Translation Tuesday: An Excerpt from Baba by Mohamed Maalel

You don't have to do this anymore, Ahmed. Do you want people to laugh at you?

It is a cliche that no one struggles with an overabundance of paternal love—that children are more likely to lack it than to have it in excess. In Baba, the debut novel of Tunisian-Italian writer Mohamed Maalel, young Ahmed is confronted with both lack and excess at once—with a loving father whose repeated expressions of care can never amend the traumatic betrayal this excerpt describes. Clarissa Botsford’s translation is haunting, expertly capturing a child’s tilt-a-whirl emotional life and dawning awareness of adult complexities, his simultaneous craving for love and his harsh refusal to forgive. In Botsford’s words, “The narrative microcosm in Baba powerfully embodies the new dynamics of a multicultural, colorful, and contradictory world, giving life to a story about the search for a blended identity amid religion, tradition, and queerness.” Read on!

A Boy Becomes A Man

When I was six, my father made me a man. Back then, I was convinced I could be anything I wanted. First, I wanted to be a superhero, then a fairy, and later a policeman. I watched the kids’ shows on TV. At six, I fell in love for the first time with Céline Dion, with Lara Croft, and with a cow in the yogurt commercials called Fruttolo. At six, I admired my cousins’ Barbies from afar, imagining what it would feel like to hold something with a figure like my mother’s. When I was six I was a child, with all the typical imperfections of children. When I was six I experienced intense pain. I tried to give it some kind of ironic significance over the years, but pain can only be ironic when it’s not your own. The pain is set against a Tunisian backdrop.

We were traveling with the usual food parcels for my father’s family. Outside, the high temperatures made the car windows scorching hot. My father was listening to the Koran on the radio, which made the air even more sultry tense. My ears received the unintelligible sounds as an annoying hum. During the whole the car ride, he insisted my brother memorize them. He couldn’t do it; he lowered his eyes when my father reminded him how immoral his life as an unbeliever was. He didn’t bother me. Instead, he’d ask me to choose a song on the radio. “You listen nice music Ahmouda, not like your brother’s haram junk,” he’d say.

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Blog Editors’ Highlights: Summer 2025

Some of our favourites from the latest issue!

With thirty-two countries and eighteen languages represented, our Summer 2025 issue is one of adventure, witness, intelligence, capaciousness, drama, mystery, and more. . . We are more dedicated than ever to this fundamentally compassionate work of building a truly global work of letters, which always starts with admiration and awe—so let our editors be your guide as they share the texts that most moved them from this rich compendium.

In what was deemed by both as a ‘never-ending conversation’, Hans Ulrich Obrist asked Alda Merini if she had any unrealised projects. ‘Yes, of course,’ she responded, ‘I never made love to whomever I wanted to, those are projects that went wrong. Those are real projects. We don’t care about the rest.’ Flippant as this may sound, Merini has only spoken what she has proved in a lifetime of tumultuous, searing, and unbounded poems—that love is her occupation. Love as carnal as it is psychic, as perverse as it is sublime, as unconscious as it is sensational, as much worship as it is despair—in her corpus one finds thoughts racing across topographies in search of adequate metaphor, insanity driving a pin through the core of idea, or the erotic body tingling to the point of immolation. . . To throw the self into love, it seems Merini knew what that truly means; she wasn’t afraid of being taken over by ardor because, after all, it could only have come from her. Love was her fuel, her flesh.

As it is in these poems from Emptied of Love, brought about by a. Monti’s soaring, musical translation. At the very first line, we hear her: ‘Space, give me space—more space’. In other poets this may be read as a plea, but in Merini’s voice, it’s a demand. And with it comes reminder of love’s lawlessness, that it gives us permission to pursue what we want, that it gives clarity to what we believe we deserve. Love makes one bold, she demonstrates, and even in its failures, you mourn boldly, expansively. And it is there, mostly in the devastations of love, where Merini exacts her power. The collection from which these pieces are taken, Vuoto d’amore, is a deeply painful one, full of unrequited affairs of the heart, grief, disappointments, madness. They are grand emotions, and the poet understands that their largesse is best met with simple diction—so it is in the syntactical that she renders her immersive, surprising language:

until the sea submerges
this feeble flesh of mine
and I lie exhausted
on you who becomes the beach
and I, becoming wave,
you strike and strike
with Love’s oar.

