New in Translation

What’s New in Translation: February 2019

Find the latest in world literature here, presented by members of the Asymptote team.

Curious about new titles in translation from around the world? We’ve got you covered here, in this edition of What’s New in Translation.

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Woman of the Ashes by Mia Couto, translated from the Portuguese by David Brookshaw, World Editions, 2019

Review by Lindsay Semel, Assistant Editor

Mia Couto’s Woman of the Ashes, translated from the Portuguese by David Brookshaw, is the first book of a trilogy called As Areias do Imperador (The Sands of the Emperor). It tells of the fall of the Gaza Empire in Mozambique at the hands of the Portuguese. Bradshaw’s translation successfully elaborates on the original’s rich images and themes while maintaining the ambiguity and contradiction that characterize the disordered world of war between cultures. Through its two narrators, the novel weaves together the threads of two archetypal narratives. The warp is a story of empire and war. The weft is a story of storytelling itself.

The year is 1894–5, the confused and bloody moment in which the Portuguese Empire replaces the Nguni as the leading force in a region full of once independent peoples. Alternating chapters consist of a series of letters from the Portuguese Sergeant Germano de Melo, ostensibly to his supervisor. The voice of the interceding chapters belongs to Imani, a girl from a tribe that’s tentatively aligned itself with the Portuguese in the hopes of resisting the Nguni invaders. Having learned fluent Portuguese, she is appointed by her father to attend Sergeant Germano, himself a convict exiled for the crime of political action against the monarchy. These complementary characters find themselves dislocated from their people and sense of identity, stuck serving the very forces that sentence them to their own demise.

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What’s New in Translation: January 2019

You won't be lacking reading material in the new year with these latest translations, reviewed by Asymptote team members.

Looking for new books to read this year? Look no further with this edition of What’s New in Translation, featuring new releases translated from Kurdish, Dutch, and Spanish. Read on to find out more about Abdulla Pashew’s poems written in exile, Tommy Wieringa’s novel about cross-cultural identities, as well as Agustín Martínez cinematic thriller.

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Dictionary of Midnight by Abdulla Pashew, translated from the Kurdish by Alana Marie Levinson-LaBrosse, Phoneme Media (2018)

Review by Jacqueline Leung, Editor-at-Large for Hong Kong

Dictionary of Midnight is a collection of several decades of Abdulla Pashew’s poetry as he recounts the history of Kurdistan and its struggle for independence. Translated from the Kurdish by Alana Marie Levinson-LaBrosse, the work includes a map of contemporary Iraq and a timeline of Kurdish history for those unfamiliar with the plight of the Kurds, something Pashew, one of the most influential Kurdish poets alive today, has taken upon himself to convey and to honor.

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What’s New in Translation: December 2018

Travel to Cuba, South Korea, and Russia with these newly translated works.

Just like that, the final weeks of 2018 are upon us. You might be looking for Christmas gifts, or perhaps some respite from the stress of the festive season, or maybe for something new to read! We have you covered here in this edition of What’s New in Translation, with reviews by Asymptote staff of three fresh titles from Wendy Guerra, Hwang Sok-Young, and Lez Ozerov.

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Revolution Sunday by Wendy Guerra, translated from the Spanish by Achy Obejas, Melville House, 2018

Reviewed by Cara Zampino, Educational Arm Assistant

“What is left after your voice is nullified by the death of everything you ever had?” asks Cleo, the narrator of Wendy Guerra’s Revolution Sunday. Set in the “promiscuous, intense, reckless, rambling” city of Havana during the restoration of diplomatic relations between the U.S. and Cuba, Guerra’s genre-defying book explores questions of language, memory, and censorship as it intertwines images of Cleo, a promising but controversial young writer, and Cuba, a country whose narratives have long been controlled by its government.

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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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What’s New in Translation: October 2018

Join us to find out more about titles fresh off the press in the world of translation.

Cities can be energizing or inspiring, sites of sensuality or spirituality. Two such cities take center stage in this edition of What’s New in Translation, where our team members introduce you to new and exciting publications.

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Sarab by Raja Alem, translated from the Arabic by Leri Price (Hoopoe Books)

Reviewed by Erik Noonan, Assistant Editor

Not only does Sarab, the forthcoming novel by Saudi author Raja Alem, open a new chapter in the fictional treatment of the 1979 siege of the Great Mosque—following Badriah al-Bishr’s Love Stories on al-Asha Street, Yousef al-Mohaimeed’s Where Pigeons Don’t Fly and Alem’s own The Dove’s Necklace (winner of the 2011 International Prize for Arabic Fiction)—it also marks a precarious moment in the development of the global novel.  The book first appeared in April in German, and it’s set to be published in English in October by Hoopoe, an imprint of Cairo University Press. The work is intriguing, translated from a text that the novelist does not regard as finished. Since it deals with “a dark chapter in the history of this most holy city” of Mecca—as the Paris resident, Raja, says of her hometown, in a recent interview with Publisher’s Weekly—“I am very sensitive to the words, and up until now I cannot find the right words to capture this story, this wound,” she continues.  “I feel I need to rewrite this book in some new Arabic, after taking a distance.”  Thanks to translator Leri Price, the Anglophone public who cannot read Arabic can nevertheless now imagine that new Arabic for themselves, across a different, and otherwise uncrossable, distance.

