Language: Galician

Weekly Dispatches from the Frontlines of World Literature

News from Latin America, Greece, and Spain!

Join us this week with a new batch of literary dispatches covering a wide range of news from Latin America, Greece, and Spain; from censorship and literary awards to a slew of literary festivals, read on to learn more!

Miranda Mazariegos, Editor-at-Large, reporting from Latin America

In Colombia, Laura Ardila Arrieta’s book La Costa Nostra was pulled from publication days before going to print by Editorial Planeta, one of the most influential publishers in the Spanish-speaking world. Ardila Arrieta’s book investigates one of the most powerful families in Colombia and was pulled due to “three legal opinions that proved to us that the text contained significant risks that, as a company, we did not want to take on,” according to Planeta’s official statement. Ardila Arrieta was signed by Indent Literary Agency a few days later, and her book has instead been published by Rey Naranjo, an independent Colombian publisher who stated that the publishing of the book represents “the desire to contribute so that the future of our democratic system improves and that education and reading empowers us as a society.” 

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Weekly Dispatches From the Frontlines of World Literature

The latest in literary news from North Macedonia, Spain, and Kenya!

In this round of weekly updates from our Editors-at-Large, we hear about literary festivals, awards, and the latest translations from North Macedonia, Spain, and Kenya! From a festival themed “Air. Wind. Breathing.” to a recently completed translation of the Bible, read on to learn more!

Sofija Popovska, Editor-at-Large, reporting from North Macedonia

The first weeks of autumn in North Macedonia brought exciting developments to the literary scene: the third installment of the Skopje Poetry Festival took place from September 24–28. The event spanned several venues, including the historic movie theater “Frosina”, the Skopje city library, and the bookshop-cafe “Bukva”. The festival opened with a performance entitled “Air. Wind. Breathing.”—a theme that was maintained throughout, as some of the readings were accompanied by musical improvisations with wind instruments. 

Represented at the Skopje Poetry Festival was a diverse range of cultures; Danish, Serbian, French-Syrian, Maltese, and Croatian poets gave readings alongside local authors. Aside from readings, there were screenings of several movies based on the poetry of Aco Šopov. One of the adapted poems was Horrordeath, which was featured in the Winter 2023 issue of Asymptote Journal in Rawley Grau and Christina E. Kramer’s translation. The screenings were followed by a musical concert, a creative writing workshop headed by Immanuel Mifsud (a Maltese author and recipient of the European Union Prize for Literature), a panel discussion on increasing the visibility of Macedonian literature abroad, and a yoga session in nature. Young Macedonian poets also had a chance to make their voices heard, during the “Springboard” event on September 24 dedicated to poets between the ages of 16 and 25.

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Weekly Dispatches From the Frontlines of World Literature

The latest from Central America, Spain, and China!

This week, our Editors-at-Large bring us around the world for the latest of literary news! From a brilliant cast of Central American authors at Madrid’s upcoming literary festival, to an inside glimpse into Spain’s translation residencies, to a thought-provoking workshop at China’s aBC Art Book Fair, read on to learn more!

José García Escobar, Editor-at-Large, reporting for Central America

Central America’s brightest stars are about to come together yet again!

On September 18, the latest edition of the region’s most celebrated literary festival, Centro América Cuenta, will kick off in Madrid, Spain!

This time, Centro América Cuenta will gather regional talents such as Arnoldo Gálvez Suárez (Guatemala), Cindy Regidor (Nicaragua), Horacio Castellanos Moya (El Salvador), Mónica Albizúrez (Guatemala), Rodrigo Rey Rosa (Guatemala), and Sergio Ramírez (Nicaragua), next to Latin American and Spanish writers such as Mónica Ojeda (Ecuador) and Patricio Pron (Argentina). One high point of the festival will occur on September 18, when former president of Costa Rica, Luis Guillermo Solís, and former Guatemalan jurist living in exile, Thelma Aldana, will gather to discuss the current state of democracy in Central America.

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What’s New in Translation: June 2023

New work from Shumona Sinha, Dorothy Tse, and Berta Dávila!

