Language: Spanish

In Conversation: Canan Marasligil

What I find important is to talk from a personal place: sharing what you know, writing from what you know, expressing yourself with sincerity.

Canan Maraşlıgil’s world has always been a multilingual one. Currently based in Amsterdam, she was born in Turkey, spent her childhood in Belgium, and, as a student, lived for a short time in Canada. Today, as a freelance writer and literary translator, she often travels internationally to deliver workshops and presentations, and works in no less than five languages: English, French, Turkish, Dutch, and Spanish. Always involved in several inspiring projects at once, Canan explores literature through writing and translation, but also photography, video, podcast, and digital media. You can therefore easily imagine our joy when, in addition to all of her brilliant projects, she kindly agreed to schedule an interview with Asymptote’s team member Lou Sarabadzic.

Lou Sarabadzic (LS): You work mostly in French, English, and Turkish, and are regularly involved in projects dealing with multilingualism. What does multilingualism mean for you, and why is it so central to your work?

Canan Maraşlıgil (CM): Multilingualism is my reality. I grew up in a family who came from Turkey to Belgium. We spoke Turkish at home, I went to school in French, then I learned Dutch at school (Belgium is a trilingual country if you count German, but the second language we learned at school was Dutch). I was also hearing a lot of German in our living-room through TV and our cousins living in Zurich and Hamburg—I also have family who migrated to Germany. I started to learn English through friends of my dad who was working in a hotel as a night receptionist, and through popular culture—films and music. However, English only became part of my formal education much later. Now, I start my sentences in one language and end them in another. In my mind, everything is multilingual. Certain feelings come to me in one language, and others in another language. I also work in Dutch a lot, but I don’t really feel in Dutch, nor in Spanish, which is also a language I know, but use much less.

Multilingualism means seeing the world through many different lenses. You can try and understand issues and current affairs through different media in different languages. I think that’s a huge advantage in today’s world.

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Weekly Dispatches from the Frontlines of World Literature

Find out the latest in world literary news here!

In this edition of weekly dispatches, we remember Argentine author Hebe Uhart, celebrate the continuation of Guatemala’s national book fair, and look to China for news of cultural exchange and literary prizes. 

Sarah Moses, Editor-At-Large, reporting from Argentina:

Argentine author Hebe Uhart passed away on October 11 at the age of eighty-one. Uhart was the author of numerous collections of travel essays, stories, and novellas, and in recent years dedicated herself exclusively to the former, visiting towns in Argentina as well as countries in Latin America and further abroad to document what she saw. Her most recent work was a collection of non-fiction pieces about animals, which included her own sketches.

Uhart was born in the town of Moreno and moved to the capital to study philosophy at the University of Buenos Aires, where she later taught. For many years, she also led writing workshops out of her home. She was recognized as one of the greats among both readers and colleagues, and authors such as Mariana Enríquez and Inés Acevedo have written about her work. In 2017, she was awarded the prestigious Premio Iberoamericano de Narrativa Manuel Rojas.

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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.

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Asymptote Podcast: Back into the Archives

Access some of Asymptote's most iconic recordings from the last four years alongside Podcast Editor Dominick Boyle

On this episode of the Asymptote Podcast, we dive once more into the archives to tune into some of the riches that Asymptote has offered readers over the last 30 (now 31!) issues. Pick up where Podcast Editor Dominick Boyle left off in his last episode to listen to recordings from 2014 up to the present issue. Hear a thought provoking essay by Nobel laureate Herta Müller on the space between languages, along with an experimental translation of poetry by Nenten Tsubouchi that fully embraces this space. A fragmented, anonymous love poem in Old English translated by Christopher Patton and an electric reading by poet Steven Alvarez in English, Spanish, and Nahuatl round out the episode. Take a listen, and revel in the riches.

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What’s New in Translation: November 2018

Need recommendations for what to read next? Let our staff help with their reviews of four new titles.

Join us on this edition of What’s New in Translation to find out more about four new novels, from Amsterdam, Colombia, Russia, and Azerbaijan.

