Weekly News Roundup, 5th June 2015: Don’t Write Your Memoir.

This week's literary highlights from across the world

Happiest of Fridays, Asymptote pals! This is the first week Katrine, new blog co-editor, is on board—so let’s give her a big web-round-of-applause (tapping on the keyboard in the comments section helps). Hi Katrine! You might recognize Katrine because she was a judge for the Best Translated Book Award so, yeah—she’s a celeb.

Speaking of celebs, our former Central Asia Editor-at-Large, Alex Cigale, recently guest-edited a section on Russian poetry over at the Atlanta Review—it’s definitely worth checking out (and look for a blog interview on the guest-editing process soon). If you are a fan of the Norwegian Nobel Prizewinning bard, Tomas Transtömer, here’s a treat—his final interview given before his death, in translation. And, speaking of poetry—the New Yorker has an interesting piece on Jihadi poetry and what it means to share some words.

Multitasking artists: American playwright Tennessee Williams took up painting, once (just like American ex-President Dubya, whose outsider-art paintings I frankly prefer). And Dany Lafferière, a Haitian novelist who came of age in Canada, is the first non-French citizen to be admitted in the prestigious Académie Française.

What are your favorite authors’ favorite words? Here’s a little list. And what’s your favorite curse word—it might not have existed too long ago (except, of course, for “fart,” which has stood the test of time).

How does it feel to write and never be read? Most of us know, all too bitterly. But perennial Nobel-speculation and speculative-fiction writer, Canadian novelist/poet Margaret Atwood, has written for a library that won’t be available for another one hundred years. Will we all be screened-up e-readers by then? The Chicago Tribune thinks not. Nine hundred years later, we’re still collectively obsessed with the old Icelandic god, Loki, though. What gives?

Finally, please, and for the love of God—unless you are Karl Ove (in which case it is already too late): delete your memoir. If it’s written from a female perspective, it’s less likely to win any big prizes, anyway (ugh), unless, of course, it is the Bailey’s Women’s Prize for Fiction (congrats Ali Smith for How to Be Both, this year’s prizewinner). Prizes aren’t always great, though: even judge Marina Warner (from the Man Booker!) is bemoaning the dearth of world literature available in English—good thing journals like Asymptote are working to buck that trend.

Poem as Firework, Poem as Bone China: A Dispatch

A dispatch from the "Found in Translation" event at the Institute of Contemporary Arts in London

We run through groups of snail-paced tourists from Trafalgar Square to arrive just in time for the start of “Found in Translation” at the ICA, almost walking directly into Michael Hofmann on entering the filling cinema. We take our seats just as he walks down to join fellow poet and literary translator Jamie McKendrick and German poet Jan Wagner on stage. While everyone settles down to an ominous soundtrack straight out of Star Wars, I take in the two rows of bulbs, like the lights that surround the mirror in a theatre dressing room, running the length of the ceiling. Some of them are out, which fits an event that glows but never quite reaches its full brightness.

In the introduction, Jan Wagner is sprightly and upright with a schoolboy haircut, Jamie McKendrick cradles his leather satchel before sliding it onto the floor, Michael Hofmann plays with his hands, lets them hang down either side of his chair, then finally folds them in his lap. Microphones are reluctantly taken up. McKendrick hugs his to the side of his head, Hofmann whispers to his like a little friend. READ MORE…

In Review: “The Argonauts” by Maggie Nelson

Rachel Bonner reviews an "homage to... the great soup of being in which we actually live.”

The Latin prefix ‘trans’ embodies movement: to go beyond, across, through. In her latest book Argonauts, critic and poet Maggie Nelson engages with theorists Luce Irigary, Jacques Lacan and Eve Kosofsky Sedgwick, moving through, across, and somewhere beyond their philosophies as she applies them to her lived experience.

Argonauts’ refers to a hypothetical spaceship dubbed the Argo that continuously reconstructs form throughout its ongoing voyage. Nelson’s prose incarnates this essential sense of movement, retaining a verse-like relation to its subject matter, the author’s domestic experiences and evolving romantic relationship with gender fluid artist Harry Dodge. READ MORE…

Translation Tuesday: “The Awaiter” by Duanwad Pimwana

We coexisted in close proximity on this planet. Even so, we led a solitary existence... What right did a person have to demand something of others?