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Weekly Dispatches From the Frontlines of World Literature

The latest in literary news from Bulgaria, China, and India!

This week, our Editors-at-Large take us around the world for updates on literary events, awards, and initiatives. From a celebration of the 101st edition of a cornerstone in Bulgaria’s literary scene, to a deep dive into innovative literary prizes in China, and an introduction to the winner of the 2025 Armory Square Prize for South Asian Literature in Translation—read on to learn more.

Andriana Hamas, Editor-at-Large, Reporting from Bulgaria

Recently, I had the pleasure of attending a couple of literary events organized within the annual Пловдив чете (“Plovdiv Reads”) festival in my hometown. One of them was a discussion about the anniversary issue (the 101st, to be precise) of the Bulgarian magazine for literature and the humanities called Страница (“Page”).

The magazine, published every three months, was founded in 1997 in Plovdiv in collaboration with the local university St. Paisii Hilendarski. Throughout the years, it has provided a platform for a vast array of voices. In fact, almost all Bulgarian authors who have been active since and before Issue 1 have been present on its pages through their poetry, short stories, essays, criticism, memoirs, translations, interviews, and more. What truly separates it from other similar projects, however, is the dedicated literary criticism section and its yearly academic analysis of the development of Bulgarian literature over time, the directions it seems to have taken, and emerging trends in the Bulgarian literary scene.

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Our Summer 2025 Edition Has Landed!

Featuring Alda Merini, Bassam Yousuf, Carolina Brown, and Daniel Saldaña París in our AI-themed Feature

Do other people have inner lives? Or are they just NPCs with no consciousness, no soul? We can’t know for sure! Philosophers call this “the zombie problem,” which also happens to be the tagline of our Summer 2025 issue. Not least because there is an actual zombie featured for the first time in our pages via Carolina Brown’s biting cli-fi; the “zombie problem” is also at the heart of any discussion about AI—the theme of this edition’s wildcard Special Feature. Alongside MARGENTO’s extraordinary hybrid human-AI work, we are proud to bring you an exclusive interview with acclaimed translator Boris Dralyuk, a dossier of poems by the beloved Italian master Alda Merini, an excerpt from Lithuanian novelist Valentinas Klimašauskas’s genre-bending Polygon, a pair of pieces by Anna Tsouhlarakis and Syaman Rapongan centering their indigenous worldviews, and our first article from the Azerbaijani amid new work from 32 countries—all of it movingly illustrated by Singapore-based guest artist Xin Lui Ng.

The question of consciousness takes center stage in our Special Feature on AI—not the ersatz sentience of AI itself, but rather the uneasy cognizance, among members of the literary community, of its disruptive potential this side of singularity—hence the Feature’s title, “What AI Can’t Do.” From Daniel Saldaña París’s incisive meditation on AI in translation to S. K. Birk’s tale of a fiction-generating chatbot forced into the role of a lonely girl’s eternal yes-man, these pieces highlight the limits of AI as a tool for transforming the more fundamental problems of a society that too often turns a blind eye to hegemony and suffering.

b

Elsewhere, “the zombie problem” becomes grotesquely literal, from the undead trudging across post-climate change Antarctica in Brown’s “Anthropocene” to the humanoid fungi encountered by the hikikomori in Luis Carlos Barragán Castro’s intense mind trip of a story “Cephalomorphs.” One might turn into a zombie too, carrying out inhuman orders on behalf of an authoritarian regime as we see in Syrian writer Bassam Yousuf’s devastating real-life account of a childhood friend-turned-torturer. Even in more idyllic circumstances, one can suddenly discover that one is “no longer there,” that one has become “a suspended, emptied image, merged with its surroundings,” as Slovenian poet Jana Putrle Srdić puts it in “End Of The World, Beginning”; indeed, social norms can disfigure a person until they lead a life that is more performance than living. In DramaYannis Palavos gives us the story of a man dogged by crime and a daughter dogged in turn by his memory, her searching monologue part exorcism, part attempt to restore humanity to them both. Appearing in English for the very first time in our fourth Special Feature themed on outsiders, Bolivian author Rodrigo Urquiola Flores’s encounters with Venezuelan refugees unfold across a gamut of misadventures—but through it all he never lets us forget their humanity or his.

