-born daughter, Kinna Likimani. Where Austin Bukenya, a leading East African scholar of English and literature, for instance, dubbed her “Queen of African literature”, Mukoma wa Ngugi, the author of Nairobi Heat and son to Ngugi Wa Thiong’o, sees her as a “pillar” without which “the African literary tradition wobbles”. While Joyce Nyairo, an academic and a cultural analyst, references the short story “Something To Talk About On The Way To The Funeral” as praise of her storytelling genius, Yvonne Owuor lamented, in proper proverbial fashion: “A great, and giant tree that sheltered many beings has fallen”. Moreover, her writings, which among others, include The Dilemma of a Ghost (1965), No Sweetness Here (1969), Anowa (1970), and Changes (1991) cut across the genres to show the depth of her imaginative oeuvre and demonstrate the commitment—in different but related ways—to the African woman’s cause, through literature and in society. Rest in Power Mama. READ MORE…

The 2023 PEN/Heim Grantees Talk Translation: Part III

June 5, 2023  |  in Essays  |  by Margaret Litvin, Noor Habib, Priyamvada Ramkumar, and Zara Khadeeja Majoka

. . .to rely not on formulaic logic but the magical leaping flame that brings to life static words on a page, that defamiliarizes. . .

In this three-part series, Asymptote has asked the 2023 PEN/Heim grantees to talk about their work in progress; their responses, brimming with excitement, conviction, and connection, are a testament to how much translators put themselves into their labor. Through the varied approaches and languages, they share the important commonality of surety: that the work they’ve been entrusted with has an immense potential to illuminate our reality, enlarge our world, and enrich our experiences of literature.

For this final instalment, Margaret Litvin is moved by the living mind behind the words; Priyamvada Ramkumar renders a vivid polyphony of suffering and survival; and co-translators Noor Habib and Zara Khadeeja Majoka work together on poems that both gather and transcend meaning.

Margaret Litvin on Khalil Alrez:

At first it was the rhythm of his sentences: polished and wry, leisurely but not ornamented, like no Arabic prose style I had seen. Next it was the Russianisms: what were all these references to Chekhov, Turgenev, and Bondarchuk doing in contemporary Damascus, as if tailor-made for my research on the literary legacies of Arab-Soviet ties? Finally, it was the personality of Syrian novelist Khalil Alrez himself, glimpsed through every gleaming line. Who else could write such a lovable and quirky novel while escaping from bombed-out Damascus suburbs through Turkey and Greece, eventually completing it in a refugee shelter in Brussels? Who else, well aware of Russia’s role in the war, would set that novel in a fictional zoo run by a Russian former journalist named Victor Ivanitch, and furnish it with a wall newspaper, two wolves, three eagles, a hyena, an Afghan hound, and her friend the poodle Moustache? Khalil and I spoke over Zoom, and for a while I told myself I was just asking questions, not preparing to translate the book. But who was I kidding? The Russian Quarter had captivated me; I needed to share it.

Keeping the Syrian civil war in the background for most of the novel, The Russian Quarter reads nothing like a news dispatch. The action stays close to the unnamed narrator and his Russian-speaking girlfriend Nonna, who live in a rooftop room inside the zoo, next to rebel-held Ghouta. The book’s moral center is a giraffe. Time plays Proustian games, uncoiling spirals of memory. The virtuosic opening paragraph sets up the tension between the narrator’s mounting anxiety (his girlfriend is late in a war zone) and his cool descriptive eye:

On the roof of the zoo in the Russian Quarter, my 14-inch television, balanced on its table near the giraffe’s snout, was showing an archival soccer match between Spain and Uruguay. The rumble of nearby mortar fire had not stopped since early morning; my tea had gone cold waiting for the apple fritters baked by Denis Petrovitch, the clarinet teacher at the Higher Institute of Music, as I sprawled next to the giraffe watching tiny black-and-white goals filmed in Madrid fifty years ago. The artillery was shelling neighboring Ghouta from the orchards of the Russian Quarter. But my ears were trained on the long, still-empty staircase behind the couch on which I lay, expecting it to fill with the sound of Nonna’s elegant footsteps at any moment. She had gone to the cultural center in downtown Damascus to visit her dad. The full moon shone on me, and the screen’s silver light reflected brightly in the giraffe’s wide black eyes and flowed over her thick-fuzzed lips, which nearly touched the long-vanished players, the long-vanished spectators, and the long-vanished grass of the soccer pitch. READ MORE…

Weekly Dispatches From the Frontlines of World Literature

June 2, 2023  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, Andriana Hamas, and Carol Khoury

Literary news from Palestine, Bulgaria, and the Philippines!

This week, our editors bring you the latest news from Bulgaria, Palestine, and the Philippines! From a major award win to exciting literary festivals, read on to find out more!

Andriana Hamas, Editor-at-Large, reporting from Bulgaria

On Wednesday, May 24, most Bulgarians woke up later than usual. After all, the country was commemorating its Alphabet, Enlightenment, and Culture Day, and the festivities would not begin before noon. The night owls, however, had already started celebrating much earlier as media outlets from all over the globe notified them that, at a ceremony in Central London, writer Georgi Gospodinov and translator Angela Rodel had been awarded the 2023 International Booker Prize for the novel Time Shelter (Weidenfeld & Nicolson, 2022) whose primary focus is the “weaponization of nostalgia.” The duo, whom Asymptote has previously highlighted, gave a heartfelt speech about the stories that keep us alive and resist evil.

Later the same day, Gospodinov posted on his official Facebook page: “Blessed holiday! Blessed miracle of language! I was lucky enough to say these words in Bulgarian last night at the Booker Prize ceremony in the heart of London! On the eve of the most beautiful holiday! I wrote this book with the thirty letters of the Cyrillic alphabet. I am grateful to everyone who believed in it! To my readers with whom we have been together for years. It was and still is a long road. To the writers before me from whom I have learned! To the Bulgarian writers for all they have suffered and written. I am grateful for the joy I saw in Bulgaria after the announcement of the award last night. Joy because of a book is pure joy. Thank you! It is possible! May it open the door to Bulgarian culture and give us courage.”

Courage, if I may add, to remain sensitive to life’s delicate intricacies. Courage to be mindful of the past in our eternal battle for the future. Courage to translate even the “unspoken speeches for all unreceived awards.”

And the rest is history. 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…