I never had any luck, perhaps because I never thought of it, and it probably didn’t think of me. Yet something now lay at my feet. That it had to show up there was no mere contingency. I could have easily stepped over it or veered to the side. Somebody whisking about in the vicinity would have picked it up; he probably would have grinned and chalked it up to his lucky day. But I hadn’t moved aside, and as long as I stood in place and glanced calmly at it down by my feet, others could only steal a wistful glimpse. Some might have regretted walking a tad too fast; if they had been slower, they could have become its possessor. Some might have reasoned, siding with themselves, that they spotted it even before I did, but they were a step too slow. Regardless, I picked up the money, without concluding as of yet whether it was my luck or not.

That evening at the tail end of the monsoon season, I happened to walk by a crowded bus stop even though it was not on my way home and I had no purpose for taking that route. The money lay fallen behind a bus. When I bent down to pick it up, the hot air from the exhaust pipe spurted onto my face as I unfurled myself back to standing. A pair of eyes darted at me. Its owner walked toward me with a face painted with an uncertain smile. I knew his intentions immediately. While I myself was unsure of my status in relation to the money at that instant, one thing of which I was absolutely certain was: the man approaching was not the owner of the money—but he wanted to be.

READ MORE…

What’s New with the Asymptote Team?

We've been very busy!

Aamer Hussein (contributing editor) has released a new collection of short stories, entitled 37 Bridges and Other Stories.

Aditi Machado (poetry editor) has a poem anthologized in February as well as four poems out in Web Conjunctions.

Ágnes Orzóy (Hungary editor-at-large) has written an article for Quarterly Conversation on Prae, the monumental 1934 novel by Miklós Szentkuthy, a writer previously introduced in our pages. She has also recently begun to blog for ELit Literaturhaus Europa, an observatory for European contemporary literature focusing chiefly on research, discussion and publishing results concerning literary trends across Europe, as well as inter-cultural communication of literature within Europe. Her first two posts can be read here and here.

Isle-to-Isle, chief executive assistant Berny Tan and Sher Chew’s collaborative data visualization project based on Jules Verne’s classic novel, The Mysterious Island, has come full circle. Berny also recently published a nonfiction, “Ah Ma’s Chilli,” in Junoesq Literary Journal.

Drama editor Caridad Svich‘s new book, Innovation in Five Acts: Strategies for Theatre and Performance, gathering forty-three essays from admired theater professionals discussing techniques for creating theater, is now available for pre-order at Amazon.

On April 26, Chenxin Jiang (senior editor for Chinese content) and Lee Yew Leong (editor-in-chief) took part in Singapore: Inside Out’s Beijing showcase at the contemporary art enclave, 798.

Chris Tanasescu (a.k.a. MARGENTO, Romania editor-at-large) has published an article (co-authored with Research Assistant Andres Lou and Computer Science Professor Diana Inkpen) titled “Multilabel Subject-based Classification of Poetry” in The Proceedings of the Florida Artificial Intelligence Research Society Conference; the paper is part of his ongoing project titled The Graph Poem. Alaska-based writer and academic Helena Spector also recently reviewed his book Nomadosophy in Semne Bune (previously reviewed in Asymptote here).

Diana George (proofreader) published a new story, “Wara Wara,” in the Spring 2015 issue of Conjunctions as well as a review of Antoine Volodine’s Writers in 3:AM magazine.

Contributing editor Ellen Elias-Bursac‘s translation of David Albahari’s novel, Gotz and Meyer, has been republished by Dalkey Archive.

Joshua Craze (nonfiction editor) published an essay on the conflict in South Sudan with Creative Time Reports. He also has an essay in the catalogue for Jenny Holzer’s exhibition, War Paintings, currently on display at the Museo Correr in Venice; a version of this essay was also featured in Media-N. His essay on redaction appeared recently in the collected volume Dissonant Archives: Contemporary Visual Cultures and Contested Narratives in the Middle East.

Julia Sherwood (Slovakia editor-at-large) and Peter Sherwood (past contributor) have published an extract of Czech writer Zuzana Brabcová’s The Year of Pearls, in Words Without Borders’s queer issue, out today. Their extract of Ján Rozner’s autobiographical novel Seven Days to the Funeral also appeared in BODY.Literature.