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What’s New in Translation: September 2018

Readers of English are introduced to four fresh titles, and to their takes on conflict, whimsy, and the human condition.

Even as we celebrate 30 issues, join us at Asymptote as we bring you new reviews of exciting fresh releases. Dive into four titles here with us, featuring work set in Russia, the former Yugoslavia, Syria, and Argentina. Keep on following our blog in September to witness the journey our team has been through in the last seven years.

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Checkpoint by David Albahari, translated from the Serbian by Ellen Elias-Bursać, Restless Books, 2018

Reviewed by P.T. Smith, Assistant Editor

On the jacket copy for Ellen Elias-Bursać’s translation of David Albahari’s Checkpoint, Restless Books cites Waiting for Godot and Catch-22 as comparisons. I’ll take them, especially the latter, but if I’m pitching this book to people, I’d offer up authors instead of books, and César Aira and Kurt Vonnegut. They better suggest the whimsy and quick-play changes that fill the brief pages of this novel, the sense that anything might happen, that the rules of the narrative can change in a sentence. Aira brings the freedom and the pace that Checkpoint has and Vonnegut the gentler, more passive characters than the strange and bold people who make up Catch-22.

Checkpoint is a quick book, coming in at under 200 pages in small format, and written entirely in one paragraph. It’s the latter that sets the pace. There are no pauses, sentences come and come and come, and so, though it seems as though at times nothing happens, events can rise and fall in an instant. This pace fits a war novel that’s about the absurdity of war, which Checkpoint determinedly and obviously sets out to be. A group of around 30 soldiers marches with their commander to guard a checkpoint, but they have no idea who they are guarding it against, who they are at war with, or even which side of the checkpoint they marched from. They have no known orders, and no way to communicate with their superiors. It’s a paralyzing life, one which soon includes mysterious deaths, refugees, attacks by soldiers of unknown allegiance, severe weather, and misfortunate forays into the surrounding forest.

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What’s New in Translation: August 2018

Find respite from the heat with these new reads.

From Icelandic landscapes to art history, August brings with it an exciting new selection of books. Whether you’re looking for a book to pass the hot summer days, or are in the market for inspired poetry, the Asymptote team has something for you in this new edition of What’s New in Translation. And if that’s not enough, head over to the Asymptote Book Club for fresh reads, delivered to your doorstep every month!

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Öræfi: The Wastelands by Ófeigur Sigurðsson, translated from the Icelandic by Lytton Smith, Deep Vellum, 2018

Reviewed by Jacob Silkstone, Assistant Managing Editor

One of the many epic stories retold in Ófeigur Sigurðsson’s Öræfi: The Wastelands (“that punctuation mark… both pushes words (and worlds) away from one another and means they’re roped together,” according to translator Lytton Smith) is the story of Öræfi itself. Formerly known as Hérað, the Province, a place in which “butter drips from every blade of grass,” it was devastated by the most destructive volcanic eruption in Iceland’s recorded history:

The chronicles record that one morning in 1362 Knappafjells glacier exploded and spewed over the Lómagnúpur sands and carried everything off into the sea, thirty fathoms deep… The Province was destroyed, all its people and creatures annihilated; no sheep or cattle survived, no creatures left alive anywhere… the corpses of people and animals washed up on beaches far and wide… the bodies were cooked and tender and the flesh so loose on the bones it fell apart.

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What’s New in Translation: July 2018

Looking for your next read? You're in the right place.

For many, summertime offers that rare window of endless, hot days that seem to rule out any sort of physical activity but encourage hours of reading. While these might not be easy beach reads in the traditional sense of online listicles, we are here with a few recommendations of our favorite translations coming out this month! These particular books, from China, France, and Argentina, each explore questions of masculinity, death, and creativity in unexpected ways while also challenging conventional narrative structures. As always, check out the Asymptote Book Club for a specially curated new title each month. 

