Language: Thai

To Become an Afterlife: An Interview with Christian Jil Benitez on Filipino Literature in Translation

December 3, 2025  |  in Interviews  |  by Alton Melvar M Dapanas

After all, with all the languages and cultures of the country, one can only speak of the ‘Philippine’ in partials. . .

Named Poet of the Year in 2018 by the Komisyon sa Wikang Filipino (Commission on the Filipino Language), Christian Jil Benitez is a queer Filipino poet, scholar, and translator. His debut book, Isang Dalumat ng Panahon (A Theory of Time, 2022), was awarded the Best Book of Literary Criticism and Cultural Studies at the National Book Awards in the Philippines, substantiating his important work in codifying the cultural formation of ‘Filipino time’ via the material, the poetic, and the tropical, in addition to finding an equilibrium between Western critical theory and indigenous epistemologies.

Beyond his scholarship, from positioning the bugtong (or the Tagalog riddle) as ecopoetry to recasting vernacular oral traditions as matrices of queer world-making, Benitez’s translations maintain that their critical role is not merely linguistic, but also results in a creative rebirth, of ‘translation that acknowledges, and relishes even, the transfiguration of the material as it is carried over from one containing language to another’.

In this conversation, I spoke with Dr. Benitez, traversing Bangkok and Manila, about the pressures and prospects of translation in neocolonial, multilingual Philippines, as well as the ethics of barkadahan, especially when familiarity and friendship become central to the labour and logics of literary translation.

Alton Melvar M Dapanas (AMMD): Your debut, Isang Dalumat ng Panahon (A Theory of Time), excavates the construct of time through Philippine-language dictionaries, poetry, historico-colonial texts, metaphors, and indigenous orality, revealing it as ecological, discursive, and material. How does ‘Filipino time’, as you’ve theorised it, diverge from Western, capitalist temporality?

Christian Jil Benitez (CJB): We commonly use ‘Filipino time’ to refer to the tendency of Filipinos to be late: to start an event in ‘Filipino time’ means to actually start one hour after the initially agreed time. The term was supposedly coined by the Americans during their occupation in the country to shame Filipinos for this behavior, but this habit has also been observed in many Southeast Asian (as well as other non-Eurowestern) contexts, and can be understood as the persistence of polychronic sensibility in these cultures despite the imposition of Eurowestern, capitalist, and patriarchal monochronicity. READ MORE…

Weekly Dispatches From the Frontlines of World Literature

December 6, 2024  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, Andriana Hamas, and Xiao Yue Shan

The latest in literary news from Southeast Asia, Bulgaria, and Chile!

In this week of world literature, our editors cover the influence of censorship and propaganda on literature, and look back on Southeast Asian literature released this year.

Alton Melvar M Dapanas, Editor-at-Large, reporting from Southeast Asia

What a year in Southeast Asian literature! The Philippines, Vietnam, and Thailand took center stage in Penguin Random House Southeast Asia (SEA)’s catalogues, with a range of texts published throughout the year. First off in March was Bleeding Sun by playwright-novelist Rogelio R. Sicat, translated by one of Sicat’s children, the translator and editor Ma. Aurora L. Sicat, from the original Dugo sa Bukang-Liwayway, which was serialised beginning 1965. Sicat, who came of age in the aftermath of the American Occupation, wrote novels which further revealed his belief in land reform and love for Tagalog as a literary language, veering away from his contemporaries who were influenced by Euro-American conventions.

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Winter 2024: Highlights from the Team

January 29, 2024  |  in News  |  by Alex Tan, Anna Rumsby, Bridget Peak, Ellen Elias-Bursać, José García Escobar, Julie Shi, Mia Manns, and Michelle Chan Schmidt

Get excited to dip into our Winter 2024 issue with these highlights from our team!

Ilya Kaminsky’s “Reading Dante in Ukraine” makes an impassioned case for the crucial role of art amid the horrors of war. What we need, as Dante’s journey shows us, is to defend ourselves with it: a tune to walk to, even in the underworld, as long as one still walks. In Miklós Vámos’s “Electric Train,”  translated by Ági Bori‚ the question-answer format gives the piece levity and rhythm, and the counterpoint of the humor interplaying with the troubled relationships brings it powerful depth. I found wisdom in the wry humor of Jaime Barrios Carrillo’s poems in David Unger’s translation. I love the image of angels spending the evening in their hotel rooms, ironing their enormous white wings.