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Childhood by Gerard Reve, translated from the Dutch by Sam Garrett, Pushkin Press, 2018

Reviewed by Garrett Phelps, Assistant Editor

The narrators in Gerard Reve’s Childhood are at that credulous stage of youth where hazy moral lines are easily trespassed, where curiosity and cruelty often intersect. All of Reve’s usual themes are here: taboo sexualities, the illusion of moral categories, the delicate balancing acts that prevent erotic love from teetering into violence. But the two novellas in Childhood transgress in unexpected ways, insofar as children’s very inexperience puts them outside the sphere of sin.

The first novella, Werther Nieland, is told by a boy named Elmer, who bounces between friends’ houses and other neighborhood locales, and whose longing to form a secret club is less a wish than an absolute necessity. After feeling an affinity for local boy Werther Nieland, he decides: “There will be a club. Important messages have been sent already. If anybody wants to ruin it, he will be punished. On Sunday, Werther Nieland is going to join.” Why exactly Elmer is attracted to Werther never really gets explained. More confusing is the fact that as early as their first meeting Elmer feels the urge to abuse him.

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Documenting Translators: The Political Backstage of Translation

These films make protagonists out of the ultimate supporting actors in history, the translators.

Translators are often represented as mediators, actors in the communication of a text who are subordinate to the author. However, translators have often played crucial roles in politically pivotal moments. Denise Kripper tells us more about these translators, and the films in which their stories feature.

Coming soon this year is Les Traducteurs, directed by Regis Roinsard, a high-profile French thriller inspired by the true story behind the translation of Dan Brown’s novel Inferno. During this process, several international translators were shut away in a bunker in an effort to avoid piracy and illegal editions while aiming to launch the book simultaneously in different languages, all over the world. In real life, the book ended up generating $250 million, but in the action-packed film, “when the first ten pages of the top-secret manuscript appear online, the dream job becomes a nightmare – the thief is one of them and the publisher is ready to do whatever it takes to unmask him – or her” (IMDb).

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Weekly Dispatches from the Frontlines of World Literature

In these dispatches, we see efforts in world literature to feature underrepresented voices.

World literature will be inclusive only through a continuous effort of organizing against the dominant, listening to the underrepresented, and making space for the unheard to bloom. This week our Editors-at-Large report such efforts from Australia, Hong Kong, and Slovakia. Read on to find out how the voices of women, indigenous and local peoples are being amplified around the world.

Tiffany Tsao, Editor-At-Large, reporting from Australia:

As part of an effort to resist the colonial systems that are the Australian publishing industry, the Australian media and arts industries, and modern Australia itself, the literary quarterly The Lifted Brow made the decision to hand over the entire production of their December issue to an all-First-Nations team of writers, editors, and ancillary staff. “We at TLB are too white, in all senses of that term,” read the magazine’s official statement on the matter. “[I]t’s way past the time that this should’ve changed. Our job and responsibility now is to push back against these oppressive and harmful regimes-within-regimes, not because we can undo the past, but because we can make better the present and the future.”

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Weekly Dispatches from the Frontlines of World Literature

We're back with weekly updates in world literature from around the globe!

We’re back with our regular Friday column featuring weekly dispatches from our Asymptote team, telling you more about events in world literature. Join us on a journey to Guatemala and Chile, before heading to New York City, to find out more about the latest in world literature.

José García Escobar, Editor-At-Large, reporting from Guatemala:

We begin with great news coming from the Guatemalan author Eduardo Halfon whose novel Mourning (Duelo in Spanish) got shortlisted for the 2018 Kirkus Prize. Halfon, whom we interviewed for our blog last June, is sitting beside other fantastic writers such as Ling Ma, Nafissa Thompson-Spires, and Lauren Groff. Mourning, published by Bellevue Literary Press, was translated into English by Lisa Dillman and Daniel Hahn. The winner will be announced on Thursday, October 25, 2018.

Additionally, Halfon was just declared the recipient of the 2018 Miguel Angel Asturias National Prize in Literature, the most important literary prize in Guatemala.

