Language: Filipino

Weekly Dispatches From the Front Lines of World Literature

November 25, 2022  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas and MARGENTO

The latest from Romania and the Philippines!

In this week’s literary round-up, we’re bringing coverage from the myriad intrigues of world literature, from storybooks highlighting Indigenous narratives to diasporic Romanian writers, romance writing to exiled heroes. Read on to find out more!

MARGENTO, Editor-at-Large, reporting from Spain and Romania 

As the Romanian literary scene is gearing up for the twenty-ninth edition of Gaudeamus book fair, organized by Radio Romania in Bucharest from December 7 through the 11, the literary diaspora is both very active and a hot topic in and of itself. A one-day seminar, entitled “European Cultural Representations of Romanian Migration and Exiles” took place at the Romanian Centre, Complutense University of Madrid (UCM) last week. Presentations and roundtables on highlights from the Romanian diaspora across the Western world—such as religious studies international icon and fiction writer Mircea Eliade, Romanian-Spanish comparative literature pioneer Alexandre [Alejandro] Cioranescu, and former Asymptote contributor Matéi Visniec—were complemented by excursuses into the work and lives of personalities relevant to both Romanian and Spanish literatures. Former Asymptote contributor Felix Nicolau, Director of the Romanian Centre and Romanian Language and Literature Lecturer, gave a talk about Alexandru Busuioceanu: a poet, art historian, and essayist credited for establishing Romanian as an academic subject at UCM back in the mid-twentieth century, after founding the UCM Romanian Centre in 1943.

Another major name of the diaspora is Paul Goma, renowned opponent of Ceaușescu’s regime and dissident fiction writer forced into exile (to Paris, France) in the late 1970s, after having survived numerous attempts on his life staged by the Romanian communist secret police or their accessories—only to die from COVID in 2020. A hot-off-the-press book dedicated to the dissident hero by historian, poet, essayist, and Goma scholar Flori Balanescu, Paul Goma: Conștiință istorică și conștiință literară [Historical Conscience, Literary Conscience], is to be launched at Gaudeamus in a week’s time, and it has already grabbed considerable attention on social media. Awarded poet and fiction writer O. Nimigean, himself a Parisian exile, commented on the text as a breakthrough release and expressed his impatience to read the sequel—an already planned book he indirectly disclosed as having insider knowledge on. Such updates can only further stir interest—if not inevitable kerfuffle—since the (albeit rare) publications about Goma expose, just as the author’s own novels did, the collaborationism under communism of certain established literati or public figures: an implication to which the latter usually retort with accusations of anti-semitism. READ MORE…

Weekly Dispatches From the Front Lines of World Literature

October 28, 2022  |  in Dispatches, News, Weekly Roundup  |  by Alan Mendoza Sosa, Alton Melvar M Dapanas, and Andriana Hamas

The latest in literary developments from the Philippines, the Hispanophone US, and Bulgaria!

This week, our editors report on the state of regional, multilingual literature from the Philippines, the Feria internacional del libro de Nueva York, and the Frankfurt Book Fair and its presentation of Bulgarian writing. Read on to find out more!

Alton Melvar M Dapanas, Editor-at-Large, reporting from the Philippines

Panel discussions on publishing and writing served as pre-workshop events to the forthcoming Cordillera Creative Writing Workshop (CCWW). Dubbed Hobwal, book talks were co-presented by indie presses Milflores Publishing, Baguio Writers Group, and multilingual children’s book publisher Aklat Alamid. Ryan Guinaran, Dumay Solinggay, Richard Kinnud, and Sherma Benosa, writers working in Ibaloy, Kankanaey, Ifugao, and Ilokano respectively, spotlighted the panel on writing in the mother tongue. Last year’s workshop instalment featured panelists like Genevieve L Asenjo, International Writing Programme alumna and De La Salle University-MFA Creative Writing program faculty, known for her writings in/translation from the Kinaray-a and Hiligaynon. Other discussions centred on pandemic writings, Baguio City’s literary cartography, and climate fiction.

