5 Must-Read Pieces from our New July Issue

We've got a (new) issue. Here's where to start.

Hot off the digital presses!

 Asymptote‘s July Issue is now totally, utterly live! This one’s a good one, and highlights are almost too many to mention—almost. We’ve got your usual lot of literary celebs in the mix, including French Nobel laureate Patrick Modiano, Chinese Nobel Prize-worthy writer Can Xue, and an interview with longtime friend of the blog Valeria Luiselli in the mix—among so. many. others. Here are five must-reads to get you going, but this list’s by no means conclusive—and is presented in no particular order: READ MORE…

Translation Tuesday: “Spring’s Doings” by Orhan Veli Kanık

Just a few days ago, I overheard a woman. 'In my opinion, poetry,' she said, 'is a white automobile.'

I wanted to write something. I picked up paper and pen, and I walked out to the terrace. What I call terrace is on the top floor of the hotel where I live. The weather was spitefully tempting. A warm March sun penetrating all the way to your bones. Weather like this makes many a person happy at the end of winter. What is happiness? Has everyone in the world known it? Questions like this can be debated at length. Who knows, maybe if I did debate this one, I would take back what I said. So what if I imagine myself to be happy every once in a while? Since it seems certain that I won’t be getting my share of great fortune, I’ll make do with whatever comes my way.

READ MORE…

34 Animal Farms: Literary Translation and Copyright in Iran

Our Editor-at-Large Poupeh Missaghi on the peculiarity of copyright and translation in Iran

It’s safe to say that the Iranian book market has a strong interest in translation: it’s easy to find several translations of the same book in a single bookstore. Several reasons fuel this phenomenon, but the most important is rather banal: Iran’s glaring disregard for copyright laws—both internationally and domestically—mean that these kinds of retranslations run rampant.

Most literary publishers enter the translation and publication processes without securing the rights to the original foreign book. Or they can simply translate/publish a title already in print or well into the process of translation/publication by another publishing house.

Iran is not a signatory to the Copyright Treaty of the World Intellectual Property Organization (WIPO), though it joined WIPO in 2001. Neither does Iran take part in international conventions on the protection of literary and artistic works. Not legally bound in the way that organizations in other countries—such as many European countries and the United States—are, Iran’s public and/or private literary/artistic organizations do not often behave ethically toward their foreign counterparts. READ MORE…

Weekly News Roundup, 10 July 2015: THE MAN. THE BOOKER. THE MEGAPRIZE.

This week's literary highlights from across the world

Happy Friday, friends! This should be a Friday like any other, but we’ve got a secret to share: Asymptote‘s July issue is just around the corner. There are a lot of top-secret and super-awesome things in store this quarter, so be sure to keep your eyes peeled on our home base in the coming days (!).

If Asymptote deals in world/global/international/whatever-you’d-like-to-term-it literature, domestic literature still does quite a bit in taking custody of national identity and mythology. So how is it that Vladimir Nabokov—admittedly as Russian as he was Americancaptured Americana so perfectly in his most famous novel, Lolita? And Spain‘s most famous novel—often considered the “first novel”—is terribly influential, but only two in ten Spanish readers admit to having read Cervantes’s Don Quixote. And if we agree that national literatures have any stability—which we don’t, at least not necessarily—we might be able to sustain the hypothesis that British television can attribute its popularity with American viewers to the fact that U.S. literature is simply “too dark.” Hm. READ MORE…

In Review: “A Planet for Rent” by Yoss

Scott Beauchamp reviews the latest science fiction from Cuba, finally in English translation

Science fiction is an international project. It’s multi-racial, multi-ethnic, and accommodating enough as a genre to include authors of almost any identitification. So though it’s clear there isn’t a genre problem—there still is a publishing problem.

In America, for instance, there simply aren’t enough people of color and women authors being published. What’s more—further reflective of the problem of access to translated works in the United States (famously, only 3% of books published stateside are from translation)—the full range of exciting sci-fi published in Japan, China and India only makes its way to non-native readers in a slight trickle.