In light of the recent flurry of announcements surrounding AI-powered literary translation services, this seems as good a moment as any to gently remind our readers that Asymptote has, for the past fifteen years, been a painstakingly human endeavor. Nothing about our work—from the meticulous curation of each issue to the minutiae of holding together a far-flung, 100-strong virtual team—has ever been generated by machine or delivered at algorithmic speed. If the growing encroachment of AI into daily life has deepened your appreciation for human creativity and labor, we warmly invite you to support us by becoming a sustaining or masthead member. Long live human-powered literature!

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To Bring the People with Us: An Interview with Paul Larkin on Translating Henrik Pontoppidan

The only safeguard against tyranny is democratic (and spiritual/intellectual) courage.

Throughout his life and literary career, Henrik Pontoppidan held an unflinching eye on the culture and time that surrounded him, pinning down what he saw as its most spectacular failures in characteristically incisive, comic, and penetrating fictions. This ability to portrait society earned him the Nobel Prize for Literature in 1917, and today, he continues to be hailed by some as ‘Denmark’s greatest realist’. A recently published compilation of his two novellas, gathered under the title The White Bear, was our Book Club selection for the month of June, and in it one finds Pontoppidan at his most reflective and honest, telling the stories of hypocritical morality and doomed love. In this following interview, we speak with translator Paul Larkin about his discovery of this under-celebrated author, Pontoppidan’s relevance in our current political climate, and what individualism means in these works.

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.

Xiao Yue Shan (XYS): Despite being a Nobel laureate, Henrik Pontoppidan has a relatively low profile in the Anglosphere; could you tell us a bit about how you came to discover his work, and what drew you into translating it?

Paul Larkin (PL): It is actually a deeply interesting question. I first came across Pontoppidan’s works whilst still a young man, working as a deck-boy in the Danish merchant navy. This navy has a very well organised library service, which did not just furnish books to ships but also films and—if I recall properly—audio material, which was mainly in cassette format back then. And this material was by no means all of the ‘tabloid’ variety. Much of it was serious literature, serious celluloid stuff on a 16mm format. By about a year and a half into my service, I had enough Danish to comprehend good writers like Pontoppidan, and the first short story I read was ‘Den første Gendarm’ (The First Gendarme)—see illustration. This had me laughing out loud, as Pontoppidan sends up the timid villagers seeking to somehow get the better of the lone, armed gendarme during a tense period in modern Danish history when the state sought to impose draconian laws. Eventually a barking dog does the job for them. The villagers then concocted their own legends . . .

pontoppidan_1

By the time I got to University, I realised, of course, that there was a lot more to Pontoppidan’s bow than the short story format, social realist tales, and caustic fables. However, it was not until I read the magnificent A Fortunate Man that I resolved to translate Pontoppidan. I am still amazed at how little of his work has made its way into English.

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Translation Tuesday: “The Unruly Grass” by Nermin Kamal

It was child’s play for him to do what many people had tried to do and failed—bring a smile to the face of the deeply grieving woman.

For this week’s Translation Tuesday, we present to you a short story by decorated Azerbaijani author Nermin Kamal, translated from the Azerbaijani by Anne Thompson-Ahmadova. In it, a man and a woman—both married, but not to each other—commiserate about their respective marital woes.  His wife can’t seem to recover from grief; her husband is lost in the interminable throes of depression. Meanwhile, the machinery of the city churns on. As the couple take solace in their clandestine connection, the man’s wife finds her own comfort in an unexpected animal visitor. Kamal playfully jumps between various perspectives among the city’s residents to depict their entanglements with a broad vision.

Late one afternoon a man and woman were sitting talking in George Enescu Park in the Eighth Residential District. ‘Cover your ears. Don’t listen to them,’ an old street vendor on a nearby bench told her granddaughter. The man was complaining about his wife and the woman about her husband. Tedious though the conversation was, they were listening intently to each other.