On a much sadder note, recently, one of Guatemala’s most influential and emblematic poets, Julio Fausto Aguilera has passed away at the age of 88. He won the Miguel Angel Asturias prize, in 2002; he was part of the arts collective Saker-Ti, and one of the founding members of Nuevo Signo—arguably one of the most important literary groups in Central America. He wrote close to twenty books of poetry, and his family confirmed that he left two manuscripts that they hope will get published soon. Francisco Morales Santos, his friend en Nuevo Signo’s editor, called Julio Fausto a worthy and unbreakable man. Many other writers such as Vania Vargas and the most recent winner of the Miguel Angel Asturias Prize, Francisco Alejandro Méndez, also mourned the death of Aguilera.

To read more about Aguilera and Nuevo Signo, click here.

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Summer 2018: Dear Reader, From Our Lives We Write to You in Your Life

Happy International Translation Day—Enter Our Raffle To Win $200 In Prizes!

This September, we interrupted our usual blog programming to celebrate Asymptote’s 30 issues since our debut in January 2011 and draw awareness to National Translation Month while we are at it!  Whether you discovered Asymptote early on or just recently, we invite you to join us as we retrace the steps that brought us here. Beginning with the inaugural Winter 2011 issue, we will work our way chronologically through the archive, weighing in both as editors, shedding new light on how our editions are assembled, and as readers, drawing connections within each issue. Finally, don’t forget that you too can play a part in catalysing the transmission of world literature: share this #30issues30days showcase (and the actual issues themselves) far and wide! 

—Lee Yew Leong, Editor-in-Chief

Revisit every issue before reading about our 30th issue below:

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Winter 2018: A Treasure Hunt Without A Map

That viewer is me, is you, is us: readers of Asymptote, a journal offering the freedom of infinite interpretations.

Thanks to the hard work of Duncan Lewis, Jacob Silkstone, József Szabo, Marina Sofia, Emma Page, Kyrstin Rodriguez, Giorgos Kassiteridis, Tiffany Tsao, Alexander Dickow, and myself, November 2017 sees the launch of the Asymptote Book Club, a sustainability initiative meant to support independent publishers of world literature while also helping Asymptote stay afloat. By January 2018, after an intensive marketing campaign (e.g., I answer some questions about the Book Club here), we succeed in attracting more than 120 subscribers. In addition, our seventh anniversary is greeted by two important milestones, both to do with the number 100: We cross the 100 mark for number of team members on our masthead, and, with the addition of Amharic and Montenegrin in the Winter 2018 edition, we have gathered work from exactly 100 languages in our archive of world literature! In his interview with Asymptote that we ran in this issue, Lithuanian editor Marius Burokas laments that, as with many peripheral literatures, Lithuanian writing “can only speak of a one-way influence” from English at the moment; that said, Lithuanian literature is by no means a “small [one].” “There are only writers who are not good enough,” he observes wryly, “or writers who are not publicized enough.” This speaks to the very heart of Asymptote’s mission, which is why we have whole teams (from social media to graphic design) set up for the purpose of marketing the work that we’ve been entrusted with, as detailed in an earlier post where I released this publicity report. Where we direct our efforts applies to where we direct our funds as well: For instance, by January 2018, the money we’ve cumulatively thrown at Facebook promotion alone has exceeded $10,000 USD. It’s not only money that I’ve staked personally; in our eight years, I’ve supported almost every single Facebook post in order to encourage other team members as well as our own readers to engage with Asymptote’s feed, all so that we can be a more powerful advocate for so-called “small literatures.” Cruelly, then, around this time, because of the backlash from Russian interference of the 2016 US elections, Facebook deprioritizes social media pages like ours, hurting our ability to connect authors with new readers. I know because I was still supervising the new English Social Media Managers (as well as the Assistant Director of Outreach—whose day job was in social media analytics—I was hoping to install as a permanent team member) from the hospital ward where I was quarantined after radioactive treatment, anxious as much about our falling social media engagement as my own Geiger counter reading (which on the other hand refused to fall as quickly as the doctor and I had hoped, thereby prolonging my hospitalization and resulting in a larger medical bill). Here to introduce the Winter 2018 issue is Brazil editor-at-large Lara Norgaard.

