In this week’s Translation Tuesday, join Georgian writer Ruska Jorjoliani as she tells the stories of her grandfather and their people. Becoming a refugee as a result of war, Jorjoliani’s first-person narrator gradually finds new words, before finding the need to use those words—telling the story of family, dear yet far away.
Among us, epic tales were like wedges to keep the workbench of daily life from wobbling, benches with cheap tools on top, all of us dragging ours behind us the way we did our long, grueling winters. When I was a girl, the first creatures that roused my imagination were horses—starving, weary beasts, but still horses. Every morning I used to watch our neighbor Ciko saddle his bay, settle a rough woolly hat on his head, let out a shout, and gallop off, disappearing into the mountains. Ciko’s horse and Ciko, bent low over the halter, were the only beings who could travel beyond, exceed those limits set down by the laws of nature first and then by men, the only ones who could taste another air, other worlds hidden to the common gaze. After about twenty km, the rider had to dismount and walk up so that the horse didn’t fall into a gorge, then you’d arrive at a lake, green in spring and blue in summer—what it looked like in fall or winter you didn’t know, since no one had ever dared try the climb in those seasons—and then finally the mountain would begin to shrink like the tail of a hibernating dragon and you could make out the first houses of the others in the distance, those strangers, children of another god, the Kabards.
The Book of Tbilisi, edited by Becca Parkinson and Gvantsa Jobava, Comma Press
The Tbilisi funicular that leads all the way to the Mtatsminda Mountain, one that families might usually take on Sunday mornings or lovers for an afternoon date, gives an opportunity to get a glimpse of the city from above while still being close and immersed in the noises and lives it encapsulates. The Book of Tbilisi attempts to be an extension thereof, unravelling to the readers the literary landscape of Georgia after the recuperation of its independence and the consequent transformations it underwent. Comma Press’s “Reading the City” series brings to the surface works and literary traditions of underrepresented areas. This endeavour aspires to insert forsaken voices and cosmologies into the Eurocentric literary canon.
One should not overlook the genre chosen for this aspiration. An underrated form that has experienced a renaissance in recent years (as could be attested by Asymptote’s Winter 2018 Issue special feature on microfiction and the 2013 Nobel Prize awarded to Alice Munro), the short story is distanced from illusions of coherency and authority. Instead, its fragments embrace the gaps and absences, charged with an energy that surpasses the mere focus on the sequence of events, in order to capture a state or a quality. Thus it is not difficult to imagine why this impressionistic genre seemed the adequate vehicle—much like the funicular itself—to capture the fleeting force that runs through Georgia.
This week, our Editors-at-Large bring us up to speed on literary happenings in South Africa, Central America, and Brazil.
Alice Inggs, Editor-at-Large, South Africa:
South Africa has eleven official languages, a fact not often evident in local literary awards and publications, which generally skew towards English and Afrikaans as mediums. However, the announcement of the 2017 South African Literary Awards (SALA) has done much to change this perception.
In addition to including five contributors to narratives in the extinct !Xam and !Kun languages (drawn from the Wilhelm Bleek and Lucy Lloyd archives), a biography in Sepedi (Tšhutšhumakgala by Moses Shimo Seletisha) and poetry collections in isiXhosa (Iingcango Zentliziyo by Simphiwe Ali Nolutshungu) and the Kaaps dialect (Hammie by Ronelda S. Kamfer) have been shortlisted.
Mythology – Part Two
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In part two of our Mythology feature, we dig deeper into the rich and sometimes troubling relationship between legends of old and lives of present. Where do a nation’s myths come from? What does it mean to be both proud and critical of our cultural identity? How can art reconcile or challenge the way we relate to our heritage? We dive into these questions and more through a focus on two Western Asian countries: Israel and Georgia. Yardenne Greenspan, who grew up in Tel Aviv, examines her own difficulties with accepting the state-sanctioned version of history—she talks with fellow Israeli writers about the myths surrounding Israel’s public image. And Daniel Goulden and Rron Karahoda test out J.R.R. Tolkien’s theory as to why certain languages survive and others go extinct, through a celebration of Georgian music and folklore. READ MORE…