Language: Romanian

Weekly Dispatches from the Frontlines of World Literature

Our weekly roundup of the world’s literary news brings us to Iran, Albania, Romania, and Moldova.

This week’s dispatches take us on a tour of November’s most important literary festivals. In an attempt to combat perennial issues of low readership and lack of access to literature, the festivals offered live readings, awards ceremonies, and discounted books to readers in Iran, Albania and Romania.

Poupeh Missaghi, Editor-At-Large, reporting from Iran

Since 1993, November 15th has been celebrated as the day of Books and Reading in Iran, ushering in a week of celebrations and events to promote literature. The slogan for this year’s Book Week was “The Great Joy of Reading.” Public libraries around the country offered free membership on November 15th, and the Books in the City Festival provided introductions to important Iranian literary figures through music and theatrical readings in subway stations around Tehran.

On November 18th, at the closing ceremony of the 17th Festival of Books and Media, the winners of awards in different media categories (including news, interviews, specialized criticism, humor, photography, websites, and audio and visual media) were announced.

The Imam Ali Society, a charitable foundation, took the occasion to invite its supporters, through the Kids Without Books Twitter campaign, to donate books for children. The campaign also published video in which children invited writers and public figures to donate books to the society’s library.

On the last day of the week, publishers also held readings and talks in different bookstores, creating spaces for readers and authors to come together in celebration of their love for books.

Similar events were held at schools, mosques, and other cultural institutions around the country. However, with low rates of readership and books published per edition, it is unclear how influential these symbolic annual gestures are in changing the reading culture of Iranian society.

In other news, a recent collective initiative has begun to bring together an informal archive of Persian language accents. On November 15th, translator and writer Erfan Mojib tweeted, “Let’s create a website, upload a text, and invite people to read the text in their various Persian accents.” The idea started as a curiosity, but Mojib hopes it can be developed and used eventually for systematic studies. He got so much positive feedback about the idea that he started a telegram channel (t.me/lahjeyab) and a Twitter account (@lahjeyab), and people have been sending him voice messages of themselves reading a text he posted about the diversity of accents in Iran and their unity under the umbrella of the Persian language.

Barbara Halla, Editor-At-Large, reporting from Albania

From November 14th–18th, the Albanian Publishers’ Association (Shoqata e Botuesve Shqiptarë) hosted the 21st Tirana Book Fair, hailed as the year’s biggest cultural event for the capital. Thousands of Albanians attended the fair this year, which is seen largely as an occasion to buy books directly from publishers at a considerable discount and meet well-known and emerging authors, ninety-five of whom were in attendance. All the major and minor Albanian publishers participated in the Fair, including more than thirty publishers from Kosovo, Montenegro, and Macedonia combined.

While the Tirana Book Fair does not operate in a way that allows authors or agents (essentially non-existent in the Albanian publishing world) to connect with publishers, a jury of authors and translators does award a number of prizes. The Lifetime Achievement Award was given to Kim Mehmeti, a Macedonian–Albanian writer and translator, while Brajan Sukaj won Best Book of the year for Ciklopi (“The Cyclops”). The jury awarded two Best Emerging Writers awards to Iva Nikolli and Flogerta Krypi, the latter being only sixteen years old, and Donika Omari won Best Translation for her translation of Kenize Mourad’s “Regards from the Dead Princess.”

The Tirana Book Fair was not merely cause for celebration. It also served as a platform to expose and discuss some of the issues plaguing the Albanian publishing world. According to INSTAT, around 1 million Albanians (or about 30% of the population) have not read a single book in the past year. The main reason behind this is more economic than social: most books cost around $8, which can seem prohibitive to a population that that makes, on average, $4,500 per year. Discounts are available during the Fair, but they can only do so much. Publishers also complained about a lack of institutional support for increasing literacy and interest in books. The Ministry of Culture was present at the Fair, but, according to one publisher, there was little help from the Mayor of Tirana during the event. Another issue, pertinent to authors especially, is that Albanians largely prefer literature in translation, buying very few books from local authors, with the exception of a few big names. Ultimately, although these issues were discussed at length, the problems run deep and few solutions were proposed.