The University of the Philippines-Baguio’s College of Arts & Communication, and Cordillera Studies Center grant CCWW fellowships to emerging poets, fictionists, and essayists writing in 15 northern Luzon languages—from Bontoc to Ivatan, Kalinga to Gaddang, and major languages Kapampangan, Ilokano, Pangasinan, Filipino, and English. In a country where national writing workshops, awards, prizes, and festivals put premium to English and Filipino, so-called regional endeavours like the CCWW have epitomised what it means to be multilingual, thus sincerely national. READ MORE…

Weekly Dispatches From the Front Lines of World Literature

September 23, 2022  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, Andriana Hamas, and Carol Khoury

Literary dispatches from the Philippines, Bulgaria, and Palestine!

This week, our editors on the ground report on the loss of a pivotal figure in the indigenous literature of the Philippines, the Palestinian Book Fair held amidst the politics of occupation, and the Autumn Salon of the Arts in Plovdiv. Read on to find out more.

Alton Melvar M Dapanas, Editor-at-Large, reporting from the Philippines

The Philippine literary community mourns the passing of Higaonon Manobo novelist, poet, and translator Telesforo S ‘T.S.’ Sungkit, Jr. Sir Jun, as we fondly call him, also wrote as Anijun Mudan Udan, and his work represented the voice of the Higaonon, one of the eighteen ethnolinguistic indigenous peoples groups collectively known as Lumad, original inhabitants of the southern Philippine supraregional island Mindanao.

Writing in and translating from four languages, Higaonon (sometimes referred to as Binukid), Cebuano Binisayâ, (Tagalog-based) Filipino, and English, Sir Jun received fellowships from the 2005 IYAS National Writers Workshop (De La Salle University—Bienvenido N Santos Creative Writing Centre) and the 12th Iligan National Writers Workshop (Mindanao State University-IIT and Mindanao Creative Writers Group). His first novel, Batbat hi Udan [Story of Udan], came out in 2009 and was considered as the first epic novel from Bukidnon, his home province. In 2007, he won the National Commission for Culture and the Arts (NCCA) Writers Prize for another novel Mga Gapnod sa Kamad-an [Driftwood on Dry Land] first serialised in Bisaya Magasin and later, self-translated into the English under the University of Santo Tomas Publishing House in 2013. Just this year, a translation of this novel from the Binisayâ into the Filipino secured the Rolando Tinio Translators Prize for the novel category.

Sir Jun’s third novel Ang Agalon sa mga Balod [The Lord of the Waves] bagged another NCCA Writers Prize in 2013, and is forthcoming from the University of the Philippines Press as Panginoon ng mga Alon—self-translated into the Filipino. (An excerpt is available from Likhaan: The Journal of Contemporary Philippine Literature.) In 2014, another novel Mga Tigmo sa Balagbatbat [Balagbatbat’s Riddles] received a National Book Development Board grant. In most of his short stories and novels, the structure veers away from the generic Western plot, being instead influenced by the nanangen oral storytelling ingrained to the Higaonon people and other Lumad. Other works of his can be read in Kabisdak: Cebuano Literary Lighthouse and BukidnonNews.net, where he once served as literary editor. (You can read his well-anthologised poem “I, Higaonon” from Australia-based Cordite Poetry Review here.) READ MORE…

Weekly Dispatches from the Front Lines of World Literature

August 19, 2022  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, Charlie Ng, and MARGENTO

Literary news from Catalonia, Hong Kong, and the Philippines!

Our team of editors from around the globe bring you the latest in literary news on the ground. Read on to find out about regional language promotion in Catalonia, author talks in Hong Kong, and translation awards in the Philippines!

MARGENTO, Editor-at-Large, reporting from Catalonia

The old part of the city of Barcelona is getting drowned in the infectious salsa and rumba rhythms of the Festa Major de Gràcia this week, with the burro’s alleys and pedestrian areas being taken over by local crafts and cuisine alongside decorations ranging from overhead wooden chairs to colourful balloons to giant dragons you can walk through. But another more discrete yet equally pervasive phenomenon is also underway. The fiesta’s versatile mobile app is indicative of the overwhelming digital initiatives in the city and across the province of Catalonia, which are more often than not closely tied with the region’s rich literature, arts, and assertive linguistic and cultural individuality.

The exhibition Nova Pantalla. El videojoc a Catalunya (New Screen: Videogames in Catalonia) at Palau Robert, for instance, boasts a wide range of on-site interactive pieces from both small/indie studios and major players committed to making Catalonian language and culture more present in the industry. As short of sixty percent of the sector’s output involves games and apps in the region’s language, the featured designers and programmers make clear statements about the creative multi-art poetics of their endeavors. Innovative technology is informed by traditional storytelling, visual arts, and text, resonating with other strong trends in present-day Catalonia.