Two parallel snapshots of everyday scenes spliced by double-circle frames form the cover image of Asymptote’s Winter 2018 issue. A woman calmly pushes a stroller on the left, mirroring a different woman on the right who wears dark sunglasses and stares directly into the camera, allowing us to only guess at her penetrating gaze. In these cover photographs, the edition’s guest artist, Elephnt, captures one of its central components: the way each contribution takes a powerful approach to perspective. The authors in this issue all write with a particular and intense gaze that confronts or perhaps commiserates with the reader.

I decided to look back at the woman on the right as I prepared to write this reflection. It is not just her staring back at me that catches my eye; she seems to recognize the camera, to acknowledge how the image representing her was created. The Winter 2018 issue of Asymptote was my first as part of the magazine’s team. I witnessed—and participated in—the compilation of so many voices into one unified whole. READ MORE…

Summer 2017: New Words Usher Forth New Worlds

Come play Spin the Globe with us!

ANATOMY OF AN EDITOR’S NOTE

World literature is the literature of many worlds[1], intersecting on one “endlessly rotating earth[2]” (Chen Li). This summer, come play Spin the globe![3] with the only magazine that could assemble never-before-published[4] writing from 27 countries and 21 languages[5] in one issue. Alongside an interview with Michael Hofmann, fiction by master story-teller Mercè Rodoreda, poetry by Ghassan Zaqtan and Marosa di Giorgio, essays on Bohumil Hrabal and Tove Jansson[6], and reviews of the latest titles, we celebrate the very best the canon has to offer via a showcase of contest winners[7] picked by judges David Bellos and Sawako Nakayasu. While new words pave the way for new worlds, every one of these gems, to quote repeat contributor Ko Un[8], also represents “[a] world…in want of the world.[9]

Noemi Schneider’Life as Trauma[10] introduces us to Binjamin Wilkomirski, the author of a fabricated Holocaust memoir, and hence a man who has never existed. In Orshina, Hanit Guli’s poignant drama, a promise to the family is revealed to be empty when, all packed up, the father remembers he has no address to provide the movers. And in Mercè Rodoreda’s Aloma, remembrance of childhood loss punctuates a woman’s mundane existence, just as Ah-reum Han’s tribute to Kerascoët’s “dazzling, ruthless worlds” is interwoven with the mourning for a deceased teacher. While Samudra Neelima’s narrator plants “black seeds” in order to grow a “beloved black tree,” Alejandro Albarrán desires to “write the amputation”—both poets sketch writing’s failure, but, through performing failure, succeed.[11]

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Fall 2016: A Fresh Opportunity to Talk

Asymptote’s power lies in its willingness to account for the inexpressible and use it as ground-zero for its vision.

Halldór Laxness, Stefan Zweig, László Krasznahorkai—just when you think you are announcing just these three international literary superstars in the Fall 2016 lineup, it turns out you have four. On October 3, Italian journalist Claudio Gatti controversially unmasks Elena Ferrante as Anita Raja. But, even before Gatti’s unwelcome revelation, I had already picked out Anita Raja’s contribution as a highlight and intended to include her name in all our issue-related promotional materials. Fearing that we would be accused of riding the controversy, I drop a note to Criticism Editor Ellen Jones: “What do you make of all this Anita Raja = Elena Ferrante business? Is it opportunistic of us to feature her name in our publicity materials (which we already sent for printing) and on the cover (which can still be changed)?” The issue’s been on her mind as well. “We want to avoid the same kinds of accusations NYRB are getting in this morning’s papers,” Ellen says, “but I don’t think it would do too much harm to have her as one among many names in our promotion materials… I don’t think we need to bury a good essay on purpose, in short.” But what about in the promotional materials themselves? How much do we say about Anita Raja? Communications Manager Matthew Phipps decides in the end to take a risk and state matter-of-factly that Elena Ferrante has been unmasked as Anita Raja (which anyone who has been following literary news already knows). Too frazzled to make a call on the copy after staying up for 36 hours to put together the video trailer (it’s been a while since I made these for Asymptote, and I am rusty), I sign off on the newsletter. That’s how, in spite of a massive publicity blitz that involved printing and distributing 4,000 postcards; print and digital ads in the Times Literary Supplement that set us back by 900 GBP; 97 personalized emails to media outlets, 90 tweets, 20 Facebook posts, and seven blog posts about the Fall 2016 issue (all documented in then Marketing Manager Ryan Celley’s publicity report here), dear reader, we still came to be booed. Here to introduce our Fall 2016 issue is Assistant Editor Garrett Phelps. 