MARGENTO, Editor-At-Large, reporting from Romania and Moldova

Last week, Bucharest’s major international book festival, Gaudeamus—with a count of 125,000 visitors and 300 exhibitors from 5 countries—grabbed the mass media’s attention. The traditional Romanian–French connection, as usual, was underscored: the guest of honor was GADIF (The Group of Francophone Embassies, Delegations and Institutions in Romania). Beyond the official pomp, though, it seemed that recent Romanian-relevant Parisian releases slipped through the cracks.

For instance, prolific Romanian–French critic Petre Răileanu recently launched an already widely-covered monograph on the Romanian historical avant-garde, Les avant–gardes en Roumanie. La charrette et le cheval-vapeur, while co-editing a previously unpublished diary of iconic Romanian constructivist and “integralist” Ilarie Voronca (supplemented with the poet’s collected French poems), but neither of these releases were announced at Gaudeamus. Past Asymptote contributor Matei Visniec, who acted as honorary president of last year’s festival, was invited to launch a book this time around, but no official mention was made of his recently conferred “Knight of the Order of Arts and Letters” in France. Similarly, the recent publication of the French version of poet, essayist, art critic and editor Magda Cârneci’s novel FEM was another example of Parisian literary news that slipped by the organizers.

All of the above nevertheless caused a buzz on social media and indie literary lists, and the inveterate cosmopolitanism and avant-gardism of Romanian literature still sprung up here and there at the festival, as it tends to do. Legendary radical poet Angela Marinescu made a sensational appearance at a gender-bending debut poetry collection release, while the editor of the French-international journal Levure littéraire, Rodica Drăghincescu, made a “whirlwind” Romanian poetry comeback. Past Asymptote contributor Radu Vancu publicized a novel from a mainstream publisher on his way back from an international writers’ political forum, while late Romanian-Austrian oneiric poetry school representative Vintilă Ivănceanu had a strong posthumous reemergence with two books from MNLR press.

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What I Learned: The Benefits of a Poetry Translation Workshop

Unlike in life, in translation you can generally decide what you can bear to lose, and you should know that there are multiple methods.

What should a budding translator read? What kinds of critical lenses should he or she apply to the process of translation? Assistant Editor Andreea Scridon shares some insights she gathered from the poetry translation workshop she attended this summer in Norwich, UK.

Every summer, the University of East Anglia in Norwich (home of the first Creative Writing program in the United Kingdom) holds an International Literary Translation & Creative Writing Summer School. This past July, the program was held in partnership with the British Centre for Literary Translation, and I attended the multilingual poetry translation workshopled by internationally translated poet and writer Fiona Sampsonas an emerging translator of Romanian and Spanish into English. Below I recount musings on the most significant things I learned, which I hope will be of use to those potentially looking to break into literary translation.

A sound starting point in this discussion is the question of considering what to read as a translator. It should go without saying that a literary translator must necessarily be a well-read person in order to be able to make the best possible choices in terms of context, likely more so than anybody else. Having established this as a point of consensus, we discussed, both officially in workshops and amongst ourselves, what exactly a translator should be reading today. In my opinion, the library of a(n) (aspiring) literary translator should include contemporary literature, non-contemporary literature (both classics and obscure-but-lovely older works), and, of course, translations, preferably in as many languages as possible. For instance, examples of each subsection in my current library include Lauren Groff’s Florida and Jenny Zhang’s Sour Heart (which are English-language works but useful examples of the spirit of today’s literary scene), Romain Gary’s The Kites and Mikhail Sholokhov’s And Quiet Flows the Don, and Anna Akhmatova’s various poetry collections in translation by Yevgeny Bonver, Richard McKane, and Alexander Cigale, to name only a few. I asked Ian Gwin, an emerging translator of Finnish, Estonian, Latvian, and Lithuanian who also participated in the Summer School, for suggestions. He recommends Keith Gessen’s A Terrible Country, noting that Gessen is himself a bilingual and that the theme of the two cultures meeting within the novel may be useful for a translator to consider. Regarding multiple translations, he recommends Robert Musil’s The Man Without Qualities, pinning the more linguistically faithful translation of Eithne Wilkins and Ernest Kaiser against the newer one produced by Sophie Wilkins and Burton Pike. He also suggests the high-quality recent translation of Alfred Döblin’s Berlin Alexanderplatz by Michael Hoffman, citing it as a long work that shows an attempt to render a specific style in a second language.