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Ma Bo’le’s Second Life by Xiao Hong, translated from the Chinese by Howard Goldblatt, Open Letter (2018)

Reviewed by Sam Carter, Assistant Managing Editor

The “second life” in the title of this scintillatingly satirical novel alludes to how we live on in fictions as well as to how fictions sometimes take on a life of their own. Partially published in 1941 simply as Ma Bo’le, Xiao Hong’s late work was in the process of being expanded, but the throat infection and botched operation that cut her life short at age thirty left further planned additions unfinished. Fortunately for English-language readers, though, it’s now been capably, inventively, and gracefully completed by Howard Goldblatt in an exemplary instance of a translation demanding—as do all renderings into another language—that we attend to its twinned dimensions of creativity and craft. Previously the translator of two Xiao Hong novels as well as a quasi-autobiographical work, Goldblatt was undoubtedly the perfect person to carry out what he fittingly calls “our collaboration,” which is the result of “four decades in the wonderful company—figuratively, intellectually, literarily, and emotionally—of Xiao Hong.”

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What’s New in Translation: April 2018

Looking for your next read? You're in the right place.

It’s spring, the days are (hopefully) sunny, and this month we’re back to shine a light on some of the most exciting books to come in April, including works in translation spanning Colombia, Lithuania, Martinique, and Spain (Catalonia). 

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Shadows on the Tundra by Dalia Grinkevičiūtė, translated from the Lithuanian by Delija Valiukenas, Peirene Press

Reviewed by Josefina Massot, Assistant Editor

In his Afterword to Shadows on the Tundra, Lithuanian writer Tomas Venclova draws a parallel by way of praise: Dalia Grinkevičiūtė’s account of the Gulag ranks with Alexander Solzhenitsyn’s and Varlam Shalamov’s. Those acquainted with Gulag survivor literature know that’s high praise indeed: Solzhenitsyn’s The Gulag Archipelago and Shalamov’s Kolyma Tales are paragons of the genre. And yet, I venture, Shadows on the Tundra transcends them both.

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What’s New in Translation: March 2018

Looking for your next read? You're in the right place.

Whether this March the leaves are falling or only starting to grow, new books in translation continue to push through borders and languages. This month, our editors review new translations from Germany and Lebanon, whose stories span diverse regions and explore complex notions of belonging.
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Pearls on a Branch by Najla Jraissaty Khoury, translated from the Arabic by Inea Bushnaq, Archipelago Books

Reviewed by Anaka Allen, Social Media Manager

It happened or maybe no.
If it did, it was long ago
If not, it could still be so.

For twenty years, in the midst of Lebanon’s civil war that lasted from 1975 until 1990, the traveling theater company Sandouk el Fergeh (the Box of Wonders) traversed the Levant searching for inspiration for their live shows. The actors and their marionettes would travel from shelters to refugee camps, villages to towns, performing the oral tales painstakingly collected by their founder Najla Jraissaty Khoury. It was no small feat trying to find and record stories during wartime when suspicion and fear were particularly acute, not to mention the difficulty in assembling complete narratives from a depleting cache of collective cultural memory.

Oral tales are one of the most fragile cultural legacies, and too often die with their storytellers. So, what happens to the oral history of a region suffering through war and displacement? That’s what Khoury hoped to find out, and the question is what inspired her to embark on a rescue mission in search of these unwritten remnants of Lebanese, Syrian, and Palestinian culture. She collected dozens of folktales, writing them down exactly as they were told (repetitive phrases and all), culled one hundred from that catalog, and published them in Arabic. English speakers now have the opportunity to read a selection of thirty stories in Pearls on a Branch.

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What’s New In Translation: February 2018

The books from Albania and Latin and Central America hitting shelves this month.

For many of us, this month will be either the coldest or the hottest of the year; luckily, the books we’re focusing on this February are resilient and long-lasting—featuring new titles from Albania all the way to Latin and Central America. 

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Blood Barrios by Alberto Arce, translated from the Spanish by John Washington and Daniela Ugaz, Zed Books

Reviewed by Jessie Stoolman, Editor-at-Large for Tunisia

Blood Barrios, Alberto Arce’s account of his diverse experiences as the only foreign journalist inside Honduras between 2012 and 2014, gives a platform to voices inside this small Central American country that are seldom heard. From deep within the Mosquitia jungle, where Arce investigated possible American involvement in massacring innocent civilians, to an overcrowded prison farm where over 350 people died in a fire, he makes “[t]he privileges of a foreigner” in Honduras “his obligations,” asking questions that others cannot.

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What’s New in Translation: January 2018

The new year kicks off with new releases from Japan, Germany, and Italy.

Every month, our staff members pick three notable new releases in world literature to review. The first month of 2018 brings us short fiction from Japan and novels from Germany and Italy.