In this month’s selection of the best in translated literature, our editors present a selection of texts that range from the intimate, to the surreal, to the furious. From Galicia, a mother writes a poetic rumination of abortion and post-partum depression. From Hong Kong, a love story unfolds between two unlikely characters as the city clamours in protest. From France, an interpreter gives a searing account of the immigration system and its many failures, in the aftermath of her own violent act.

the dear ones

The Dear Ones by Berta Dávila, translated from the Galician by Jacob Rogers, 3Times Rebel Press, 2023

Review by Samantha Siefert, Marketing Manager

Five years after becoming a mother, a woman chooses to have an abortion. This uneasy duality forms the premise of Galician author Berta Dávila’s intimate, probing exploration of motherhood in her memoir, The Dear Ones, now available in an excellent English translation by Jacob Rogers. “It takes nine months for a child to form in the womb and be born, but no one knows how long it takes for a mother to do the same,” Dávila muses, never pretending to know or even seek a precise answer to the unstated question, instead dedicating this short but intense novel to articulating plainly the spaces between the themes of motherhood—the ones discussed openly, and the ones that are not.

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A Language Like Life Itself: An Interview with Chus Pato

Poetry has no future because the time of poetry is always the present.

Chus Pato is one of Europe’s most significant contemporary poets. She lives in Galicia, in Northwest Spain, and writes in Galician, a language that over time has weathered censorship, dictatorship, colonialist policies, and administrative neglect, all aimed at impeding its survival. Here, she converses with Erín Moure, Canadian poet and her translator into English for twenty years, on the occasion of the 2021 Poesiefestival Berlin. They discuss the current situation of Galician, the ways that poetry allows us to think out or rethink our relation to politics, the language of the poem and its difference from the language of consensus, and her current explorations into articulated language and human action in her work-in-progress, Sonora, from which she read in Berlin.

The original Galician conversation and German translation by Burghard Baltrusch are available; the interview has been translated into English by Moure with permission from Poesiefestival Berlin. Chus Pato’s most recent book in English, The Face of the Quartzes, appeared in Erín Moure’s translation from Veliz Books in fall 2021.

Erín Moure (EM): We’ve often discussed your choice to write poetry in Galician and how it is a political decision, a demand for justice for the language of your people—a language prohibited under Francoism—as well as a resistance to the political undermining of Galician and subtle promotion of a single and compulsory language, that of the unitary state of Spain, which we in English call “Spanish.” What I’d like to point out is that on the other side of the Atlantic, for your audience that is not Galician and that reads you in English translation, Galician is not a minor or defective tongue but simply a European language, and you a European poet. How do you see your role as poet, in Galicia, in Spain, in Europe, and now in the city of Berlin, a European capital of poetry as well as meeting point of the west and the east of Europe?

Chus Pato (CP): I think that in Galicia and in general I am well known enough as a poet and am read by the community of those interested in poetry. I know many loyal readers read my books when they are published. This is what I most value. Even so, I still perceive resistance on the part of canonizing institutions that I think has to do with what these institutions see as the difficulties in reading what I write (hermeticism, experimentalism, etc.) and with issues related to my political stance, a position that coincides neither with the right that governs us nor with majority nationalism.

That my work is known at all in the Spanish state is due in great measure to the efforts of my publishers and translators, and my feeling is that they have been remarkably successful. I can’t really gauge how I am perceived elsewhere in Europe. I feel I’m read more on the American continents. In Europe, my gratitude goes to Frank Kaizer, my Dutch editor at De Vrije Uitgevers, for his efforts and courage, and also to the Rotterdam festival and its former director Bas Kwakman.

EM: How would you describe the current situation of the Galician language, both in cultural milieus—where Galician figures prominently—and in daily life?

CP: The situation of Galician is dramatic, really. The Council of Europe, in its recent report on the fifth evaluation of Spain’s implementation of the European Charter for Regional or Minority Languages, warns that only 23.9% of children in Galicia under the age of fifteen can express themselves in Galician.

Galician continues to suffer from a covert criminalization that has prevented generational transmission. The linguistic policies of the political party that systematically wins Galician elections are largely responsible for putting us in this extreme situation. Today, we can no longer say that Galician is strong in the private sphere, at least not in the case of younger generations.

We have to distinguish diverse political positions on linguistic diversity of the State: the Spanish right is always intolerant, and within the left there are degrees of tolerance. In the forty years that separate us from the end of the Franco dictatorship, we have not advanced much toward what is desirable, at least in my opinion.

What matters to me is what happens in Galicia, what the majority of Galicians think of their native language, and the reasons that lead them to turn away from it and not transmit it to their children as their mother tongue. These reasons have to do with the economic policies of the State, which has always viewed Galicia as a land from which to extract raw materials and labour. Two centuries of emigration and of the continual destruction of the values that constituted and still constitute us as distinct as Galicians largely explain the situation that faces us now.