‘How long can this go on? How much longer can we live like this?’ the man grumbled. ‘I come home exhausted from work and find her sitting there crying. She put her father’s pictures on the wall and I didn’t say a word. Now she’s wearing her father’s clothes. I tell her, you shouldn’t keep a dead man’s clothes in the house, take them to the charity. Your father was a big strapping bloke, you’re a petite woman, how can you wear the dead man’s jumper in front of your husband? But does she listen? She’s been crying for six months. I could understand it then—her father had just died, but what can I say to her now?’

‘Mine’s the same,’ the woman grumbled. ‘The house is falling apart. All the cupboard doors are hanging off their hinges. Whatever you touch, it’s broken. He doesn’t fix anything or get anyone else to fix things, he just sleeps all day. Not that his father has died. He says, I’m tired, really tired. You might be fed up of life—that’s up to you, but I’m not. Life is wonderful.’ 

Though he was just a statue, George Enescu couldn’t bear it. He swept his bow over the strings of his violin. When the man was speaking, the noble instrument growled like a bear, but when the woman was speaking it twittered incessantly like a nightingale. But no one except the violinist could hear it.

‘At least there’s a grave. We gave him a proper burial, laid flowers. I said to her, the world is heading for hell in a handcart. By the time we die we might envy those who are already dead!’

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Performances of Masculinity: A Review of Rock, Paper, Grenade by Artem Chekh

Rock, Paper, Grenade is . . . a novel about how masculine social dynamics can transform and change its characters’ emotional lives.

Rock, Paper, Grenade by Artem Chekh, translated from the Ukrainian by Olena Jennings and Oksana Rosenblum, Seven Stories Press, 2025

When men talk about other men in the world of Artem Chekh’s Rock, Paper, Grenade, there is an external sense of kinship coupled with a subtle hostility—a language of insults and mockery that permeates every interaction. And within this, nothing is more feared and ever-present than the specter of queerness. Felix, the stepfather of protagonist Tymofiy and a prominent character throughout the novel, had experienced a “fulfilling and, by and large, carefree childhood,” yet still casually criticizes his brother for a perceived femininity. From comments about his choir involvement and “sailor suit” to the accusation of being a “faggot and wimp,” his familiar descriptions of his brother are laced with casual homophobia.

Throughout the novel, the F-slur is routinely thrown about when a male character behaves with vulnerability, and any feminine quality in men is roundly scorned; as such, Rock, Paper, Grenade is, at its core, a novel about how masculine social dynamics can transform and change its characters’ emotional lives. Felix’s presence is emotionally fraught for Tymofiy; when the two meet, Felix provides a role of care, yet he also uses hegemonic, power-driven masculinity—and its undercurrent of homophobia—to cause profound harm. In Chekh’s world, this duality of male vulnerability and aggression is of utmost importance, creating dramatic tension between the characters while underscoring the broader point that patriarchal behaviour profoundly traumatizes the emotional lives of men and boys.

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Weekly Dispatches From the Frontlines of World Literature

The latest from North Macedonia, the Philippines, and Greece.

In this week’s round-up of literary news, our editors bring news of resistance, commemoration, and solidarity. In North Macedonia, a powerful literary prize pushes back against repression by celebrating marginalised voices. In the Philippines, a local organisation is using independent publishing to express solidarity with Palestine and push back against the industrial market complex. In Greece, a new publication celebrates the brief life of a communist activist. Read on to find out more!

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

Štefica Cvek, a regional literary contest open to Macedonian, Croatian, Serbian, Bosnian, and Montenegrin authors, recently announced the twenty-two titles of its 2025 longlist. Held for the fourth year in a row, the contest highlights the best books written from queer, feminist, decolonial, class-conscious, and ecology-minded perspectives. Akin to this year’s Budapest Pride march, which drew historic crowds despite governmental repression, the celebration of queerness at the core of the Štefica Cvek contest remains a controversial issue within the greater Macedonian cultural context.