READ MORE…

What’s New with the Crew? A Monthly Update

Delve into the latest literary news from our ever-industrious Asymptote crew!

Apart from working hard on the Fall 2018 Issue, Asymptote staff have also been busy making waves in the literary world. Join us in celebrating their achievements!

Poetry Editor Aditi Machado published a chapbook, Prologue Emporium, with Garden-Door Press. She also discussed her editorial work at Asymptote and her translation of Farid Tali’s Prosopopoeia with the Wash U Translators Collective.

Communications Manager Alexander Dickow reviewed From the Files of the Immanent Foundation by Norman Finkelstein for Rain Taxi.

READ MORE…

Summer 2016: In-Between Times

How can we get past a feeling of being shipwrecked among the intensity of our selves?

After our first mention in The New York Times in June 2015 (which merely notes that there is a real-life counterpart to the journal by the name of “Asymptote” in Alena Smith’s drama), April 2016 sees our second mention and two key members stepping down. The departure of Senior Editor Florian—a friend from my time at The New School whose support has been a great source of strength for me, personally—is a great setback. But April 2016 also ushers in our first-ever monthly report, a two-page summary of each month’s activities which I’ll make available to the public for the first time here. Designed by Theophilus Kwek to be easily skimmed, this internal report not only records Asymptote‘s progress across the board each month, but also represents my commitment to transparency of the magazine’s financials. After all, as any serious dieter knows, tracking stats that matter is the way to go. A quick glance reveals that we spent $1,798 (all figures in USD) in total over April, while only $247 has come in through small donations and the sale of one publicity package. This means that over the month of April, Asymptote has bled $1,551 (which I cover either with funds previously raised or out of my own pocket). For the first three monthly reports (i.e., from April to June 2016), these figures do not yet include wages for Asymptote‘s only full-time team member (i.e., me). It is only in July 2016, exactly six years after I conceived the journal and opened a tab in my name that would add up to 70,000 USD while also foregoing a full-time salary all these years, that I begin to stipulate my own remuneration. This obviously doesn’t change the fact that monthly incoming funds are still a trickle compared to monthly outgoing funds, but at least it sets up a proper accounting as to how much I am being owed by my own organization. Here to introduce our Summer 2016 issue—possibly our most diverse ever, with 34 countries being represented and featuring additional translations into Albanian, Bengali, Chinese, Czech, Dutch, French, Greek, Japanese, Kannada, Korean, Persian, Portuguese, Slovak, and Tamil—is Assistant Editor Andreea Scridon.

What are our human perceptions made of? Water. Our nervous systems, the machineries of feeling, float in a quiet, dark world of water. Our most dramatic moments—at least in terms of development—take place in amniotic fluid. This quasi-godlike and continuous source of life is a trope that never runs dry. Yet in addition to its undeniable positive qualities, it makes for an inevitable metaphor for inner turmoil: after all, doesn’t turbulence stem from an aquatic scenario? The idea of fluidity, increasingly present in a contemporary world with an unstable future, further complicates things.

On the subject of “in-between times”, after finishing university a friend described herself as feeling as though she’d been soaked and left out in the sun to dry. Yet for a good writer (the kind I’d like to be), anxieties of this sort can acquire a kaleidoscopic quality on the page. How do we anchor ourselves to the world? How can we get past a feeling of being shipwrecked among the intensity of our selves? Can we even psychologically approach that which seems beyond our conception and our control? Finding myself too drenched by such ruminations to draw any conclusions, I turned to the varied readings of Asymptote’s Summer 2016 Issue. READ MORE…

Spring 2016: Going Places

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…

Summer 2014: The Tip of a Vast Iceberg

The best writing does not mirror something we already know but rather offers a new view.