Cuban science fiction, however, is another problem entirely. All writing on the island was for decades subject to the whims of the Department of Revolutionary Orientation, and with trade in general being fairly limited in the 1960s and 1970s, Cuban science fiction has struggled to realize itself.

And now that the long-awaited global thaw is finally happening, Restless Books, a Brooklyn-based publishing house, is taking the noteworthy step of translating some of the most interesting sci-fi writers on the island. Yoss (whose birth name is José Miguel Sánchez Gómez), the author of A Planet for Rent, is one such writer. READ MORE…

Close All Tabs But This One—Alejandro Zambra’s “My Documents” in Review

If you read the review all the way to the end, you'll win a prize (I'm serious). But I don't need to cajole you into finishing the book.

Alejandro Zambra deserves his very own sentence (so here it is).

I’ve come across far too many breathy, overeager reviews that are downright giddy to liken Zambra—Chilean writer, very of-the-moment—with someone entirely different. Predictably, Zambra’s equally hip literary/national compatriot Roberto Bolaño is at the tip of everyone’s tongue. And then there are other authors, nearly all of them translated—Karl Ove Knausgaard, Daniel Kehlmann, Elena Ferrante, Ben Lerner—who are inevitably mentioned in the same breathless swoop. It’s true that these writers are at-least-obliquely occupied with Zambra’s brand of hyper-real, genre-eliding, syntactically all-too-acute, auto-fictive and/or meta-fictive literary fiction, but there’s something decidedly pungent—and utterly unique—about Alejandro Zambra’s particular kind of fiction.

Did you count the hyphenations I needed to describe Zambra’s writing? There were eight of them. They’re intentional—as Zambra’s work, too, doubles, triples, even quadruples multiple intensities at once, though without the agglutinative slog that sentence carried (I am so sorry, dear reader). Zambra’s fiction occasions a rather hefty sleight of hand.

This is true, even with his latest publication—My Documents, translated by (Asymptote’s own former team member!) Megan McDowell and published by McSweeney’s this month. It’s his longest in English to date, and still a mere 240 pages long. I read it in a single sitting, but like I mentioned in this month’s What We’re Reading, I’ve kept chewing for weeks to follow.  READ MORE…

Translation Tuesday: Poems by Ronny Someck

"In his painted eyes you can see a whole herd, / the prey in his dream’s forever-forest."

Bloody Mary 

                   

And poetry is a gun moll

in the back seat of an American car.

Her eyes pressed like triggers, her pistol hair firing blond

bullets down her neck.

Let’s say her name is Mary, Bloody Mary,

words squeeze out of her mouth like the juicy guts of a tomato

whose face was knifed just beforehand

on the salad plate.

She knows that grammar is the police force of language—

her earring transmitter

detects the siren at a distance.

The steering wheel will shift the car from question mark

to period

when she’ll open the door

and stand on the curb as a metaphor for the word

prostitute.

READ MORE…

What We’re Reading in July

What members of Asymptote's team have been reading—juicy, super-sweaty summer edition!

Adrian Nathan West (Contributing Editor): German writer Hans Henny Jahnn is one of the least classifiable writers of the twentieth century, and the relative paucity of his work in English translation is perplexing. Among his compatriots, his admirers included Bertolt Brecht, Thomas Mann, Peter Weiss, and Wolfgang Koeppen—the last of whom compared Jahnn’s prose style to Martin Luther’s Bible; Jahnn is one of the poets cited in Roberto Bolaño’s “Unknown University;” and more recently, he was the subject of a long blog post by Dennis Cooper. The philosophical currents underlying his work have much in common with Georges Bataille: the focus on the limit-experience, often attained through an agony that grazes against beatitude, the emphasis on the organic substrate of conscious life, and an unsettling combination of orgiastic excess and monastic quietude characterize both men’s work, though Jahnn’s precise and involuted language is far more innovative than Bataille’s. READ MORE…

Weekly News Roundup, 3 July 2015: When Did You Become a Blog Reader?