—Ellen Elias-Bursac, Contributing Editor

The masterful language in Ági Bori’s translation, as though hand-holding the reader through a children’s story, and the simple act of gifting a present in the story belie the depth and complexity of emotional turmoil that wash over Miklós Vámos’s characters in “Electric Train,” a turmoil that seemingly hits out of nowhere like a wave yet in fact stems from a deep brewing well of built up memories and tensions. The contrast highlights all the more the challenges, and perhaps even limits, of recognizing and understanding another’s intentions, experiences, and feelings.

Rage, sorrow, resilience, helplessness, hope, a hunger for life and love and connection, grief, a numbing screaming despair: it is difficult to put into words the sensations that ran through me as I read Samer Abu Hawwash’s “My People” in Huda J. Fakhreddine’s translation. It cannot possibly compare to the feelings and thoughts of Samer Abu Hawwash and the Palestinian people, to the reality of having each day and moment narrow down to dried bread and tear tracks.

I was intrigued by Laura Garmeson’s discussion, in her review of Brazilian author Itamar Vieira Junior’s Crooked Plow, of the tongue as “both creator and destroyer. It has the power to make and unmake worlds.” It is a through line in Crooked Plow that reminds us of the power and possibilities of language and story to shape our lives. Garmeson’s review, in a way, is also a fire that kindles awareness of Itamar Vieira Junior’s work and the legacies, realities, and possible futures for Afro-Brazilian communities. The tongue as symbol also feels like a through line between these pieces in their rumination on what is gained and lost and pushed aside in the choices we make of what, how, and when we say (or write) things, or not.

—Julie Shi, Senior Executive Assistant

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A Year of Reading the World

December 14, 2023  |  in Essays  |  by Xiao Yue Shan

Sometimes reality would seem unbearable if literature were not there to decipher it, to give it heart.

Every month, the Asymptote Book Club shares a newly published, translated title with readers and subscribers. From Nobel laureates to electrifying debuts, this selection features some of the most powerful voices writing in any language, opening up an entry into the immense archives of  wold literature. In this essay, we look back on the books of 2023 thus far. 

Sign up for the Asymptote Book Club here and have our curated titles sent to your door!

Whenever a major event transpires, anywhere in the world, the instinct of many is to reach into the annals of writing—for explanation, ruminations, solace, transcriptions of history, glimmers of what’s to come, stories of people and their ordinary or extraordinary lives. . . On January 1 of this year, Croatia officially joined the Schengen Area, making it the twenty-seventh member to benefit from the region’s removal of border controls—and the search for Croatian books and literature went up 30%. During the surprising and intermittently absurd “Chinese balloon incident” in early February, searches for books on Chinese espionage went up a full 100%. Interest for Ukrainian literature stayed at a high amidst the ongoing conflict, and peaked when the International Criminal Court issued an arrest warrant against Vladimir Putin for committing war crimes regarding the illegal deportation of children. As a devastating civil war broke out in Sudan in mid-April, the world immediately sought out writing from and about the region, and when Niger’s government was overthrown in a military coup on July 26, searches for Nigerien books and authors also saw a significant surge. And as writers from Palestine and Israel continued, over the decades, to release texts around nation, land, exile, occupation, humanity, and violence both physical and psychological, we all watched in horror as the devastation grew almost unimaginably—and we looked for those books.

Books and the world they’re written in, books and the worlds they give us—sometimes reality would seem unbearable if literature were not there to decipher it, to give it heart. As the poet Adonis said, “My homeland is this spark this lightning in the darkness of the time remaining. . .” (translated by S.M. Toorawa); with language, such texts lend us that brightness, and we are rendered able to discover the many narratives and landscapes of our long, shadowy era.