Is world literature racist? (By ‘world literature,’ I refer specifically, of course, to agents in the world literature industry, say, programmers of literary festivals or those who disburse funds.) An unhappy episode looms in my recollection of Asymptote-related work leading up to the Summer 2014 issue. I have only ever brought it up once, and briefly, two years ago, in a blog post about editing a literary journal as a person of color. With Asians in America reclaiming their visibility recently, it may not such be a bad idea to ride the wave. So here is the story: Five years into helming a magazine as its only full-time team member, I came to know about an invitation sent to a part-time team member. This invitation, issued by a White person, to represent Asymptote at an international conference with an offer to be flown in from anywhere, was sent directly to the White female Assistant Managing Editor who’d been with Asymptote for less than seven months, and who actually lived farther away from the conference than me, based on her current city at that time. Appalled by the blatant racism, I told her that I would not authorize her appearance on behalf of Asymptote—if I couldn’t defend myself against the racist, at least I wouldn’t be complicit in his invisibilization. What surprised me was how incomprehensible this decision was to another White senior team member, who took it upon himself to sway my mind. Forced as a person of color to “accept offense and facilitate its reconciliation,” I chose to shut down the conversation instead, as Maya Binyam would have recommended. Since then, I’ve observed an interesting pattern: people will often rush to the aid of one marginalized group without realizing how it occurs at the expense of other marginalized groups—groups that don’t even have anyone else flying a flag for them, be it Asians or editors (more on this later). Here to introduce the Summer 2014 issue is Senior Editor Sam Carter.

This issue graced the Asymptote homepage when I was applying to join the journal back in August of 2014. As I put the finishing touches on a cover letter—and as I later drafted my responses to a series of follow-up questions—I came back to the contents of this edition again and again to explain why I wanted to contribute to such an impressively expansive, incredibly inclusive, and somehow still remarkably cohesive literary project. Greeting me each time was Robert Zhao Renhui’s stunning cover featuring a man leaping from an iceberg juxtaposed with a polar bear swimming in presumably icy waters. Amid a stillness that nevertheless captures a sense of imminent movement, both remain cool and collected despite the unknown that lies ahead. I soon followed suit, plunging into a new position that, as often happens with sudden immersion, proved instantly invigorating.

If you’re looking for an ice-breaker—or a place of your own to dive into the issue—you probably couldn’t do better than the excerpts from Raúl Zurita’s The Country of Ice, translated by Daniel Borzutzky. Yet unlike the cover photographs, ice here freezes time, recording the past rather than providing any sort of springboard into the future: “You then look at the giant wall of ice and you feel you were once there, perhaps hundreds, thousands of years ago, and you curl up in a ball as if wanting to save yourself from that memory.” The five prose poems have a decidedly chilling effect, one that the poet has been exploring his entire career. READ MORE…

Fall 2013: Translators Talk to Us

Here is yet another dimension of Asymptote which has only begun to emerge: it is becoming an invaluable historical record.

October 2013 marks a turning point: for the first time since our debut, I am not editing at least five sections (as I have for each of the first eleven issues), only two (fiction and nonfiction). Ironically, my workload only increases. A larger team means more housekeeping tasks (some delegatable, some not): asymptotejournal.com accounts to create, staff dossiers to maintain, orientations to conduct, internal surveys to chase after, recommendation letters to write. Most of all, supervising so many new staff in a virtual environment proves a Sisyphean task. Some are not used to being held accountable to pledged hours; others, passionate though they may be about our mission, quickly realize that magazine work is actually rather gruelling. Morale during this transitional period is low, with more than a few recruits falling off the radar. Still, each time a personnel does not work out is a valuable HR lesson learnt, better than any management book can teach. On 6 September, the first-ever draft of our orientation manual is produced by then part-time Managing Editor Tara FitzGerald in close consultation with me and circulated among senior team members; on 23 September, a revised version is released to the entire team, now 45-strong. At 31 pages (as opposed to 66 in its current incarnation), this groundbreaking document represents a hopeful beacon of synced work protocol. Among the milestones this quarter: Poetry Society of America publishes an interview with me; we make our first appearance at ALTA; our daily blog (yes, this one!) is launched at the same time as the October 2013 edition, featuring, among others, an interview with Anne Carson and Robert Currie, and poetry by Wanda Coleman, who passes away—we note with great sadness—five weeks after said issue launch. A quick look at the first month’s blog offerings reveals: A new translation of Louis Aragon (via Damion Searls), a review of Karl Ove Knausgaard’s My Struggle, dispatches from International Translation Day in London and Frankfurt Book Fair, as well as Florian Duijsens’s inspired “Pop Around the World” column. As with the quarterly journal, then, we tried to set a high bar from the get-go. Here to introduce the Fall 2013 issue is contributing editor Ellen Elias-Bursac.