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Section Editors’ Highlights: Spring 2020

Our section editors guide you through the riches of our Spring 2020 issue!

Our Spring 2020 issue has arrived amidst a rising desire for unity and community. As we seek new sights from views made familiar by isolation, Asymptote is proud to have gathered some of the most vivid and singular works from literary talents from thirty countries, so that we may all benefit from the vitality of their distinct imaginings and realities. Here, our section editors share their favourites and guide you around this edition’s abundance of ideas and inventions.

From Lee Yew Leong, Fiction and Galician Poetry Feature Editor:

If you enjoyed watching Leonardo DiCaprio in The Revenant, you’ll probably love “Red Ivory” by Italian writer Matteo Meschiari from the new issue: like the film, it’s a survival tale set in the extreme cold (in the Siberian permafrost, to be specific), riveting in its depiction of the elements, narrated urgently with brilliant flashes of lyricism—including one electric moment of human contact collapsing 12,000 years. By the end, it’s also a möbius strip of a story posing big existential questions. (Don’t miss the edifying note by emerging translator Enrico Cioni, who did an amazing job rendering the story.) The omniscient narrator of Mirza Athar Baig‘s “Junkshop” transports us similarly through history—this time centering around the objects of a contemporary junkshop—infusing an everyday scene with wonder at just how much we don’t know. Many delights abound in the Galician Poetry Feature headlined by Manuel Rivas, Chus Pato, and Alba Cid (translated by Jacob Rogers, who also helped put together the Feature), but be sure to acquaint yourself with Luz Pozo Garza, one of Galicia’s literary greats, who passed away at age 97 less than a week after the release of the issue. In the selection that translator Kathleen March presented, she used cadences of the canticle and other musical forms to sing of an ecstatic yet bittersweet love for an evanescent world.

From Henry Ace Knight, Interviews Editor: 

Kamila Hladíková’s conversation with Tibetan writer Tsering Woeser for the Spring issue’s interview section centers on the precariousness of Tibetan cultural memory and the poet’s resistance to its wholesale erasure. Citing Milan Kundera and Edward Said, Woeser suggests that the survival of marginalized collective identity is incumbent upon the insistence of individual eyewitness memory and testimony. “The history of a nation consists of the personal histories of its people,” she writes. “Descartes said, ‘I think, therefore I am’; but in Tibet, it should be, ‘I remember, therefore we are.’”

From Varun Nayar, Nonfiction Editor: 

Following the footsteps of the great Japanese poet Matsuo Bashō, Durian Sukegawa writes about a journey he made in 2012, traversing a landscape reshaped by the earthquake, tsunami, and Fukushima Daiichi nuclear disaster the year before. Alison Watts’s vivid translation of Sukegawa’s written account of this journey acquaints us with the personal and political stakes of living in post-Fukushima Japan. Part travelogue, part political meditation, Sukegawa’s writing pairs the beauty of the Japanese landscape with the ugliness of government negligence. At the heart of this piece is a desire to bear witness to the lives rendered invisible in the eyes of the mainstream media and the country’s disaster management apparatus. In its sober reflection of the human cost of events still fresh in Japan’s collective memory, Sukegawa’s piece also conjures an eerie relation to the current pandemic we’re living through.  READ MORE…

Blog Editors’ Highlights: Spring 2020

Our blog editors pick their favorite pieces from the Spring 2020 issue!

Asymptote’s Spring 2020 issue is here, featuring new work from thirty countries and twenty-four languages, as well as a Galician Poetry Special Feature. Not sure where to begin? Our blog editors can help, as they reveal their top picks from the new issue below:

It’s difficult to write, these days. In this state of global precarity, wrenching us from our patterns into stasis, the days stretch towards their completion; daily urgencies take on a more sinister tone, heightened by circuity. There is indeed time, heavier in our stock, yet the dilemma remains: the heaviness, the disintegration of form, the failure of words to justify their surroundings. After a while I realized that it is because in order to write, and to write forcefully, the writer must be able to imagine a world in which their text survives, and contributes. Yet the time has arrived, much sooner than anticipated, of a future in pieces. I’ve never been one to envision literature as a portal for escape—it seems to me that the most sublime of texts enforce us into the deep centre of the world we live in. So from Asymptote’s Spring 2020 issue—a wondrous collection of work that arrives, across boundaries, to strike a new presence—I selected certain poems that bring a special dignity to our capacity for visioning.