A rich repository of Catalonian and transnational cultural data is represented by the free digital journalism platform VilaWeb, which claims the legacies of writers as diverse as Albert Camus and the thirteenth-century Catalan poet and Neoplatonic-Christian mystic Ramon Llull as inspirational for the development of the contemporary Catalan language. Another example of Catalonian culture in the digital space could be experienced in May of this year, when the festival Barcelona Poesia reemerging from the pandemic with a vigorous multilingual and cross-artform approach to poetry (as did the more avant-garde but less publicized Festival Alcools) substantially present in digital space and social media. READ MORE…

Weekly Dispatches from the Front Lines of World Literature

July 29, 2022  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, Julia Sherwood, and Peera Songkünnatham

Literary news from Thailand, Poland, and the Philippines!

In this week’s collection of literary news from around the world, our editors report on political dissident writers in Thailand, a literary festival in Poland, and prizes for writers in the Philippines. Read on to find out more!

Peera Songkünnatham, Editor-at-Large, reporting from Thailand

Activists critical of the Thai establishment have to contend with not only the threat of royal defamation laws but also charges of mental illness. No one knows this more intimately than writer, translator, and bookseller Small Bandhit Aniya: in 1965, he was thrown in a psychiatric hospital by police after he camped outside the Russian Embassy in Bangkok and wrote “It is better to die in Moscow than to stay in Thailand” on the embassy walls in chalk. In 1975, he was charged with lèse-majesté for a booklet lambasting Haile Selassie I, the emperor of Ethiopia, but escaped imprisonment due to being diagnosed with paranoid schizophrenia. This professional-opinion-turned-legal-fact would become the saving strategy for his lawyers in subsequent decades, most recently in 2014—to the dismay of the man himself, who insists he’s perfectly sane.

Starting this week, a literary translation initiative is putting a spotlight on Bandhit’s work along with the voices of other allegedly insane subjects in the kingdom. Under the theme “Madman, Madwoman, Madhuman,” the website Sanam Ratsadon released an excerpt from Bandhit’s autobiographical novel, in which he plays with the idea that he may indeed be insane. Rather than rejecting the diagnosis outright, as he has in his public statements, Bandhit takes the strange route of fictionalizing madness. “There is no doubt that I am mentally ill,” he writes. “Many things I have done in the past and will do in the future clearly signal that I am a psycho, the kind with paranoid schizophrenia.” Is this satire? In any case, this is a literary experiment that has yet to be fully appreciated and properly interpreted in Thailand. May the world be introduced to him, then.

Meanwhile, the short story “Sound of Laughter” by Mutita Ubekka, published as part of the same initiative, questions the self-help, positive-thinking mindset of the Thai public health sector and its allies through the perspective of a woman who is pushed to the brink of suicide by the country’s sociopolitical conditions, like many others in the “Sufferers Association of Thailand.” The story was originally written for a 2020 creative writing contest under the sunny theme of “Day of Suffering That Passed” as part of the project “Read to Heal the Heart.” Seeing through it all, the madwoman discovers her own way of overcoming suffering—through the Jokeresque laughter in a therapist’s office.

READ MORE…

Weekly Dispatches from the Front Lines of World Literature

July 1, 2022  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, Amaryllis Gacioppo, and Katarina Gadze

The latest in world literature from Italy, the Philippines, and Croatia!

This week, our editors on the ground are bringing you news of summer literary festivities, publishers fighting back against silence, gatherings of award-winning writers, translation exhibitions, and more! 