This week's literary highlights from around the world

Happiest Friday, Asymptote pals! For those of us north of the equator, this summer season bodes lots of sweat and sunshine. Here’s some Internet reading to keep you occupied.

Japanese novelist and perennial point of Nobel speculation Haruki Murakami’s identified the very moment he became a novelist: at a baseball game. (Do you remember becoming a blog reader, dear one?). And over at the Paris Review, more behind-the-scenes author insight: here’s a full, unedited recording of an interview with Polish poet, translator, and all-around phenom Czeslaw Milosz.  READ MORE…

Arab Literature, In Review: “The Bride of Amman” by Fadi Zaghmout

Sawad Hussain reviews a Jordanian LGBT runaway bestseller, finally available in English translation

Fadi Zaghmout’s The Bride of Amman (translated into English by Ruth Ahmedzai Kemp) is a bold, charged novel detailing the struggle Jordanians face in abiding societal strictures on sexual orientation and gender identity. The taboo topics explored in the novel–including homosexuality, sexual abuse within tight-knit families, sexual harassment in the workplace, extramarital liaisons and interreligious marriage–have rendered the novel quite controversial in the Arab world, with readers either wildly celebrating or denigrating the novel for its “unrealistic” portrayals of Jordanian society.

If we are talking strictly about content, then I belong to the former category. The uninhibited manner in which Zaghmout addresses such realities as living as a homosexual man in a modern, predominantly Muslim community is fresh, engaging, and educational (even for someone who considers herself well-versed in LGBT literature).

It is easy for an author to fall into didactic narration when dealing with such topics. But The Bride of Amman escapes this trap: here is a novel I would encourage both old and young to read simply for its piercing insight into the life of an Arab man—who happens to be both homosexual and a practicing Muslim. This is a story told with such probity that it could be anyone’s. READ MORE…

What’s New with the Asymptote Team?

So many accomplishments this month!

Contributing editor Antony Shugaar‘s translation of Massimo Carlotto’s Gang of Lovers was published by Europa Editions on 2 June 2015.

Assistant editor Bradley Schmidt recently had a translation of Florian Wacker’s piece “Transit” published in Exchanges Literary Journal.

Drama editor Caridad Svich has edited a new book for TCG with the title INNOVATION IN FIVE ACTS. The book just launched at their national conference in Cleveland June 18-20, 2015, and is now available on amazon for pre-order.

Senior editor (Chinese) Chenxin Jiang‘s translation of Xiao Bai’s acclaimed literary noir French Concession is published by HarperCollins in the US this month. Furthermore, an excerpt from Chenxin’s forthcoming translation of Swiss author Zsuzsanna Gahse’s novel Volatile Texts was featured on the Three Percent blog.

READ MORE…

Translation Tuesday: “Night Visit” by Emmanuel Bove

His eyes left the comforting flame of the lamp, seemed to follow the flight of a bird, then landed on me.

What was making me sad? My books—all my books—were sleeping on the shelves. No one had spoken badly of me. My family and friends had no particular worries. I found myself in the midst of all things. So I did not need to fear that events, in my absence, would take a turn I would be unable to change. I was not unhappy with myself. And, even had I been, this intensity of feeling was different.

It was eleven o’clock at night. A lamp without a shade lit my desk. I had not gone out all day. Whenever fresh air has not put color in my cheeks, I don’t feel at ease. My wrists are smoother and I notice, with some displeasure, that the down covering them is silkier, and when I go to bed, my unexpended energy makes me uncomfortable.

I was dozing in an armchair. At the seam where the red velvet meets the wood, golden tacks form a border. One of them was missing and, there, the edge sagged a bit. I sat motionless. My hand tugged at this seam without my being aware of it, as it sought unconsciously to pull out the next tack.