What a work of literature ‘means’ is always tough to get a feel for, let alone talk about. Of course a famous theorist or two have claimed this is an insurmountable difficulty. Maybe that’s true, I don’t know. Not being too slick with the theoretical stuff, I’ll just say that literature is meaningful to the extent it’s ambiguous and open-ended. And if any idea unifies Asymptote’s Fall 2016 issue, it’s the way interpretive problems result from this state-of-affairs.

For Anita Raja, ignorance is the reader’s point of departure and return. In “Translation as a Practice of Acceptance” she argues that “the translator must be above all a good reader, capable of diving into the intricacies of the text, taking it apart, discerning all its nuance. The translator is, in short, a reader required to puzzle over the complexity of the original text, line after line, and to piece it together in the new language—a fundamentally impossible task.” Good translators are, essentially, readers par excellence. Anyone who’s dabbled in the field probably won’t find this idea controversial. Sooner or later, though, even a top-notch translator hits the same wall as the average reader, who’s more okay letting intricacies, nuances and puzzle-pieces remain gut-feelings. Demanding much more is futile even if doing so is worthwhile. This is especially true of translation, where success is often the sum of accumulated failures. 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…

Winter 2016: Gifts

Set against the highest quality control standards, Asymptote weighs equally the stumbling, daring hunches of experimentation.

Daniel Hahn’s Ask a Translator column, in which he fields questions about his craft posed by Asymptote readers, kicks off at the blog. What should have been a happy occasion (our fifth anniversary, celebrated in New York, London, Hong Kong, Ottawa, Chicago, and Belgrade) is marred somewhat by a quarrel with one of our partner institutions. I should first note that the success of the past year (2015) has been a true double-edged sword: although it has bestowed greater visibility (which has in turn brought us partnerships with hitherto-undreamt-of international reach—all the better, I suppose, to catalyse the transmission of literature), our own team members are more coveted by other organizations as a result. Since these are paying organizations (either non-profits with institutional backing or for-profit companies with commercial viability), Asymptote can’t compete. With success also comes assumption that our coffers are being filled to the brim by sponsors and we should be spreading the wealth around. Yet, we are essentially still going it alone; I’m still working full-time without pay and channelling funds raised into web development costs, translation contests, and marketing the work that we’ve been entrusted with. Someone from a partner organization turns down an invitation to moderate our New York event for fear of being interpreted as endorsing our policy of not paying contributors; he demands that we start doing so. Should implies can, but the reality isn’t so. Still, it’s wonderful that translators have such a fierce advocate in this person; I wish editors at publications like ours also had organizations and movements behind them too. Here to introduce the Winter 2016 issue is Assistant Editor Lindsay Semel.

I was recruited as one of Asymptote’s Educational Arm Assistants in January of 2016, just around the time this issue launched. What I want to share now is a story about my first weeks with the journal and my reckoning with the Winter 2016 issue that is ultimately a defense of inefficiency and the impostor syndrome.

Even two-and-a-half years later, I still know this issue more intimately than any other, because when I came aboard as a recent undergrad (it’s not atypical for Asymptote team members to be a bit green) I felt I’d been given two unique gifts. The first, bafflingly, was the complete confidence of our editor-in-chief, Lee Yew Leong. As far as the Educational Arm was concerned, I was free to take on whatever naïve dreams I could imagine—as long as the final product met the standards of the journal. My first spicy taste of impostor syndrome—now a familiar one when negotiating Asymptote assignments—came from the simple fact that I wasn’t a teacher. I could identify with Yann Martel when he said in his interview: READ MORE…