The first full-length poetry collection, Vulgar Mechanics, of assistant editor Kara Billey Thordarson (pen name K.T. Billey) is a semi-finalist for the 2015 Pamet River prize from YesYes Books. The winner will be announced on August 1.

Lee Yew Leong (editor-in-chief) has published his book-length English translation of Fu-chen Lo’s memoir, From Taiwan to the World and Back, excerpted in the January 2014 issue. He also served as guest editor for the recently launched Issue 53 of Columbia: A Journal of Art and Literature.

Interviews editor Matt Jakubowski has published an experimental work entitled “Corner of the World” in 3:AM magazine.

Marketing manager Rosie Clarke reviewed Richard Weiner’s The Game for Real (translated by Benjamin Paloff) in the May 29 issue of The Times Literary Supplement.

Poetry Foundation ran an essay by Win Bassett (legal advisor) about his summer stint at a hospital and the necessity of poetry.

Weekly News Roundup, 28 May 2015: PEN! BTBA! IFFP!

This week's literary highlights from across the world

Happy Friday, Asymptote! For those of us interested in translation—and the funds to pay for it—the day the PEN/Heim Translation Fund awards/fellowships are announced is always good. Special congrats to Dong Li, Asymptote blog friend—but he’s by no means the only familiar name on the list. Big congrats to all the winners, and the blog wishes you luck on all your projects!

And. Continuing the theme of huge news (for translators, writers, and readers at least—and aren’t we all?), Three Percent has announced the winners for the Best Translated Book Awards! In the fiction category, top honors go to Chinese author Can Xue (who we interviewed in the journal over a year ago) for her novel The Last Lover translated by Annelise Finegan Wasmoen, and Rocío Cerón’s Diorama, which was translated from the Spanish by Anna Rosenwong. Pride note: new blog co-editor, Katrine Jensen, was a member of the judging panel—so you can trust these picks! READ MORE…

Signes: A Review of Ciarán Carson’s From Elsewhere

Farisa Khalid reviews the masterful work of a translating poet

For a poet, there are easier things than translations. The translating poet inevitably has to face the gnawing burden of writing for two people. “It’s a desperate system of double-entry bookkeeping,” Howard Nemerov lamented. The spectral presence of the author is always hovering somewhere, ready to strike whenever the nuance of a word or phrase falters. Even then, the process of translation is seductive. It provides a poet with the rare opportunity to examine the art of another writer, often with intriguing results. The cryptologist’s glee at unveiling messages and new lines of thought converge into the creation of a new kind of work that is as dependent on the translator’s moment in time as much as it is to the author’s.

Many readers may be familiar with Ciarán Carson’s work as translator. His versions of seminal Irish texts Táin Bó Cúailnge (The Cattle Raid of Cooley) and Cúirt An Mheán Oíche (The Midnight Court) have a robust freshness and vitality that readily appeals to contemporary audiences. Reading Carson’s Táin, one can sense the sounds, smells, and voices of that particular world of pre-Christian Ireland (now so heavily appropriated into the pop-culture fabric of Game of Thrones).

His newest work, From Elsewhere (Gallery Books, 2014), is a collection of 81 short poems by the French poet Jean Follain (1903-1971), each accompanied by a short poem of Carson’s, an original work inspired by the Follain poem, or, as Carson describes it: “a translation of the translation.” From Elsewhere is certainly not Carson’s first foray into French translation. In 1998 he translated an array of Rimbaud, Baudelaire, and Mallarmé in The Alexandrine Plan and in 2012 he published his translations of Rimbaud’s Illuminations, In the Light Of (both published by Wake Forest University Press). READ MORE…

What’s a Tomme Cheese?

In her continued column about food & language, Nina Sparling examines just what—and how—"tomme" cheese has come to mean

Some words for foods are easily translatable. The word’s functional meaning shifts effortlessly between tongues. Tomato and pomodoro both indicate Solanum lycopersicum, member of the nightshade family. Poulet, pollo, and chicken look the same rubbed with oil and garlic roasting in a hot oven. In these cases, there is little room for deliberation: oil, butter, wine. Rice, wheat, corn. Their translations are patently accessible. Learning the words for foods in other languages is particularly satisfying. There’s immediate sensory recognition: the words indicate familiar tastes, smells, textures, and sights. The intimacy with what we eat follows. In learning to say tomato in another language, we begin to feel in it also.