It was only once I had managed to pull it out that I became aware of what I was doing. I felt a small joy at this discovery, as I feel each time I catch myself doing something without realizing it, or when I bring to light a sensation in me of which I was unaware. It makes me as happy as a ray of sunshine or a kind word. Anyone who would criticize me for this tiny joy will never understand me. I think that seeking knowledge of oneself is a pure deed. To criticize me for digging too deep into myself would be to criticize me for being happy.

I have to say, though, that this joy is very fragile. It really is not equal to the joy a ray of sunshine gives us. Quickly it disappears, and I have to look for something else inside me to bring it back to life. Then, in the intervals, it seems that everything is hostile to me and that the people around me, with their simple joy, are in reality happier than I am.

*

I was reading when there was a knock at the door. It was my friend Paul. He rushed in and the door, which he had yanked behind him so it would close, stopped half-way.

“What’s the matter, Paul?”

“Nothing.”

His face was pale, and his eyes darker than usual. He dropped onto the sofa, which he knew was soft.

“But what is it?”

He stood, walked around the room as I put my book down, and lit a cigarette, then sat again. He was smoking the way nervous people do, his cigarette drooping from his mouth. From time to time, he would spit out bits of tobacco.

“Please, Paul, tell me what’s happened to you.”

I looked at him. I tried to find a gesture, an expression, something in his bearing that would reassure me. But there was nothing. If he had been holding some object, his fingers would have trembled. He must have realized this because he avoided touching anything whatsoever.

“Paul, I’m your friend. Tell me everything. You know if there’s anything I can do for you, I’ll do it. It hurts me to see you like this, without being able to help you.” READ MORE…

KROKODIL Literary Festival: A Dispatch

"Every year in mid-June, in front of the Yugoslav Museum in Belgrade, a strange sect gathers: made up of friends whose names you don’t know."

When organizing an open-air festival, it is easy to realize how religions first came into being: man gazed into the sky and yearned for weather to save the harvest. For seven years now, we—the organization team of the Krokodil festival—have been just-as-obsessively peering at the sky and weather forecasts, always clutching to the one that predicts the worst possible weather. Finally, on the opening day, we phone the Hydrometeorology Institute every two hours. We’re on a first-name basis with its employees.

The festival takes place in the open-air amphitheater in front of the Museum of Yugoslav History, which makes for great atmosphere and an exceptionally high turnout. Krokodil (an acronym loosely translatable as “regional literary gathering which does away with boredom and lethargy”) is conceived as a reading festival and a festival of contemporary literature. More than 120 authors, from over fifteen European countries, have participated thus far.

This year’s theme was “Centers of Periphery.” We aimed to examine the relation between the “center” and the “margin” in literature, as well as in society and politics, exploring the geographical aspects of banishment from the mainstream. READ MORE…

Weekly News Roundup, 26th June 2015: Plagiarism You Don’t Remember

This week's literary highlights from across the world

Hey guys, happy Friday!

We frequently report happy awards-news (and don’t worry, we’ve got a bit this week, too). But unhappy literary awards news? Forget about it—until now. South Korean Man Asian Book Prize-winner Shin Kyung-Sook has (sort of) admitted to pilfering passages from Japanese writer Yukio Mishima’s work. Apparently, she “can’t trust her own memory” on the issue. Hm. And speaking of South Korean bestsellers—apparently the Talmud is a hot-ticket bestseller right now.

We’ve spoken about the buzz surrounding Algerian writer Kamel Daoud’s Prix Goncourt-winning (originally French-language, recently translated into English by John Cullen) The Meursault Investigation, itself a riff on Albert Camus’ legendary The Stranger—here’s another great review at NPR. Speaking of literary rivalries/riffs, here’s what Irish writer playwright George Bernhard Shaw thought of German philosopher Friedrich Nietzsche.  READ MORE…