Natalia Toledo’s poems, translated from the Zapotec and Spanish by Clare Sullivan and Irma Pineda, stir vibrant tremors across the senses. Precise in intimate reference and conditioned with everyday magic, her language is of the sacred nature we infuse into the ordinary in order to contextualize the world to our definitions. Take “Prayer”:

For those days when the sun burnished my hair
And my smile was the blinding bright of a salt crust.
For the photographs stuck to a piece of cardboard,
their swift migration to our family altar.
For the petate and its map of urine stains,
for the twisted trees upon the rippled water.
For all that I made into a life.
I sing.

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Our Spring 2020 Issue Has Landed!

Feat. Anton Chekhov, Tsering Woeser, Phan Nhiên Hạo, Chus Pato and Alba Cid in our Galician Feature amid new work from 30 countries

Explore the grand scheme of things in Asymptote’s Spring 2020 edition “A Primal Design,” featuring poetry by Zuzanna Ginczanka and Phan Nhiên Hạo, drama from the great Anton Chekhov, Joshua Craze’s review of António Lobo Antunes’ latest fiction, and Fiona Bell’s essay on the “diva mode” of translation. Our Special Feature this season showcases Galician poetry, headlined by Chus Pato. The vivid colors of guest artist Ishibashi Chiharu set the tone for exciting new work from 30 countries and 24 languages, while Ain Bailey’s sonic art provides a fitting soundtrack!

The oracle reveals the obscure plan that drives history, and Galicia, as evoked by its poets, shimmers with oracular resonance. “Language endures / Bodies do not,” declares Gonzalo Hermo, and indeed, these verses seem meant for stone inscriptions. Lara Dopazo Ruibal’s work takes a more visceral approach: “the fig tree grows inside me while the scorpion hunts the ants coming out of my eyes.” But everywhere these poets deal in the essential, the “gold in its original depths,” as Alba Cid writes.

The primeval and the primordial abound in highlights like Matteo Meschiari’s dive into prehistory in his powerful fiction, “Red Ivory,” or Auschwitz survivor Edith Bruck’s lyrics, as immediate as they are minimal. Tareq Imam considers the sublime terror of blindness in a Borges-inspired tale, “Through Sightless Eyes”: truly we are as the blind before destiny. History, like that of Tsering Woeser’s immemorial Buddhist Tibet, provides an illusion of clarity in our confusion. Amidst all that disorientation, writes Seo Jung Hak, “Even if I scribble a poem, the absurdity like a fly who doesn’t bother to fly away somewhere is sitting on a chair like an old joke.”

As we sit quarantined in Plato’s cave pondering our collective conundrum, consider casting shadows of your own when you share news of the issue on Facebook or Twitter; as thanks, here’s a free flyer of the issue to print and share with friends!

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Fall 2014: Interlinked Dimensions of Spacetime

The Fall 2014 issue of Asymptote demonstrates an exceptional thematic cohesion across genre, language, location, and time.

Around this time, equipped with a new legal advisor (the extremely efficient Win Bassett), a small group is formally set up within our team to look into the feasibility of Asymptote becoming a non-profit organization in the USA. This makes most sense for tax-deductibility, since our largest readership, outnumbering the second largest demographic by a ratio of three to one, is American. It would take one and a half years for me to reach a definitive decision, but I decide in the end not to take the plunge. To become a non-profit, a board would first have to be formed, and all major decisions about the journal’s direction would have to be run by this board (which would mostly comprise Americans). Had I worked so hard for the magazine’s survival only to surrender its reins to others? Aren’t there already more than enough American mediators of otherness? I’m also wary because of what one board member of another online magazine has told me in confidence: being bound to a board has held that magazine back from reaching its full potential. We do, however, thanks to Win Bassett, Erin Stephens-North, Lynette Lee, and Eric M. B. Becker, succeed in acquiring fiscal sponsorship with Fractured Atlas on August 26, 2014. This is a breakthrough: For the first time, we are tax-deductible for American donors, removing one more barrier standing in the way of support. Here to introduce the Fall 2014 issue is Assistant Editor Erik Noonan.

Published in sync with the release of the inaugural episode of the Asymptote Podcast—whose producer Emma Jacobs suggests that the mythical stories we tell ourselves are really signs of “our inability to map our own minds”—the Fall 2014 issue of Asymptote sets the reader afloat through a tesseract located among the interlinked dimensions of spacetime.