In this year’s Book Club, we’ve thus far featured eleven titles: eleven authors, eleven countries, eleven languages, and eleven translators. Each brought their own entrancing energy of storytelling, whether taking history or the human psyche as material, building on myth or fearlessly experimental. There were titles that sought to give us a vivid portrait of a certain neighbourhood, a certain period. Others dove into the intricate channels of thinking to paint a picture of the mind. READ MORE…

A Pointed Atemporality: Mui Poopoksakul on Translating Saneh Sangsuk’s Venom

June 22, 2023  |  in Book Club, Interviews  |  by Barbara Halla

He's very aware of the rhythm and musicality of this text . . . he said it should take something like an hour and thirty-seven minutes to read.

In our May Book Club selection, a young boy struggles with a snake in the fictional village of Praeknamdang, in a tense battle between beauty and cruelty. In poetic language that is nostalgic for the world it describes without romanticizing it, Saneh Sangsuk creates a complex and captivating world. In this fable-like story there are no simple morals, in keeping with Sangsuk’s resistance to efforts to depict a sanitized view of Thailand and to the idea that the purpose of literature is to create a path to social change. In this interview with translator Mui Poopoksakul, we discuss the role of nature in the text, translating meticulous prose, and the politics of literary criticism.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.   

Barbara Halla (BH): How did you get into translation, especially given your law background?

Mui Poopoksakul (MP): I actually studied comparative literature as an undergrad, and then in my early twenties, like a lot of people who study the humanities, I felt a little bit like, “Oh, I need to get a ‘real job.’” I went to law school, and I worked at a law firm for about five years, and I liked that job just fine, but it just wasn’t what I wanted to do for the rest of my life. 

So, I started thinking, What should I be doing? What do I want to do with myself? I had always wanted to do something in the literary field but didn’t quite have the courage, and I realized that not a lot of Thai literature been translated. I thought, If I can just get one book out, that would be really amazing. So, I went back to grad school. I did an MA in Cultural Translation at the American University of Paris, and The Sad Part Was was my thesis from that program. Because I had done it as my thesis, I felt like I was translating it for something. I wasn’t just producing a sample that might go nowhere.

The whole field was all new to me, so I didn’t know how anything worked. I didn’t even know how many pages a translation sample should be. But then I ended up not having to worry about that because I did the book as my thesis.

BH: You mentioned even just one book, but did you have any authors in mind? Was Saneh Sangsuk one of those authors in your ideal roster?

MP: I wouldn’t say I had a roster, but I did have one author in mind and that was Prabda Yoon, and that really helped me get started, because I wasn’t getting into the field thinking, “I want to translate.” My thought was, “I want to translate this book.” I think that helped me a lot, having a more concrete goal. 

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Announcing Our May Book Club Selection: Venom by Saneh Sangsuk

May 31, 2023  |  in Book Club, Reviews  |  by Barbara Halla

For every moment of beauty, there is the shadow of cruelty hanging in the background.

A story about the dissolving borders between human and animal, life and death, love and cruelty, Venom by Saneh Sangsuk is a kind of philosophical fairy tale, with both danger and beauty always lurking at its edges. Told through shifting perspectives in poetic prose, this slim novel is densly packed with ideas and energy, providing a thrilling introduction to Sangsuk’s work for English-language readers.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.

Venom by Saneh Sangsuk, translated from the Thai by Mui Poopoksakul, Peirene Press, 2023

The world is full of poetry; the world is full of cruelty—this is not a contradiction. As I read Saneh Sangsuk’s deceptively slim novel Venom, I was reminded of Laura Gilpin’s “Two-Headed Calf.” At barely nine lines, Gilpin’s poem also has depth that reaches far beyond its brevity. The first stanza begins with a warning (that the idyllic pastoral will soon be disrupted), while the final stanza establishes a heart-wrenching and melancholic portrait of a recently-born, two-headed calf revelling in the light of the moon, “the wind on the grass,” and the warmth of its mother. The beauty of Gilpin’s poem lies in the way it holds two worlds in its lines, but also in how it makes possible for a cruel tomorrow to never arrive. In a sense, by returning to this poem, we are returning to a moment in another world where a two-headed calf—this “freak of nature”—is frozen in an eternal evening of joy and love.