Noting that Macedonian LGBTQ+ activists operate within “one of the most regressive anti-gay regimes in Europe,” the British human rights activist Peter Tatchell has praised them as “heroes and heroines.” Not only are same-sex marriages still unrecognized under Macedonian law, but queerness itself is actively demonized in both political and cultural spheres. As recently as February 2025, both the Macedonian government and its opposition have weaponized accusations of queerness to discredit their political rivals, and only a month prior, the Orthodox Church—with the endorsement of many prominent Macedonian politicians and writers—reviled gay marriage as “a violation of the holy will of God . . . and a prerequisite for the dissolution of the family.” READ MORE…

Beyond that Southern Sky: An Interview with Seo Jung Hak and Megan Sungyoon on the Korean Prose Poem

Wouldn’t it be enough for poetry to remain as something that doesn’t really serve any function, something without a definite meaning?

Appearing first in its Korean original as 동네에서 제일 싼 프랑스(Seoul: Moonji Publishing) in 2017, The Cheapest France in Town (World Poetry Books, 2023) is avant-garde poet Seo Jung Hak’s second collection, and his debut in the Anglosphere. To me, as a writer and reader of prose poetry and its permutations from the Arabic qaṣīdat al-nathr to the Japanese sanbunshi, Seo’s writings move with the silken grace of the Korean sanmunsi tradition. Forged by turn-of-the-century poets like Han Yong-un, Jeong Ji-yong, and Joo Yo-han, the sanmunsi found fertile ground when Ivan Turgenev’s ‘Threshold’ was rendered into the Korean as ‘Munŏgu’ by the poet and publisher Ch’oe Nam-sŏn, published in the October 1914 issue of the literary journal Ch’ŏngch’un (Youth). The sanmunsi later became, as The Columbia Anthology of Modern Korean Poetry notes, a ‘notable . . . form, redolent of the aestheticism then intriguing Korean writers’.

Seo Jung Hak reimagines the sanmunsi through ‘paper box’ poems and absurdist tales, crafting language and aesthetics to uncover the poetic in the mundane and to confront globalisation’s homogenising agenda. His translator, Megan Sungyoon, frames his work as a recycling of ‘the rhetoric of outdated ideology and bureaucracy, late capitalism and unrelenting consumerism, and hyper-commercialized culture industry to make an ironic patchwork of languages of the past and present’. 

In this interview, I spoke with Seo and Sungyoon, both in Seoul, about the sanmunsi, The Cheapest France in Town, and the ways in which one can resist linguistic homogeneity.

Alton Melvar M Dapanas (AMMD): Jung Hak, can you take us through the years between 1999—when the earliest poems in The Cheapest France in Town began taking shape—and 2017, when the collection was first published? What was your process while putting these poems together? 

Seo Jung Hak (SJH): I have been writing poems since 1991. It took me a few years to publish my first poetry collection, and eighteen more years would pass until I published my second. Personal things happened in the meantime; I got married, had a child, wrote poems on commission for literary magazines, earned some money, bought a car, lost someone, and played lots of video games. Indeed, these things are not very interesting to talk about. My personal history may mean something to me, but not to most of the people reading this interview. I’ve just lived along the currents of the world, with enough swinging and swaying. READ MORE…

Singing, Electric, Body: A Review of bruno darío’s Lantana or, the indissoluble exhalation

The glee and daring of darío’s style, his technicolor whiz-kid pyrotechnics, induce an especially poignant and headlong involvement. . .

Lantana or, the indissoluble exhalation by bruno darío, translated from the Spanish by Kit Schluter, Ugly Duckling Presse, 2025

Lantana or, the indissoluble exhalation is bruno darío’s mesmerizing monument to literature. Published as a tripartite collection by the Brooklyn-based Ugly Duckling Presse, it is both a posthumous triumph and an instance of translation as friendship, as a kind of company-keeping in one’s journey across states. When the Mexico City-based darío wrote these beguiling poem sequences during his twenties, he was suffering, then living, then dying of brain cancer, which ultimately killed him at the age of twenty-nine in 2022. The accomplished translator Kit Schluter recounts in his introduction that he was a good friend of darío’s (who insisted on presenting his name in lowercase since the laws of publishing would not allow him to publish wholly anonymously); the two of them, Schluter writes, “had become friends the way poets working in different languages so often do: by translating each other’s work.”