Amaryllis Gacioppo, Newsletter Editor, reporting from Italy

Italians are known for their ability to delight in la dolce vita, and this exuberance is never more evident than in the summer season, when the entire country throws itself into festivities. The Italian literary world is no exception: from June 9 to June 12, indie publisher festival Una marina di libri held its thirteenth edition in the massive open-air courtyard of Palermo’s Villa Filipina. Along with an indie book fair—which included publishers such as Edizioni E/O (Elena Ferrante’s Italian publisher), Iperborea (an Italian publisher specialised in translations of Northern European literature), La Nuova Frontiera (a Rome-based publisher focusing on Spanish, Catalan, and Portuguese-language translations), and famed Palermitan publisher Sellerio—festival-goers were treated to poetry readings, music, wine, pizza, and magazine launches—such as that of Arabpop, a beguiling Italian magazine on its second issue, which is devoted to Arab art and literature. This year’s festival was dedicated to both Pier Paolo Pasolini and the thirty-year anniversary of the Capaci massacre (in which one of Palermo’s famed and beloved anti-mafia magistrates, Giovanni Falcone, was murdered by Cosa Nostra, along with his wife and three police escorts). One such event featured theatre and music students from Teatro Biondo and Palermo’s Conservatory giving music-accompanied dramatic readings of pieces by Pasolini, Giuliana Saladino, and Leonardo Sciascia at various times and locations around the festival. Others featured educational talks for young people about famous anti-mafia figures including Falcone and Paolo Borsellino (Falcone’s friend and fellow beloved magistrate, murdered with five police escorts by Cosa Nostra less than two months after Falcone), and the presentation of Pietro Grasso and Alessio Pasquini’s new book Il mio amico Giovanni, in which the former spoke about his friendship with Falcone.

In other news, the shortlist for Italy’s most prestigious prize for book-length fiction, the Strega Prize, was announced on June 8. Among the nominees are Marco Amerighi, for his second novel Randagi (Strays); Fabio Bacà for his second novel Nova; Alessandra Carati for her first novel E poi saremo salvi (And then we’ll be safe); prior Strega nominee Mario Desiati for Spatriati (Patriates); Veronica Galletta for her second novel Nina sull’argine (Nina on the riverbank); Claudio Piersanti for Quel maledetto Vronskij (That damn Vronkskij); and Veronica Raimo for Niente di vero (Nothing true). I found the nominees list to be exciting, with many up-and-coming writers unearthed, along with more established writers that have yet to be appreciated in the Anglophone world. With the exception of Desiati, Piersanti, and Raimo, most are relative newcomers on their first or second book, and—with the exception of the latter two—have yet to be translated into English. READ MORE…

Weekly Dispatches from the Front Lines of World Literature

June 17, 2022  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, Eva Wissting, and Jacqueline Leung

New books, events, and publishing houses from the Philippines, Hong Kong, and Sweden!

This week, our editors from around the world report on new acclaimed translations from the Philippines, Hong Kong writers discussing art-marking during political restrictions on their freedom of expression, and a new publishing house in Sweden focused on investigative journalism and books translated from Swedish. Read on to find out more!

Alton Melvar M Dapanas, Editor-at-Large, reporting from the Philippines

Literary translation in the Philippines is more alive than ever. Asymptote contributor Bernard Capinpin won the 2022 PEN America’s Heim Grant for his translation of the late Edel Garcellano’s sci-fi novel Maikling Imbestigasyon ng Isang Mahabang Pangungulila (Kalikasan Press, 1990) [A Brief Investigation to a Long Melancholia]. Also, obstetrician and travel writer Alice Sun Cua’s landmark project with Sto. Niño de Cebu Publishing House “ferried” post-Spanish Civil War novelist Carmen Laforet’s Nada into Hiligaynon language.

Aimed at enhancing the Filipino “diasporic cultural footprint around the world,” the country’s National Book Development Board offers translation grants to authors and publishers of children’s literature, classical and contemporary prose, graphic literature, as well as historico-cultural works written in Philippine languages (Ilocano, Cebuano, Waray, Hiligaynon, Meranaw, Tausug, and Kinaray-a) and foreign languages (German, Spanish, French, Arabic, Japanese, and Chinese). This year, the National Commission for Culture and the Arts also conferred the Rolando S. Tinio Translator’s Prize to SEAWrite awardee Roberto T. Añonuevo for his translation of the late National Artist for Literature Cirilo F. Bautista’s phenomenological study Words and Battlefields: A Theoria on the Poem (De La Salle University Publishing House, 1998) [Mga Salita at Larangan: Isang Pagninilay sa Tula] from English.