I found in Venom the same sensations, the same negotiation between poetic beauty and cruelty. The former comes quickly and easily, as the book opens with a little boy contemplating a mesmerizing sunset in the Thai countryside: “Over the horizon to the west, the clouds of summer, met from behind by sunlight, glowed strange and lustrous and beautiful.” Additionally, the first thing we learn about this boy is that he was granted the privilege of naming his family’s eight oxen, and he had been eager to fulfil this task with care and artistic flare. He calls the animals by names like “Field, Bank, Jungle and Mountain—Toong, Tah, Pah and Khao,” and “Ngeun and Tong, Silver and Gold,” or “Pet, Ploy, Ngeun and Tong.” These group of names speak to him with prosodic logic: some rhyme, and others provide a chance for alliteration. All in all, they belong to a group of words that “sounded like [they] could be poetry,” a phrase that Sangsuk repeats twice. This act of naming, the author suggests, is an act of writerly creation. While the world is not inherently poetic, some people are more prone to make poetry from its elements. READ MORE…

Weekly Dispatches from the Front Lines of World Literature

August 26, 2022  |  in Dispatches, News, Weekly Roundup  |  by Carol Khoury, Nestor Gomez, and Peera Songkünnatham

The latest literary news from El Salvador, Thailand, and Palestine!

This week, our editors from around the world report on a new poetry anthology promoting peaceful coexistence in El Salvador, new translations of Arab women authors, and discussions of magical realism and the Isaan dialect surrounding the Thai winner of a grant from English PEN. Read on to find out more!  

Nestor Gomez, Editor-at-Large, reporting from El Salvador

On August 5, Otoniel Guevara presented a new anthology titled Peace Isn’t Achieved Just With Desire at the Casa Morazán in Tegucigalpa, Honduras. In the anthology’s prologue, Guevara describes the project as a compilation of poems in defense of human rights, peaceful coexistence, and respect for life on the planet. He also characterized the anthology as a criticism of regimes that promote fanaticism, hatred, lies, totalitarianism, and disrespect for life in all its manifestations.

Inspiration for this project began several years ago when, in Guevara’s words, “a new religion was maturing in El Salvador, encouraged by a surge in journalism for sensationalism and blatant fake news in support of political projects empty of content, but rich in images and superficial concessions, especially to the youth. This populism, packaged to preserve and strengthen ignorance and ahistoricism, was rapidly coating a layer of corrosive mold: fanaticism.” Publication of the anthology was delayed because of the pandemic and the love affair that many Salvadorans established with the current ruler of El Salvador. However, supporters of the project continued to grow among friends and cohorts.

READ MORE…

Weekly Dispatches from the Front Lines of World Literature

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

Literary news from Thailand, Poland, and the Philippines!

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

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

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

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

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

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Weekly Dispatches from the Front Lines of World Literature

June 24, 2022  |  in Dispatches, News, Weekly Roundup  |  by Carol Khoury, Nestor Gomez, and Peera Songkünnatham

New poems, book fair discussions, and online publications from Thailand, El Salvador, and Palestine!

This week, our editors from around the world report on an international poetry volume in support of human rights, an author talk between two Salvadoran poets, and an online exploration of the history of Jerusalem that includes a wealth of Palestinian literature. Read on to find out more!

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

Five Thai poems got a chance to shine in the company of poems in English, Spanish, Portuguese, French, and Swahili. On June 15, the Human Rights Defenders Poetry Challenge, organized by Protection International together with its partners from ProtectDefenders.eu and the University of York, concluded with an awards ceremony and a booklet launch. As part of the #StayWithDefenders campaign, the challenge called on “all creatives, activists and advocates for human rights” to submit poems honoring those who “have suffered, succeeded, fought and fallen.” The top three winners were announced from a pool of thirty finalists, five from each of the languages. You can read the booklet here; every poem not originally in English is accompanied by an English translation. How nice it is for poets to slip through the political and poetical confines of their countries into an ad-hoc international space, at least virtually on Zoom and in translation.