I first heard about Asymptote when my translation of an essay by Dubravka Ugrešić was published in the Fall 2011 issue, the journal’s fourth. But it was only with the Fall 2013 issue—and a short story by David Albahari which I’d translated from the Serbian—that I began an ongoing collaboration as a contributing editor.

I agreed to come on board because I was drawn to the extraordinary number of languages and literatures represented in each issue (17 in Fall 2013), the caliber and inventiveness of the editorial staff, and the ways the journal makes the most of its online presence by including both a recording of the work read aloud in its original language and the original text. (Have a look, here, for instance, at the Isthmus Zapotec of Natalia Toledo’s poems, or here, at Vyomesh Shukla’s poem “What I Wanted to Write” in Hindi.) I was also wowed by the stunning illustrations in every issue.

As a translator myself, I am always interested in reading what my peers have to say about their writers and the challenges they have faced. To demonstrate the many ways translators can talk to us through Asymptote, below I offer several quotes from their notes in the Fall 2013 issue. READ MORE…

Translation Tuesday: “Constantinople” by Flavia Teoc

More fragrant are the grapes slowly growing sour on a vendor stall in Yerebatan

We are thrilled to feature Flavia Teoc’s poetry for the first time on Translation Tuesday. Teoc’s lines visit Yerebatan—the magical site in Istanbul where the Basilica Cistern hides a special sighting of Medusa. Under the dim lights of Yerebatan, Teoc’s fragrant lines shine brighter. 

Constantinople

More fragrant than the righteous ones perfect in all of their ways
Are the grapes slowly growing sour on a vendor stall in Yerebatan.
Under their cracked skin a sweet potion of sounds is distilled,
Memories from back when they were early sour berries or less,
An equal proportion mixture of screams from a woman flogged
Up against their vine, the bell of a leper who took shelter in the split leaves’
Shadow one late afternoon, and a stray dog’s quick nap nearby.
I’m telling you—
More fragrant are the grapes slowly growing sour on a vendor stall in Yerebatan,
For those perfect in all their ways will never touch them.

READ MORE…

Weekly Dispatches from the Frontlines of World Literature

Our weekly roundup of literary news brings us to Romania, Mexico, and Singapore.

We are in the thick of the World Cup, but that does not mean that everything else stops! We are back with the latest literary updates from around the world. MARGENTO reports from Bookfest Bucharest on the latest of Romanian publishing and Romanian-US connections that emerged during the festival. Paul Worley and Kelsey Woodburn discuss the latest publications from the Yucatan Peninsula, focusing on indigenous writers. Finally, Theophilus Kwek tells us about recent news in the Singaporean literary world. Happy reading!

MARGENTO, Editor-at-Large, reporting from Romania: 

Bookfest Bucharest is one of the largest international book festivals in Europe, growing larger and larger by the year. This year it featured over 150 publishers. Although expanding, the festival seemed less loud this time for a quite mundane reason: the organizers placed the beer patios further away from the pavilions than they did in the past. The atmospherics and the events felt really animated, though, and sometimes even intense. The guest of honor was the United States, with a centrally placed and welcoming space hosting four to six events every day. One of the most popular panels was chaired by the ambassador himself—HE Hans Klemm—on the life and work of Romanian-born American critic and fiction writer Matei Călinescu (and the dedicated Humanitas series).