READ MORE…

Translation Tuesday: Three Poems by Jim Pascual Agustin

November 30, 2021  |  in Translations  |  by Jim Pascual Agustin

At home I no longer need to bolt / the windows shut

This Translation Tuesday, we feature the award-winning poet Jim Pascual Agustin who—born in the Philippines and subsequently moved to South Africa in 1994—represents what it means to write from a bilingual and binational space, to write between and across two homes. Self-translated from the Filipino across three decades, these poems speak to moments of precarious fragility that stretch from the life of a cockroach to his speaker’s experience of existential freedom. In Agustin’s translator’s note, we are treated to a mind that views the relationship between writing and translation as symbiotic—troubling the easy distinction and hierarchy between an original and a translation—as he explores his attitude towards self-translated writing as a kind of feedback loop and versioning. 

“More and more I have been looking at my self-translated writing as ‘versions’ instead of traditional translations. These poems were written and translated over many years. The original Filipino version of ‘Upon Waking’ (‘Paggising’) was written in 1994 and first appeared nearly two decade later in my all Filipino poetry collection Baha-bahagdang Karupukan (University of Santo Tomas Publishing House, Manila 2011). I first attempted translating it in 2010, and then again in 2014. With feedback from a special international group of friends from an online discussion group called The Boathouse, I decided to leave out an entire stanza that was in the middle part of the original. The cut made for a stronger version of the poem. ‘No Past, No Future’ sees publication ahead of the original Filipino (‘Walang Kahapon, Walang Kinabukasan’). This poem was written, revised and translated on the same day in January 2021, with each version influencing the completion of the other. To me, though, the English version lacks the immediacy and nearly blunt force of the original such that it almost comes off, in comparison, as a cushioned version. I attempted translating ‘For the Saviours’ ten years after the original (‘Para sa mga Tagapagligtas’ from Baha-bahagdang Karupukan, USTPH 2011) was published. I don’t have the exact date of composition, but I think it dates back to the years following the 1986 People Power EDSA Revolution which toppled the Marcos dictatorship. Looking at the images again, I cannot help but see that they are just as apt to the tragedies brought upon by the current Duterte regime in the Philippines.”

—Jim Pascual Agustin

Upon Waking

Wing of cockroach
lies on the floor, but
no trace of its body

or a single leg.
Last night I heard it
crawling like

someone whispering
in the wall
next to my bed.

I pick up the wing,
it feels breakable.
Distant echo

of the flapping
of angels or demons.
Now it is here,

right here
between
my fingers

that are nothing
but mere flesh,
mere bone. READ MORE…

What’s New in Translation: November 2021

November 8, 2021  |  in In This Together, New in Translation, Reviews  |  by Fairuza Hanun, Georgina Fooks, Shawn Hoo, and Suhasini Patni

New titles this month from the Philippines, Indonesia, Syria, and Slovakia!

This month, our selection of translated titles traverse the battlefield and the surfaces of paintings, lonely post-Communist apartment blocs and conservative spaces housing queer, radical instances of love. In language described by our editors and reviewers as potent, provocative, capacious, and full of longing, these four titles present an excellent pathway into the writers who are bringing the immediacies of experience into powerful socio-cultural commentary on our reality: Martin Hacla, Norman Erikson Pasaribu, Ramy Al-Asheq, and Monika Kompaníková. 

angels

There Are Angels Walking the Fields by Marlon Hacla, translated from the Filipino by Kristine Ong Muslim, Broken Sleep Books, 2021

Review by Shawn Hoo, Assistant Editor

Words happened. Cow became
Cow. The word milk gushed in every throat.

From this seemingly deflationary announcement that opens one of Marlon Hacla’s poems—“Words happened.”—an entire landscape is animated and given breath at the very juncture of utterance. Not only do ears of corn and a crown of birds begin to stir, so too does the speaker, finding himself transported by the magical properties of language: “I uttered the word joy / And I was once again playing a game / As a child with my friends.” Read as the collection’s ars poetica, we might say that in Hacla’s debut poetry collection, words do not simply refer to things. They move things, and each marks an occasion in the world; they sing the world into movement.