“To be a poet in this country is like being in a cage,” stated Mek Krueng Fah about Thailand upon winning third place overall. His poem “Remember, we’re all by your side” (โปรดจำไว้.. เราต่างอยู่ข้างเธอ) manages to console even as it stares into an unrelenting bleakness: “On the road of fighters that will know no end, / The ones who came before lie dead, uncovered; / Their bodies caution ‘watch your step, my friend,’ / And nightly, to protect, their spirits hover.”

First place went to “The Full Truth” (Ukweli Kamili) by Martin Mwangi from Kenya. The poem deftly impersonates the flippant attitudes of shrewd politicians who speak in half-truths: “Welcome, it is here that we will give you vegetable rice while we eat pilau rice / then if you complain we’ll say be thankful at least you ate. / However, for how long shall you live with these half-truths of at least? / I don’t know, answer that yourself.” Second place was awarded to María del Campo from Uruguay, whose “To Those Afraid of Windmills” (A quienes les temen los molinos) will make human rights defenders—“those who slip through the cracks and pose a threat to the wall as bridge, brick, step, door”—feel seen and touched. READ MORE…

Weekly Dispatches from the Front Lines of World Literature

May 6, 2022  |  in Dispatches, News, Weekly Roundup  |  by Asa Chen Zhang, Peera Songkünnatham, and Suhasini Patni

Prizes, poetry contests, and new works from India, Thailand, and China!

This week, our editors from around the globe report on publishing trends in India, the memorialization of the author Wat Wanlayangkoon in Thailand, and an exciting new development in Chinese to English interpretive translation, led by the Accent Society. Read on to find out more!

Suhasini Patni, Editor-at-Large, reporting from India

Temperatures are soaring and the country is experiencing grueling heatwaves. Indians have taken to social media to critique the Modi government’s negligent response to the climate crisis. Many are also sharing their memories of the devastating and nightmarish second wave of the coronavirus that led to numerous deaths in the country this time last year.

The pro-Hindutva, right-wing Bhartiya Janta Party is known to instigate violence, especially against Muslims, in the name of the Hindu religion. In the latest reform to eradicate voices of dissent, verses by Urdu poet Faiz Ahmed Faiz have been dropped from the CBSE (Central Board of Secondary Education) class 10 textbook. Faiz, one of the most celebrated Urdu poets and a nominee for the Nobel Prize in Literature, addressed the issues of military dictatorships and tyranny in Pakistan. According to Scroll.in, “the verses were part of the ‘Religion, Communalism and Politics—Communalism, Secular State’ segment of the National Council of Educational Research and Training’s textbook called “Democratic Politics II.” The two poems are “Let Us Walk in the Market in Shackles” and “Upon Returning from Dhaka.”

In 2021, the New India Foundation (NIF) announced its inaugural grant for writing books relating to India’s history. The three winners of the NIF Translation Fellowship were chosen from ten Indian languages and each awarded a stipend of INR 6 lakhs for a period of six months with mentorship opportunities as well as publishing and editorial support. The three winners are Venkateswar Ramaswamy (literary translator) and Amlan Biswas (statistician) who will translate Nirmal Bose’s Diaries 1946-47 from Bangla; NS Gundur (academician and literary historian) who will translate DR Nagaraj’s Allamaprabhu Mattu Shaiva Pratibhe from Kannada; and Rahul Sarwate (academician and historian) who will translate Sharad Patil’s Marxvad: Phule-Ambedkarvaad from Marathi. More can be read about the winners here.

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Weekly Dispatches From the Front Lines of World Literature

April 1, 2022  |  in Dispatches, News, Weekly Roundup  |  by Cristina Pérez Díaz, MARGENTO, Peera Songkünnatham, and Suhasini Patni

Book fairs, Booker longlists, and magazine launches from Thailand, Puerto Rico, India, and Romania!

This week, our editors from around the globe report on the political undertones of a Bangkok book fair, new translations of Indian literature, new magazines out of Puerto Rico, and celebrations of Francophone literature in Romania. Read on to find out more!