The Lantana trilogy, 153 English pages in all, recounts the doomed, fatal, gorgeous love story between one speaker, “the Inconsolable,” and his beloved, the terrific and terrifying Anfitriona, who kills herself in the first part of the sequence, “feast, fright,” then stays silent in the second, “airsickness,” as the Inconsolable writes letters about her, his life, and his work. Finally, in the third section, “raze,” she is able to speak a bit before the voice of Gravity—the gravity that pulls her deeper into the earth, into her final destination as earth—takes the final word.

There are several paths into darío’s work; I’ll start with Walt Whitman. Leaves of Grass is referred to frequently throughout the book, the magnum opus of the poet of the body facing the cryptic missives of a young poet approaching death. “I sing the body electric,” darío quotes in English in one of his poems, and he does—he sings the body electric, but he sings the body as it disappears from the realm of bodies past, the body as it crumbles or effloresces into the realm of the intellect and the image. These, more than the flesh, are the guarantors of eternity, and darío takes us on a tour of the seam between them and the real.  READ MORE…

Translation Tuesday: Two Poems by Danae Sioziou

the locking of the door, the alarm, / and my own passage from fire to ice.

For this week’s Translation Tuesday, we bring you two poems from the Greek writer Danae Sioziou, translated by Panagiota Stoltidou. In the first, “Athenian Days”, we’re transported into the commotion of daily life in the Greek capital. Sioziou balances familiar images (insects, breakfast, untrustworthy-seeming people you encounter in the streets) with a more mystical register: “kaleidoscopic / entropies, shells of dreams”. In a melancholic voice, the city hints at an inner vitality, buried by long years of decay.  The second poem, “Tropicalities”, is a philosophical meditation on paradoxes, and impossibilities reminiscent of Heraclitus. Various objects are listed in turn, but they are defined by their inability to fulfill the functions for which they were designed. In contrast, time’s incessant march seems all-powerful.

Athenian Days

Athenian days: flirtations
of cockroaches and shady characters,
eggs sunny side up, totems, kaleidoscopic
entropies, shells of dreams.

I know nothing of rising
stars, the eye is fixed on the first
hour, I am the center of the city,
the bustle, you say, of the here and now.

And if I saw you yesterday, my little light-eating
nightmare, boomerang, brought back
from nothing, shining messenger,

you, moon, I remain dead
only in terrible depths does the drowned
tree of life shine within me.

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What’s New in Translation: July 2025

Newly released titles from Morocco, India, Norway, Haiti, Spain, Austria, Argentina, Egypt, Brazil, Germany, and Chile!

This month, we’re delighted to present eleven titles from eleven countries, including a lyrical litany of dreams from a Nobel laureate, a psychologically thrilling fiction-study of domestic violence and complicity, a rollicking novel on poverty and police repression in a Brazilian favela, a sharp and surrealistic collection that deeply probes the connection between death and poetry, and much, much more. . .  

1

Writings on Translation by Abdessalam Benabdelali, translated from the Arabic by Marouane Zakhir and Christian Hawkey, Seagull Books, 2025

Review by Jordan Silversmith

“What is at stake in translation,” Moroccan philosopher Abdessalam Benabdelali writes, “is the strangeness of the other.” In Writings on Translation, a slim but resonant volume translated with clarity and philosophical sensitivity by Marouane Zakhir and Christian Hawkey, Benabdelali argues not only that translation is foundational to the development of Arabic and European thought, but that it constitutes a mode of ethical relation—a hosting of the stranger.

Composed of essays selected from two earlier Arabic-language works, this collection positions translation not as the failed transfer of meaning between stable tongues, but as a generative rupture in the myth of linguistic purity. Echoing Derrida and drawing on classical Arabic poetics, Benabdelali deftly critiques the nationalist drive to see language as a closed identity. “The instrument of translation is a living language,” he writes, “and its mirror is condemned to be broken.” It is in this shattering that thought is permitted to migrate.

What emerges then is a meditation on translation as both inheritance and resistance. Benabdelali revisits the Abbasid-era Bayt al-Hikma, critiques 18th-century French Orientalism, and confronts the ambivalence of Arabic literary modernity, where some authors write in expectation of translation while others fear its erasure. His essays resist binary framings of colonizer and colonized, instead advocating for a polyglossic hospitality in which meaning is always provisional and always in motion. READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest literary news from Italy, Romania, and Egypt!