There Are Angels Walking the Fields—first published in 2010 under the Ubod New Authors Series by the National Commission for Culture and the Arts in the Philippines—opens with a lilting “Invocation,” its unbroken anaphora incanting the world of inanimate things (“In the name of the rock. In the name of the lily blossom”), of unarticulated desires (“In the name of burned / Letters from a concubine”) and of those who have been cast into the margins (“In the name of wives / Abandoned by their husbands. In the name of gay fathers”). Who could believe more in language’s ability to intervene in the world than the one who uses them in supplication? In opening the collection with this list, Hacla immediately throws his lot with the downtrodden and the forgotten—those who may not have the ability to speak—and soothes them with the divine balm of words. In her translator’s note, past contributor Kristine Ong Muslim justifies her sharpening of the poem’s decisiveness in order to heighten the quality of invocation. Thus, a line more literally translated as “In the name of hands / Not touched” becomes “In the name of hands / Never held.” Might we also consider the translator as one who practices the art of invocation—except rather than calling out in prayer, the translator calls inward, to be possessed by both languages? Where, in order for words to perform the magic of the original—for cow to become cow—something first has to happen to them? In Muslim’s translation, Hacla’s lines are screwed tight; each enjambment turns brutally, and every line sweats with a potent lyricism, as how this opening poem rollicks to an epiphany by the end:

[. . .] In the name of faces hidden.
By a black veil. In the names of ears
That had not known the sound of a violin. In the name of a flower
That bloomed in the morning and wilted by nightfall.
In your name, you who would someday die and fade away.

READ MORE…

Translation Tuesday: Two Poems by Allan Popa

July 2, 2019  |  in Translations  |  by Bernard Capinpin

How does one pass on to others / that which is clenched

Allan Popa’s poems are sublime examples of quiet that is every bit as piercing as a shout. Through visions of a body struggling to recognize the world, we are reminded through these subtle, yet vivid lines of what is kept, what is gone, and what is passed on. Wounds, light, reflection—all these things we see with our hands.

My Hands

Once again, I traced the path of a boat that healed the water. I whispered a courtesy and was permitted to pass the same old route. You haven’t gone far, said the stone that first wounded my knee. Yet I had believed it and let the hurrying damselflies through the window. On the roof, the leaves of the coconut are still sweeping their own shadow. The old neighbors are still trying to recognize themselves in the foggy mirror while my own face does not even recognize itself. Ay, if only my hands could be used for cover! How many times have I been let down? How many times have I tried cupping the water with my palms without my sense leaking out? I have nothing to reach you save my hands.

READ MORE…

Translation Tuesday: “The Logic of the Soap Bubbles” by Luna Sicat-Cleto

April 30, 2019  |  in Translations  |  by Bernard Capinpin

. . . actually, it has now become more complicated because I now get imaginary enemies and lovers.

The mania present in this week’s Translation Tuesday is forceful and visceral, poured forth with a tide of senses, memories, tastes, smells, and visions. Upon the arrival of a spectral personification named Sandali, the inner monologue of Luna Sicat-Cleto’s narrator detonates, threading seamlessly through the past, the present, and the future. The word sandali, in Filipino, can be roughly translated as “moment.” In this story, we are reminded of exactly how broad, and how various, a moment can be.

That moment comes, unexpected, uninvited, she just appears, like a visitor, a visitor whom I cannot shove off, I let her inside, offer her coffee, she will not drink the coffee, she will merely stroke the cup’s ear, and will look at me from head to toe, like a child, she will stare, and I know that she is sizing me up because I too am sizing her, she will look out the window and whisper something about the weather, I will nod, as if I had heard what she had whispered but actually hadn’t, I have been deaf for a long time, I don’t recognize the noise I heard, I no longer know if birds still sing in the morning, whatever noise I heard, I’m sure that my eardrums have already burst, a noise that had pierced through to my brain, but it’s funny that I still recognize the sound of my own name, and this gives me hope, hope is a dangerous thing, they say that it is what thrusts people to madness, and when the visitor called my name, I did not know if I was dreaming, I lifted my head up and smiled, I was about to mention something about the weather, or our weight, whether we have gained or lost some, but I had forgotten what I was about to say as soon as she squeezed my palm, where the pulse lies, where the welt from the blade rested and she whispered: flee, flee and I will know what she wanted to happen, she wanted to sleep with me, I will not object, I will be even the one to usher her to bed, and I will feel her trembling, I will take off her clothes and she will do the same and we will begin our voyage, that’s how I see it, a voyage I will not object to, I will try not to think, I will let it be, she will come again tomorrow, my door will be open, I will not refuse, for I want our world to be filled with our children, the whole universe even, so that I wouldn’t feel lonely anymore, isn’t it right, Sandali, for that is her name, Sandali, she has neither parent nor sibling, neither home nor job, she is not bound to anything or anytime. Sandali, her name does not suit her, perhaps I needn’t give her a name, she is like a poem, a poem that does not have a name, if a person labels a poem a poem, it vanishes, it disappears like bubbles that can no longer be touched.