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

Bookworms are back wheeling their suitcases around in the country’s biggest book fair. It is the place to get another year’s worth of kong dong (“pile of pickles”)—i.e., unread books. After a cancellation last year and a move online the year before, the twelve-day National Book Fair, organized by the Publishers and Booksellers Association of Thailand is being held at the new rail transport hub, Bangsue Grand Station, until April 6. Many publishers, both major and independent, release new books in anticipation of this event, where they can get a bigger cut from sales and buyers have come to expect extra-special discounts. With over 200 publishers participating, author meet-and-greets, and predictable logistical complaints at the temporary new venue, we can perhaps sense a return to normalcy.

If one looks at this normalcy more closely, however, one can see an increasing trend of explicit politicization in the largely commercial enterprise. The calendar of main-stage events includes book launches by pro-democracy politicians from the Move Forward Party and the Progressive Movement (of the disbanded Future Forward Party). The names of four such politicians, all men, grace the official calendar—without the titles of their books, oddly enough. The Progressive Movement is also publishing its first translation: an illustrated children’s book, นี่แหละเผด็จการ (Así es la dictadura) by Equipo Plantel, first published in 1977 in post-Franco Spain. These examples provide quite a contrast to ostensibly political but effectively depoliticizing events led by, for lack of a better word, the literary establishment, like the panel discussion “Stepping into the Third Decade of the Phan Waen Fa Award: Political Literature for Democratic Development,” featuring three award committee members and a literary scholar.

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Weekly Dispatches from the Front Lines of World Literature

January 14, 2022  |  in Dispatches, News, Weekly Roundup  |  by Eva Wissting, MK Harb, and Peera Songkünnatham

From Scheherazade to Avicii, the literary news of the week spans new looks at pivotal figures.

From book fairs to bestsellers, the world of international letters knows no rest. In Qatar, the 31st Doha International Book Fair has launched with an in-person schedule. In Japan, a new project aiming to promote Southeast Asian and Indian literature has published an impressive roster of short fiction, and in Sweden, two beloved figures are immortalized in text. Read on to find out more!

MK Harb, Editor-at-Large, reporting from Lebanon

Happy New Year from the world of Arabic literature! With Omicron, media frenzies, and restrictions around the world, we could all use some escape. Travel might be limited, but how about an escape to the fantasy world of Arabian Nights? The iconic collection that has inspired countless others around the world, from the Brothers Grimm to Naguib Mafhouz, has received a fresh new translation by Yasmine Seale—known for her riveting new translation of Aladdin. Enter the world of ghouls, mystics, and enchantresses, and enjoy your COVID-free time travel (it has some brilliant images!).

The theme of time travel continues with the launch of the Winter issue of Arab Lit Quarterly! Responding to the theme of folk and featuring great writers such as Palestinian author Sonia Nimr, this issue promises to “cover stories, songs, and poetry from the last millennium, from Andalusia to Yemen, with stops across the cities in between!” You can get your copy here.

That being said, the world is not entirely being relegated to the virtual, as Qatar launches the 31st Doha International Book Fair for the year of 2022, under the theme of “light is knowledge.” Finally, we will visit our first in-person book fair in years, which will host renowned Arabic book distributors such as Samarkand Books from Qatar and Antoine Cachet from Lebanon! READ MORE…

Weekly Dispatches from the Front Lines of World Literature

November 19, 2021  |  in Dispatches, News, Weekly Roundup  |  by José García Escobar and Peera Songkünnatham

The latest news from Thailand and Central America!

This week, our editors around the world report on the exciting developments in publishing and journalism. From expressions of the free press to Nobel laureates, read on for the latest from the ground  in world literature!

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

Launching this week, the web publication series Justice in Translation brings together urgent works from Southeast Asian languages; its first releases include an incendiary poem about children’s rights translated from Malay, a short story about how to write about dispossession translated from Filipino, and essays on legal reform and educational equity translated from Indonesian. Part of a five-year initiative on Social Justice in Southeast Asia at the University of Wisconsin-Madison, the series brings the institutional capacity of the academy in sustaining the practice of translation as advocacy in the region, giving both international exposure and small honorariums.