This week, our editors-at-large report from prize ceremonies and literary festivals, exploring the entanglement of the literary establishment with the cultural industry and uncovering innovative artists fostering transnational collaboration. Read on to find out more!

Veronica Gisondi, Editor-at-Large, reporting from Italy

Since 1947, on the first Thursday of July, the mannerist nymphaeum of Rome’s Villa Giulia has hosted the award ceremony of Italy’s most closely followed literary prize, the Strega Prize (Premio Strega). Its beginnings date back to 1944—just before the capital’s liberation from Nazi occupation—when a group of intellectuals, writers, journalists, and artists, self-named “Amici della domenica” (Sunday friends) and led by Maria Bellonci, began holding a series of informal meetings that, in the aftermath of WWII, gradually evolved into the literary prize we know today, bringing major works of fiction to national attention.

Last week, Andrea Bajani’s autobiographical novel L’Anniversario (The Anniversary, forthcoming with Penguin Press) was announced as this year’s winner. It tells the story of a family whose emotional life is underpinned by the delicate interplay of violence and subjugation—a story whose end, however, is marked by the writer-narrator’s drastic decision to “abandon” his parents for good. Deprived of psychological and emotional depth, the mother—who willingly gives up on life—functions as the novel’s narrative pivot; for Bajani, her entrenched passivity becomes the vantage point from which to observe the father, a “normal” man—that is, a controlling, aggressive, short-tempered provider—in whom the claim to authority, the shame of failure, and the need to be loved converge in a lifelike if partial portrait.

Bajani’s language is clean, precise, composed; inclined to circumlocution and upheld by an affable disposition, its coldness—along with the frequent use of ellipses—echoes the hollowness of a home where silence reigned, a “perfectly functional, closed” family system, akin to a “carceral” facility. While Bajani’s intent is to reject a 20th-century patriarchal legacy (first by breaking the yoke of secrecy, then by severing ties with his parents), the trajectory of his distancing remains nebulous—suggesting an unwillingness, or an inability, to envision an alternative. READ MORE…

“I will never die. I will dance. . .”: On Apotheosis of Music by Witold Wirpsza

Wirpsza’s work may provide some guidance as to what the artist’s role could be in the face of humanity’s darker moments. . .

Apotheosis of Music by Witold Wirpsza, translated from the Polish by Frank L. Vigoda, World Poetry, 2025

In the fourteenth century, writing from a state of political exile from Florence, Dante gave us an allegorical tour of the afterlife with an imaginary Virgil as his guide, presenting a cast of historical and mythic figures re-imagined. It isn’t hard to make the connection between him and the twentieth-century Polish poet Witold Wirpsza, who, as he contended with World War II and its subsequent outfalls, wrote from a state of exile in West Berlin and introduced his own cast of mythic figures: Dante, Bach, Mozart, Beethoven, Stalin. Now, from Frank L. Vigoda—the nom de plume of translator husband-wife duo Gwido Zlatkes and Ann Frenkel—comes Apotheosis of Music, a selection of Wirpsza’s cerebral and exuberant oeuvre in an indulgent, cheeky, rhythmic English, at times originating its own pleasant musicality. Where Zlatkes lends his native Polish perspective, Frenkel’s background in musicology allows for an execution of the musical structures and themes prevalent throughout Wirpsza’s work.

Born in Gdańsk, Poland in 1918 and educated in music and law, Wirpsza was drafted into WWII, held as a prisoner of war in a German camp, and, after initially being a supporter of communism following the war, eventually defected from the Polish United Workers Party (PZPR) in objection to its policies. After publishing an essay critiquing nationalist identities called “Polaku, kim jesteś” (Pole, who are you), he was banned from publication in his native Poland—a sentence that lasted until 1989, four years after his death. He then settled in West Berlin, where he lived for the remainder of his life; there, he brought works of Polish literature to a German audience and vice versa, translating works like a biography of Bach and a novel about Mozart from German into Polish.  READ MORE…