But this question of feeling is where it gets finicky. While most anything carries a “literal” meaning in another language, its usage and implication remain awkward in translation. A New York bakery and a Parisian boulangerie operate in different ways. In both places flour is mixed with yeast and water, let to rise and baked. Yet we do not eat bread in the same ways, and the bread we eat is not the same.

Take, for example, the French word tomme. My first day of work at the cheese shop a colleague asked me what kind of cheese I liked. Tomme, I said. He was quick to call me out.

Tomme is not a kind of cheese. Be more specific.” READ MORE…

Translation Tuesday: Poems by Boris Vian

Translated by Jeremy Page

THE SPIDERS 

To Odette Bost

 

Into the houses where children die

Go some very old people.

They sit down in the antechamber

Their sticks between their black knees.

They listen, nod their heads.

 

Every time the child coughs

Their hands clutch their hearts

And make big yellow spiders

And the cough, rising through the furnishings,

Is shredded, listless as a pale butterfly.

 

They have vague smiles

And the child’s cough stops

And the big yellow spiders

Rest, shaking,

On the polished boxwood handles

Of the sticks, between their hard knees.

 

And then, when the child is dead

They get up, and go elsewhere…

READ MORE…

In Review: “Unknown Soldiers” by Vaino Linna

Daniel Goulden reviews a book "so good it hurts to read."

In November 1939, the Soviet Union invaded Finland in hopes of annexing Karelia, a strip of forested lands on the border of Finland. It wanted Karelia as a buffer to safeguard nearby Leningrad. Finland fought back fiercely, but ultimately had to surrender portions of its Eastern Lands. Two years later, in June 1941 (when the Nazis broke the Molotov-Ribbentrop pact), Finland was trapped between two authoritarian regimes. Allying itself with Nazi Germany, Finland entered the war against the Soviet Union and attempted to regain the territory lost during the Winter War.

The novel Unknown Soldiers by Vaino Linna presents the morally ambitious events of the Continuation War. The story follows a company of soldiers, some excessively patriotic—and others considerably less so—as they march through the forests of Karelia. The perspective seamlessly switches from character to character, so the reader witnesses the war from multiple perspectives. Despite their differences, each character quickly realizes that the war is horrifying and pointless. The only characters who do not realize this ostensible truth of war are the deluded officers, more concerned about medals and careers than the lives of their men. READ MORE…

Weekly News Roundup, 21 May 2015: Booker, the Man

This week's literary highlights from across the globe

Happy Friday, Asymptoters! You must be rather cozy living under a rock if you haven’t heard the most explosive news of the week: Hungarian writer (and Asymptote contributor!) László Krasznahorkai has won the prestigious International Man Booker Prize this year. He received 60,000 pounds sterling, but a 15,000-pound prize for his English-language translators is split between George Szirtes and Ottilie Mulzet (also contributors to both blog and journal). This year’s snag means things are stacked two-for-two with regard to the Man Booker and Asymptote. Two years ago, Lydia Davis earned top honors—and you can see her work in the journal, herself translating from the Dutch in 2013. Furthermore in lit prizes: at Wall Street Journal, an interview with the most recent “Arab Booker”—also known as the International Prize for Arab Fiction—prizewinner: Tunisian novelist and prizwinner Shukri Mabkhout opens up on novelizing the political crises and opening literary doors in the region.   READ MORE…

From the Archives: “Resistance Is Futile” by Walter Siti

In this ongoing series, a look at fiction from our January 2015 issue translated by Antony Shugaar

What is “autofiction?”

I don’t know. I really don’t. “Autofiction” belongs to the category of words I’ll habitually skim over in lieu of context clues. (Also in this category: “antifiction,” “matron literature,” “ergodic literature”—any ideas?). Critics toss around categories such as these so flippantly, practically taunting their readers to look them up on Wikipedia, but unless I get the sense that the term is particularly operative, I am likely to continue reading.

I came across “autofiction” more recently: after reading the incredible excerpt from Walter Siti’s Resistance is Futile from our latest issue (translated from the Italian by longtime blog contributor/superstar translator Antony Shugaar). In his translator’s note, Shugaar says that Siti’s “approach is called autofiction” and that “Siti seems to swing it over his head recklessly like a heavy gold chain.”