READ MORE…

Spring 2016: Going Places

September 21, 2018  |  in 30issues30days  |  by Eva Heisler

You [write] to orchestrate what it is about the world that hurts you.

92,400 words—if an Asymptote issue could be held in your hands, it would be a book with 92,400 words and 368 pages (based on the typical range of 250-300 words a page). And it would be a free book, since, to catalyze the transmission of world literature, we don’t charge for access and hope it always remains that way. That’s 92,400 words that have to be solicited, considered, selected, edited, uploaded, formatted to both our house style and the satisfaction of contributors, and then fact-checked and proofread by four to six pairs of eyes. Out of the 44 articles that these 92,400 words constitute, eight might require extensive footwork for rights, ten commissioned from scratch, and as many as 18 illustrated by a guest artist. Then newly appointed chief executive assistant Theophilus Kwek obtains this figure of 92,400 (for the English text alone) “by copying the entire [Winter 2016] issue into a word document, and rounding off to the nearest 100 for footnotes [he] may have missed.” The occasion for this? We have been invited to submit an application to a grant administered by Singapore’s National Arts Council (NAC), and one of the requested data is wordcount. How this comes about after five years of no official contact between Asymptote and NAC goes like this: In February 2016, back in Singapore to visit with family over Chinese New Year, I send out a batch of solicitations. One is addressed to Vivian Balakrishnan, Singapore’s Minister of Foreign Affairs, who played a major role in facilitating the June 2018 Kim-Trump summit, the costs of which (twelve million USD) the Singaporean government willingly absorbed. On 14 February, 2016, I receive a call at 8 a.m. by someone from Balakrishnan’s office encouraging me to take up the matter with NAC instead. I mutter something about NAC being unsupportive, and put the phone down quite quickly. The next day, someone more senior—an actual spokesperson from the Ministry—calls. Charmed by her diplomacy, I agree to “allow [myself] to be approached.” On February 16, an email entitled “funding for Asymptote,” pops up in my inbox. Negotiation takes a protracted seven months, during the course of which my case is rotated between four different officers, and in the process of which hopes are raised only to be dashed—with even the acting director of NAC’s literary arts sector development admitting to me that they had changed their mind (i.e., that it is not a matter of one officer’s stance being discontinuous with another). The long and short of it is that funding is allotted to Singaporean writers and translators of Singaporean work only; support for literary editors only extends as far as sponsoring workshops or mentorships. This was NAC’s policy in 2011 (and one I was well aware of); if it hadn’t changed, why make contact? She sends me off with a one-time grant to the tune of 8,800 USD, tied to publication of Singaporean content on Asymptote platforms in the fourth quarter of 2016. In April, at the invitation of AmazonCrossing and with partial support from the Translators’ Association of the Society of Authors in the UK, I speak at a London Book Fair panel on “Discovering Stories from Asia, Africa, and Turkey”; despite the geographical reach of the subject matter, I am the only person of color represented on the panel. Unlike, say, an all-male panel, this goes unremarked, underscoring a troubling diversity problem in publishing that I’ve tried to counter with my own magazine by appointing section editors from Asia, Africa, and Latin America. Here to introduce the Spring 2016 edition—that I launched from the couch of my college friend Vanessa’s apartment in Brixton, London—is Visual editor Eva Heisler:

Revisiting the Spring 2016 issue, I am struck by how far-ranging and innovative the work is—and how moving. Through the inspired efforts of Asymptote’s translators, I am transported across cultures and geopolitical contexts as I gain access to poems, stories, drama, creative nonfiction, and criticism originally written in Arabic, Bengali, Bulgarian, Catalan, Chinese, Croatian, Filipino, Nahuatl, Polish, Romanian, Russian, Slovenian, and Thai, to name just a few of the languages represented in this issue.