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The Bear and the Paving Stone by Toshiyuki Horie, translated from the Japanese by Geraint Howells, Pushkin Press

Reviewed by Theophilus Kwek, Editor-at-Large for Singapore

Mention ‘contemporary Japanese fiction’ to the average reader and bestselling names like Haruki Murakami, Ruth Ozeki, and Keigo Higashino might come to mind; or indeed last year’s Nobel laureate, the British novelist Kazuo Ishiguro. From that perspective, at least, Toshiyuki Horie can be considered one of the modern Japanese canon’s best-kept secrets, happily resurfaced for an Anglophone audience by the ever-intrepid Pushkin Press. A critic, translator, and professor of literature, Horie has garnered numerous accolades for his fiction and essays, and is also—as the three novellas collected here reveal—a masterly prose stylist, a ruthlessly effective narrator, and a seasoned traveller between the real and imagined geographies of experience and history, dream and memoir, and past and present.

The first and longest section of the volume contains Horie’s novella “The Bear and the Paving Stone,” which won the Akutagawa Prize in 2001, and lends this volume its title. The tale opens in a strange, allegorical dream-sequence that ends just as abruptly when the narrator wakes, alone, in a rural farmhouse in Normandy. Drawing on Horie’s own time as a graduate student at the Sorbonne, the story unfolds with exquisite pacing into a long-awaited reunion between two unlikely college pals: the narrator (then a student from Japan, now a professional translator) and Yann, a free-spirited, petánque-playing photographer. As they embark on a breakneck drive to see the sun set over Mont St Michel from Yann’s favourite spot on the coast, we are plunged as if into another dream: this time, comprising the layered narratives of French intellectual history, the Holocaust and its aftershocks, and a post-modern, international friendship. Ghostly historical figures such as Émile Littré, Jorge Semprún, and Bruno Bettelheim haunt these pages with a sense of driving, almost teleological purpose, but the two friends’ conversation somehow remains light, and movingly human, throughout.

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What’s New in Translation: December 2017

Looking for new books? Look no further!

2017 was a fantastic year for books, but there’s still so much more we want to share before we enter the New Year! This month, our team of editors review two new books from China and Japan—each of them special in their own way. Dive in! 

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The Years, Months, Days by Yan Lianke, translated from the Chinese by Carlos Rojas, Vintage (UK)

Reviewed by Dylan Suher, Contributing Editor

Released years after the publication of the original, translations benefit from historical hindsight. Although the two novellas contained within The Years, Months, Days (Grove Atlantic, December 2017) are the latest of Yan Lianke’s works to be translated into English, they were originally published in 1997 (The Years, Months, Days) and 2001 (Marrow, originally titled Balou Mountain Songs 耙耧天歌), just before the string of novels upon which Yan’s reputation now rests: Hard Like Water (2001), Lenin’s Kisses (2004), Dream of Ding Village (2005) and Four Books (2011). Read in retrospect, these novellas represent a critical point in the evolution of Yan’s aesthetic. In both, we can see Yan learning how to best use his preferred technique of primordial allegory, painted with a broad Fauvist brush. Carlos Rojas tends to smooth out and harmonize Yan’s expressive phrasing, but the credit (or blame) for the rough symbolist feel of a metaphor like time that “rushes past their interlocked gazes like a herd of horses” should all go to Yan.

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What’s New in Translation: November 2017

Looking for your next novel? Here are three of the most exciting new releases from around the world.

Every month, batches of books arrive fresh on the shelves of bookstores around the world. Our team has handpicked three exciting new reads to help you make up your minds on what to sink your teeth into, including novels from Martinique, France, and Hungary. 

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The Dancing Other by Suzanne Dracius, Translated from the French by Nancy Naomi Carlson and Catherine Maigret Kellog, Seagull Books

Reviewed by Madeline Jones, Editor at Large, United States

The Dancing Other opens as our anti-heroine Rehvana stumbles out of a dingy apartment in Paris, just barely escaping literal branding by the other members of the Ébonis, or the “Sons of Agar”—an African god. Rehvana wants nothing more than to be included in and loyal to this insular community of Antillean immigrants that tries to emulate traditional Martinique culture—though how authentically they manage this aspiration is debated among some of Dracius’s other characters.

Rehvana’s boyfriend Abdoulaye is the group’s leader, whose temper has more than once manifested itself in blooming bruises across Rehvana’s face and arms. But the kind, protective Jeremy holds no allure for her. Jeremy and Rehvana’s formidable older sister, Matildana, tell her blatantly that a young woman such as her has no business slumming it with this cultish group of wannabes, but Rehvana both resents and resists her smarter, more pretentious, whiter sister’s warnings. She takes her newly enforced identity to its final phase by running away without a word back to the homeland, to Martinique, with another man she just met and who immediately consumes her thoughts and energies.

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