READ MORE…

Weekly Dispatches from the Frontlines of World Literature

Our weekly roundup lands us in Romania, Moldova, India and Egypt.

Prizes, events, book publications, festivals—whatever you can think of, our Weekly Dispatches have you covered from one end of the world to the other. This week our editors are focusing on the most exciting news from India, Romania and Moldova, and Egypt. 

Janani Ganesan, Assistant Managing Editor, reporting from India: 

When everything is sponsored by a multinational company, from football to governments, literature is no different. India’s richest literary award was announced this March by JCB group. An annual prize money of INR twenty-five lakhs (USD 38,400) for a fiction book could have only come from a company manufacturing construction equipment.

(The DSC Prize, which was the most generous literary award in the country till its prize money was reduced from USD 50,000 to USD 25,000 in 2017, is also funded by a company specializing in infrastructure.)

READ MORE…

Weekly Dispatches from the Frontlines of World Literature

Our weekly roundup of the world's literary news brings us to Romania, Moldova, Slovakia, and Iran.

This week, we bring you news of literary festivities in Romania and Moldova, a resurgence of female writing in Slovakia, and the tragic loss of a promising young translator in Iran. As always, watch this space for the latest in literary news the world over!

MARGENTO, Editor-at-Large, reporting from Romania and Moldova:

A book of interviews with Romanian-German writer and past Asymptote contributor Herta Müller came out in French translation from Gallimard just a few days ago (on Feb 15). The book has already been praised for the lucidity showed by the Nobel-prize winner in combining the personal and the historical or the political.

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Translation Tuesday: The Strawberry Pickers by Felix Nicolau

freedom is expensive, paid up front!

This Tuesday, we’re excited to share a new poem by the Romanian poet, Felix Nicolau, whose work is a cutting and humorous comment on life for those crossing borders and coming into contact with other cultures, yet who are still at the very bottom of the social ladder. 


The Strawberry Pickers

is President Iliescu around—the sun will come out!
on Christmas we took our measure of freedom
seriously, didn’t the Star Poet of Pit Coal and his miner comrades from Jiu Valley invade
the capital?
didn’t they march through the springtime quarter or through the slums?
Hooray President Goatee!  Did he eat salami with soy like all of us?  Boo, Goatee!
we won’t sell our country out!
back then we had the means but no beans
now there’s lots of beans but no financial means
we’ve been hit by a nuclear bomb of whiskey and cigarettes
is President Iliescu around—the sun will come out!
the retirees applaud the miners the students heckle their grandparents
the scenery’s cleared of railroad locomotive plants
the sea is cleared of our fleet
freedom is expensive, paid up front!  Give us money to stay up front!
finally we can buy and sell the best football players
more powerful than the Chinese—we take all the strawberry picking jobs in Europe
we pick the strawberries on the bottom of the Atlantic
we emerge on the east coast and keep picking
watch out Alaska—WE’RE COMING!

Translated from the Romanian by MARGENTO and Martin Woodside


Felix Nicolau
is Professor in the Faculty of Theology and Literature, Lund University, Sweden. He is the author of eight books of literary and communication theory,
 five volumes of poetry
(Kamceatka—Time IS honey, 2014) and two novels. He is member on the editorial boards of The Muse—an International Journal of Poetry and Metaliteratura magazines. His areas of interest are translation studies, the theory of communication, comparative literature, cultural studies, translation studies, British and American studies, and Romanian studies. He is also swims, rollerblades, and rides a scooter. Sometimes he even reads more than writes.

MARGENTO (Chris Tănăsescu) is a poet, performer, academic, and translator who has lectured, launched books, and performed in the US, Southeast Asia, Australia, and Europe. His pen name is also the name of his multimedia cross-artform band that won a number of major international awards. He is co-author of poetryartexchange, his co-translations with Martin Woodside from Gellu Naum’s poetry (Athanor and Other Pohems) were nominated by World Literature Today as Most Notable Translation in 2013, and he has written the libretto for a rock opera composed by Bogdan Bradu. He deploys networks-of-networks and natural-language-processing algorithms in his collaborative poetry, and continues his work on the graph poem project together with Diana Inkpen and their students at the University of Ottawa. MARGENTO is Romania & Moldova editor-at-large for Asymptote.