As editor of Asymptote’s visual section, I am interested in featuring artists who explore issues of text, narrative, linguistic identity, translation, or voice. One work that explores language as shifty, always on the move, is Bad Language, a collaboration between translator Laura Marris and video artist Matt Kenyon. The video, which documents Marris’s process of translating a poem by Paol Keineg, presents the poem as a moving entity animated by possibilities, the page rippling with adjustments and substitutions. This “moving translation” is particularly suited to Keineg’s French since the writer, who was raised in Brittany, often integrates Breton vocabulary. As Marris explains, “I wanted to translate in a way that could accommodate shifting linguistic loyalties, rather than delivering one authoritative version.” READ MORE…

Fall 2011: The Pleasure of Literary Engagement

September 4, 2018  |  in 30issues30days  |  by Sim Yee Chiang

Featuring Lydia Davis’ first translation from the Dutch, an excerpt from Haruki Murakami’s 1Q84 and Dubravka Ugrešić on Croatian novelists

Miraculously, word spreads. Asymptote is selected as The Center for Fiction’s international journal of the month for September 2011. Publishers Weekly features us in a writeup. We are a Paris Review staff pick: apparently, poetry editor Robyn Creswell has been “poking around in Asymptote” and has “especially enjoyed the (very) short story by Robert Walser, translated by Susan Bernofsky, Adonis’s “Ambiguity,” translated by Elliott Colla, and an essay about riddles by the Russian formalist Viktor Shklovsky, translated by Shushan Avagyan(!)” Literary heavyweights Jane Hirshfield and John Kinsella, whom I don’t know personally, write to offer blurbs in support. I discover that Parul Sehgal, an award-winning literary critic I admire, has a Singaporean connection. Had she been based in Singapore, would her talent in literary criticism have been recognized? Would it even have flourished in the first place? This inspires me to move to Taiwan for the lower cost of living. Here to introduce the first issue that I edited out of Taipei (and that also features my translations of Jing Xianghai and Belinda Chang) is contributing editor Sim Yee Chiang. 

As I re-read the interview I conducted with Motoyuki Shibata for the Fall 2011 issue of Asymptote, I am catapulted at once to the terror of that late summer afternoon at the University of Tokyo. Why on earth had I insisted that we speak in Japanese? I was armed with notes, even a few jaunty segues, but I knew my adopted tongue could abandon me at any moment, just as it had abandoned me six months before at a disastrous interview for prospective Ph.D. students.

What prevented disaster that day was hearing Professor Shibata talk about the “pleasure” of literary engagement and translation. Translators tend to fall prey to all kinds of pesky anxieties: of influence, of equivalence, of legitimacy etc. Even now, years after that conversation, I still find the principles of pleasure and humour not only useful defences against said anxieties, but also indispensable qualities of a successful translation. READ MORE…

Recipes in Translation: Traditional Southeast Asian Soups for New Mothers

May 18, 2017  |  in Food and Literature  |  by Dr. Marilyn P. Wong, Khanh-Hoa Nguyen, and Kristine Nguyen

Postpartum recipes have been passed down orally for generations in Asia. Now a multilingual cookbook is attempting to preserve them.

In many Asian cultures, new mothers are offered delicious dishes and nutritious soups after giving birth. The postpartum recipes fortify a new mother and ensure sufficient lactation for her newborn. These centuries-old traditions have been kept alive through orally sharing recipes and cooking for one another from one generation to the next. However, with growing assimilation of Western culture and a lack of documentation, this shared cultural knowledge may soon be lost.

Interested in the preservation of these recipes, in 2014 students who were a part of the Asian Pacific Islander Health Research Group (AAPIHRG) at UC Berkeley started a Postpartum Nutrition Folklore Project. We interviewed our mothers, grandmothers, and other relatives to document the recipes in their original languages and then translated them to English. Some of us asked our mothers or grandmothers to cook the dishes and soups in person so we could write down clearer instructions (and sample the delicious recipes!) Others conducted the interviews via phone calls and video chats. Most of us were bilingual so we did the English translation by ourselves and asked friends and family members to review our spelling and punctuation. Ultimately, we collected over thirty recipes from six different cultures—Vietnamese, Chinese, Korean, Hmong, Cambodian and Filipino—and published them as a multilingual cookbook titled From Mothers to Mothers: A Collection of Traditional Asian Postpartum Recipes.

READ MORE…