What “international exposure” looks like is being reconfigured through digital academy-fueled efforts like this one. As the anti-dictatorship three-finger salute drawn from The Hunger Games has spilled over Thai borders to Myanmar and other countries, so has the “broad” English-speaking audience for domestic issues, which increasingly includes people in one’s neighboring countries.

And as the “Milk Tea Alliance” spreads beyond East Asia, a sense of transregional solidarity has also pervaded public works of scholarship. Last week, the Southeast Asia-focused academic blog New Mandala, hosted by the Australian National University’s Coral Bell School of Asia Pacific Affairs, announced a partnership with the Indo-Pacific-focused independent platform 9DashLine. One can hope to see more transregional essays such as this recent one by Show Ying Xin about literary translation in plurilingual Malaysia and Singapore, which troubles the distinction between translating “within” and translating “out.” READ MORE…

Weekly Dispatches from the Front Lines of World Literature

October 22, 2021  |  in Dispatches, News, Weekly Roundup  |  by Julia Sherwood and Peera Songkünnatham

The latest news from Poland and Thailand !

This week our writers bring you the latest news from Poland and Thailand! In Poland, Julia Sherwood takes us through the Conrad Festival, the 2021 winner of the prestigious NIKE Prize, and the launch of the first ecopoetics course in the country. In Thailand, Peera Songkünnatham explains how an innovative series of illustrated children’s books have risked censorship for their depiction of government protests. Read on to find out more! 

Julia Sherwood, Editor-at-Large, reporting from Poland

Tomorrow, 24 October, is the closing day of the 13th edition of the Conrad Festival that started in Kraków on 18 October headlined “The Nature of the Future”, which has sought to “imagine the shape of our near and distant future, all while thinking about the changes that we are going to witness in the natural environment”, as well as highlighting themes of feminism. International literary heavyweights—Han Kang, Rebecca Solnit, Marieke Lucas Rijneveld, Valeria Luiselli, Helena Janeczek, Elias Khoury, Lisa Appignanesi, Behrouz Boochani, Brandon Hobson, George Saunders and Petra Hůlová—as well as acclaimed Polish writers such as Julia Fiedorczuk, Mikołaj Grynberg and Dorota Masłowska have been taking part in discussions and presentations, held mostly online (the recordings can be watched on the festival’s YouTube channel.)

2021 NIKE Prize, Poland’s most prestigious literary award went to Kajś, Opowieść o Górnym Śląsku (Somewhere,  A Tale of Upper Silesia), in which its author, Zbigniew Rokita, searches for his Silesian roots and grapples with his own ambivalent feelings about his native region. The decision to shortlist only one work of fiction while all the other books, including the winning title, represented nonfiction, caused some controversy. However, this is hardly surprising given the strong position of literary reportage in contemporary Polish literature. The genre even has its own award, the Kapuściński Prize (this year it went to Jessica Bruder’s Nomadland , translated into Polish by Martyna Tomczak) and its own teaching institution, the Warsaw Institute of Reportage whose founders and teachers include the most celebrated reportage authors Mariusz Szczygieł, Paweł Goźliński, and Wojciech Tochman. 

Last year Filip Springer, one of the Institute’s teachers launched a new course, The School of Ecopoetics, the first of its kind in Poland. Feeling the need  to explore what individuals and writers can do to prevent an ecological disaster, Springer, a writer and photographer (and past Asymptote contributor), approached the poet, translator, and literary critic Julia Fiedorczuk who is a leading exponent of ecopoetics in Poland (and also a past Asymptote contributor) to design the programme. Although the course was aimed at writers, poets, journalists, and critics, the organizers stressed that the School of Ecopoetics “is not a school of writing”. Instead, “its goal is to help the students develop ecocritical reflection, to change their way of thinking by drawing attention to the relations between human beings and non-human nature.”  Judging by the enthusiastic responses shared by some of the first twenty graduates on the School’s Facebook page, the mix of traditional lectures and fieldwork (hiking through forests, sleeping in tents and discussions around the campfire) held from June 2020 to October 2021, was a resounding success. Recruitment for next year’s course starts in November.   READ MORE…