I’m intrigued. But first and foremost, I’m intrigued by the excerpt itself, because Resistence is Futile is incredible. Written in increasingly circular retrospect, the story’s more a taut deferral of linearly cruel memory than anything resembling realist fiction, but that’s not to say it isn’t visceral, gutting, utterly material, and wrenching, as it recounts the youth of an unfortunately corpulent young boy, Tommaso.

The boy’s fat—that’s because he was a slow eater as an infant—and worse still, even that’s because the mother may or may not have “somehow been jinxed, conceived under a bad star” after she “got it stuck in her head that the child had been generated the very night that her husband came home drunk (and as far as that went, nothing out of the ordinary), cursing and washing the blood off himself.” READ MORE…

I Have Changed Nothing: Seven Paradoxes in Pursuit of Arthur Waley

Fourth in Josh Billings' "Lives of the Translators" Series

Skiing

Of all outdoor sports, skiing is the most dependent on “conditions”; so it is with some confusion that we come across this incredible sentence, from Arthur Waley’s short essay “Waiting for the New”:

But the truth is that for the skier time does not count.

As truths go, this one sounds strange—especially coming from the man who essentially introduced ancient Chinese and Japanese literature to 20th century-English readers. But Waley knew what he was talking about. Over four decades and over two dozen books (an output rivaled only by his fellow Fabian, Constance Garnett), he developed an exquisite ear for the way that time changed words. At the same time, as a poet, he understood that the gulfs separating two seemingly distant eras could be bridged, unexpectedly, by a single act. Later in the same article, he described the skier’s patience:

Waiting is waiting, whether it be for a night or for six months; and inversely the prospect of a ski-run is as exciting, day after day, to the rentier or pensioner who spends Michaelmas to May Day on the snow, as to the breadwinner who snatches a fortnight at Christmas. Each, on waking, thrills at the thought ‘today I am going to ski’; each has sat for hours in heavy and perhaps wet skiing boots, merely to put off the moment when he must confess to himself ‘today the skiing is over.’

The skier in Waley’s description no more ignores the weather than the translator would ignore the echoes of an archaic verb tense; on the contrary, he steeps himself in the conditions of his art, sure that if he waits long enough, his moment will come. The clouds will part and time collapse like a Mad Fold-In, creating a moment that is simultaneously a repetition of previous moments and unique. The name that Waley’s article gives to this miracle will be familiar to readers of either ancient Chinese literature or 20th century poetry. It is “The New.”

Biography

In a note to his 1934 translation and study of the Tao Te Ching, Waley explains the concept of fan-yen:

The ‘which of you can assume murkiness…to be clear’ is a fan-yen, a paradox, reversal of common speech. Thus ‘the more you clean it, the dirtier it becomes’ is a common saying, applied to the way in which slander ‘sticks’. But the Taoist must apply the paradoxical rule: ‘The more you dirty it, the cleaner it becomes.’

As a tool for thought, paradox has a long history in Western and Eastern literatures, but its use in biography has been limited. The mythmaking urge is too great, which means that most of the time biographers from Samuel Johnson to David Remnick have found themselves “cleaning” their subjects’ lives in a way that may sound and even be true, but which hides a certain messiness. The life in question becomes a story with a plot and theme—which is all well and good until you think about your own life, and the thousand things that any story about it would have to leave out in order to make any sense.

The life of Arthur Waley breaks the biographer’s storytelling urge in a number of ways, not the least of which is the fact that Waley didn’t write much about himself. He kept no diary and destroyed his letters, leaving a space, or network of spaces, where most of his contemporaries left maps. Perhaps most importantly, his insane productivity occurred almost exclusively in translation—a discipline that traditionally prides itself on self-erasure. Because of this, any attempt to make a story out of him has to confront the fact that there is, ostensibly at least, not much “him” to make a story out of. READ MORE…

Translation Tuesday: Poems by Anna Margolin

Translated from the Yiddish by Maia Evrona

Mother Earth

 

Mother earth, much trodden, sun-washed,

dark slave and mistress

I am, beloved.

From me, the humble and the sullen,

you burst forth—a powerful stem.

And like the eternal stars, and as the flame from the sun,

I circle in long and blind silence

through your roots, through your branches

and half in vigil, and half in slumber,

I search, through you, for the high sky. READ MORE…