Martin Woodside is a writer, teacher, scholar, and founding member of Calypso Editions. He is an interdisciplinary scholar who earned his MFA and a certificate of specialization in Children’s Literature from San Diego State University and his Ph.D. in Childhood Studies from Rutgers-Camden in 2015. He ​has written five books for children, a chapbook of poetry (Stationary LandscapesPudding House), and a full-length collection of poetry (This River Goes Both Ways, Wordtech). His translations of Romanian poetry have appeared in several books and journals, including The Kenyon Review Online, Asymptote, and the Brookyn Rail’s inTranslationHe’s published two collections of Romanian poetry in translation: Of Gentle Wolves, an anthology of contemporary Romanian poetry, and—along with MARGENTO—Athanor & Other Pohems, collecting the work of the brilliant surrealist Gellu Naum.


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Weekly Dispatches from the Frontlines of World Literature

The most important literary news from Hong Kong, Romania, Moldova, and the UK.

It’s Friday and that means we are back with the latest literary news from around the world! From Hong Kong, Editor-at-Large Charlie Ng brings us the latest on theater, literary festivals, and poetry readings. MARGENTO brings us exciting news about past Asymptote-contributors and other brilliant writers from Romania and Moldova. Finally, our own assistant blog editor, Stefan Kielbasiewicz shares news about poetry in the UK. 

Charlie Ng, Editor-at-Large, Hong Kong

November is a month filled with vibrant literary performances and festivals in Hong Kong. On stage from late October to early November, a Cantonese version of The Father (Le Père) by French playwright, Florian Zeller, winner of the Molière Award for Best Play, is brought to Hong Kong audiences by the Hong Kong Repertory Theatre for the first time.

The seventeenth Hong Kong International Literary Festival kicked off on November 3 with a grand dinner with Scotland’s well-loved crime fiction writer, Ian Rankin, who also attended two other sessions as a guest speaker: Mysterious Cities: the Perfect Crime Novel and 30 Years of Rebus with Ian Rankin. Carol Ann Duffy was another Scottish writer featured in this year’s Festival. The British Poet Laureate read her poetry with musician John Sampson’s music accompaniment on November 9. The dazzling Festival programme includes both international authors such as Hiromi Kawakami, Amy Tan, Min Jin Lee, Ruth Ware, Hideo Yokoyama, and local writers and translators such as Xu Xi, Louise Ho, Dung Kai-cheung, Nicholas Wong, Tammy Ho, and Chris Song.

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Translation Tuesday: Excerpts from Mediterranean Suite by Florin Caragiu

Not far away, the frescoes catch in their fishing nets The memory and the wind. Closely following behind us, the dolphins.

Today’s Translation Tuesday is brought to you by MARGENTO, Asymptote Editor-at-Large for Romania and Moldova, and poet and translator Marius Surleac. As you immerse yourself in these lines, it is worth keeping in mind Florin’s unique profile and approach to creation as he combines poetry, mathematics, and Eastern Orthodox theology. There is a specific emphasis on mystical practice, particularly the kind that involves “iconic Hesychasm.” These excerpts from Florin Caragiu’s work, Mediterranean Suiteexplore a sense of nostalgia, loss, and change.

Excerpts from Mediterranean Suite

It was only after long that we found the poet’s grave

In the graveyard by the sea. We barely made out

His name on the burial stone. We had passed

The spot several times

Without noticing it. Just as day after day people keep reaching

Your sight and you have no idea what they’re holding back.

Just as the blotchy calligraphic lettering

Overshadows a voice and its sharp beams

Coming out of a cloud of sea gulls, out of the lighted beacon

Piercing the sea’s costa and its coastal heart,

The wave amphitheater, and the city’s watery arteries.

 

Not far away, the frescoes catch in their fishing nets

The memory and the wind. Closely following behind us, the dolphins.

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