In Shi Tiesheng’s “The Year of Being Twenty-One,” that mapless place masquerades in public life as a monotheistic deity: “I did see God, one day—but he went by a different name, and that name was the mind,” Shi writes. “In the hazy patches of science; in the chaos of destiny; you can only turn to your own mind. Everything we believe in—no matter what that might be—comes from the promptings and the guidance of our minds.”    READ MORE…

Close Approximations: In Conversation with Poetry Runner-Up Keith Payne

Language is local; for all our travel and world-webbed wideness, we are beasts of habit and most often stay within the same 10 square miles

Today, we continue our spotlight on the winners of Asymptote’s annual Close Approximations translation contest, now into its third edition. (Find the official results and citations by judges David Bellos and Sawako Nakayasu here.) From 215 fiction and 128 poetry submissions, these six best emerging translators were awarded 3,000 USD in prize money, in addition to publication in our Summer 2017 editionAfter interviews with fiction winner Suchitra Ramachandran, fiction runners-up Brian Bergstrom and Clarissa Botsford, and poetry runner-up Sarah Timmer Harvey, today we have poetry runner-up Keith Payne in conversation with Asymptote Assistant Interviews Editor, Claire Jacobson. 

Keith Payne is the Ireland Chair of Poetry Bursary Award winner 2015–2016. His collection Broken Hill (Lapwing Publications, Belfast, 2015) was followed by Six Galician Poets (Arc Publications, 2016). Forthcoming from Francis Boutle Publishers is Diary of Crosses Green, from the Galician of Martín Veiga. Keith is director of the La Malinche Readings between Ireland and Galicia and the PoemaRia International Poetry Festival, Vigo. His translation of Welcome to Sing Sing, by Galician poet Elvira Ribeiro Tobío, was a runner-up in Asymptote’s Close Approximations contest. A poet in addition to being a translator, he shares his time between Dublin and Vigo with the musician Su Garrido Pombo.

CJ: The motif of imprisonment strongly undergirds these poems, from Bob Dylan to Ethel Rosenberg and everything in between, with Rosenberg’s Sing Sing prison providing the title and backdrop for these reflections. Where does this theme come from, and what was the significance of writing (and now translating) these famous imprisoned women in verse? 

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Blog Editors’ Highlights: Summer 2017

The blog team's top picks from the Summer Issue!

Juxtapositions are rife in Intan Paramaditha’s enchanting story, “Visiting a Haunted House,” translated from the Indonesian by Stephen Epstein. To me it read almost like an incantation, the words constantly looping memory upon the story’s present. As a granddaughter visits her dead grandmother’s house, she paints a pointillist picture of her grandmother’s life, whose colors soon run into her own. A broken red lipstick, a cloudy mirror, vanished smells of Gudang Garam cigarettes—the world spins, and so do familial memories, ancestral souvenirs, and time.

The granddaughter is an eternal migrant, “dashing around in bus terminals and airports with a backpack.” She remembers how her grandmother had always wanted to go abroad but contented herself with the thrill of riding a minibus to market while dressed in a flowery cotton dress. The story is ostensibly a simple tale of returning to an ancestral home. But the narrator’s voice soon bifurcates like a snake’s tongue, each sentence describing the grandmother and the granddaughter both. When speaking of a kuntilanak, “a woman no longer here, in our world, but not ‘over there’ either,” is she describing the ghost, or herself?

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Translation Tuesday: “Initials” by Xurxo Borrazás

A Borgesian metafiction featuring a twelve-kilogram head of lettuce

This week’s Translation Tuesday treat comes by way of translator Jacob Rogers—step into the Borges-infused metafictional world conjured by Galician author Xurxo Borrazás, in which literary analysts play crime detectives, and the rug can be pulled from under one’s feet by unreliable narrators.

The policeman grasped the folder, flipped it open with his fingers, and contemplated the note.

“What might you all know about Pierre Menard?”

It was blank on the back and had no return address. He considered throwing it into the trash, but in the end decided to pass it on to the commissioner, who was reading the papers in his office. He typed Menard into the computer, then Pierre, French, psychopath, and pervert, without the name appearing in any file, neither in anonymous nor in see here.

While drinking coffee with a colleague they determined that there was a question in it, and that such things are formulated in search of answers. The matter found them in a playful mood, and as always they turned to the mainstream media to sound it out. They fabricated a report that a French farmer, Pierre Menard, had grown a head of lettuce which would enter The Guinness Book of Records for its twelve kilograms of weight and its eighty centimeters of diameter, with a photoshoot and statements from the proud record-holder included. A letter arrived two days later:

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