Place: Guatemala

Weekly Dispatches from the Frontlines of World Literature

The latest in world literature can be found here in Asymptote's weekly roundup!

This week, our weekly dispatches take you to Poland, France, Mexico and Guatemala for the latest in literary prizes, and literary projects, featuring social media, and indigenous poets in translation.

Julia Sherwood, Editor-At-Large, reporting from Poland:

Hot on the heels of a US book tour for her International Man Booker Prize-winning novel Flights (translated by Jennifer Croft), the indefatigable Olga Tokarczuk appeared at a series of events to mark the UK publication of her newest book. The “existential thriller” Drive Your Plow Over the Bones of the Dead, translated by Antonia Lloyd-Jones and published by Fitzcarraldo Editions, is fast garnering rave reviews, and London audiences had an opportunity for a Q&A with the author combined with a screening of Spoor, the book’s film adaptation. There was also a lively conversation between Olga Tokarczuk and writer and chair of the International Man Booker judges, Lisa Appignanesi, at the Southbank Centre. Meanwhile, Flights has been shortlisted for the National Book Award for translation as well as for the Warwick Prize for Women in Translation, the shortlist of which includes another book by a Polish author, Żanna Słoniowska’s The House with a Stained Glass Window (also translated by Antonia Lloyd-Jones).

Anyone who may have been afraid to tackle the classics of Polish literature will no longer have any excuse now that Adam Mickiewicz’s epic poem Pan Tadeusz has appeared in a new and highly readable English version. “I undertook this translation out of the conviction that Pan Tadeusz is fundamentally an accessible poem for twenty-first-century non-Polish readers. It’s witty, lyrical, ironic, nostalgic, in ways that seem to me quite transparent and universal,” writes multi-award-winning translator Bill Johnston in his introduction. At a book launch at the Polish Hearth Club in London on October 8, Johnston compared notes with poet and translator George Szirtes, who introduced his translation of the Hungarian classic The Tragedy of Man by Imre Madách.

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Weekly Dispatches from the Frontlines of World Literature

Find out the latest in world literary news here!

In this edition of weekly dispatches, we remember Argentine author Hebe Uhart, celebrate the continuation of Guatemala’s national book fair, and look to China for news of cultural exchange and literary prizes. 

Sarah Moses, Editor-At-Large, reporting from Argentina:

Argentine author Hebe Uhart passed away on October 11 at the age of eighty-one. Uhart was the author of numerous collections of travel essays, stories, and novellas, and in recent years dedicated herself exclusively to the former, visiting towns in Argentina as well as countries in Latin America and further abroad to document what she saw. Her most recent work was a collection of non-fiction pieces about animals, which included her own sketches.

Uhart was born in the town of Moreno and moved to the capital to study philosophy at the University of Buenos Aires, where she later taught. For many years, she also led writing workshops out of her home. She was recognized as one of the greats among both readers and colleagues, and authors such as Mariana Enríquez and Inés Acevedo have written about her work. In 2017, she was awarded the prestigious Premio Iberoamericano de Narrativa Manuel Rojas.

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Weekly Dispatches from the Frontlines of World Literature

We're back with weekly updates in world literature from around the globe!

We’re back with our regular Friday column featuring weekly dispatches from our Asymptote team, telling you more about events in world literature. Join us on a journey to Guatemala and Chile, before heading to New York City, to find out more about the latest in world literature.

José García Escobar, Editor-At-Large, reporting from Guatemala:

We begin with great news coming from the Guatemalan author Eduardo Halfon whose novel Mourning (Duelo in Spanish) got shortlisted for the 2018 Kirkus Prize. Halfon, whom we interviewed for our blog last June, is sitting beside other fantastic writers such as Ling Ma, Nafissa Thompson-Spires, and Lauren Groff. Mourning, published by Bellevue Literary Press, was translated into English by Lisa Dillman and Daniel Hahn. The winner will be announced on Thursday, October 25, 2018.

Additionally, Halfon was just declared the recipient of the 2018 Miguel Angel Asturias National Prize in Literature, the most important literary prize in Guatemala.

On a much sadder note, recently, one of Guatemala’s most influential and emblematic poets, Julio Fausto Aguilera has passed away at the age of 88. He won the Miguel Angel Asturias prize, in 2002; he was part of the arts collective Saker-Ti, and one of the founding members of Nuevo Signo—arguably one of the most important literary groups in Central America. He wrote close to twenty books of poetry, and his family confirmed that he left two manuscripts that they hope will get published soon. Francisco Morales Santos, his friend en Nuevo Signo’s editor, called Julio Fausto a worthy and unbreakable man. Many other writers such as Vania Vargas and the most recent winner of the Miguel Angel Asturias Prize, Francisco Alejandro Méndez, also mourned the death of Aguilera.

To read more about Aguilera and Nuevo Signo, click here.

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Weekly Dispatches from the Frontlines of World Literature

This week's literary news roundup brings us to South Africa, the United States, and Guatemala.

We’re back with another round of exciting literary news from around the globe. This week’s dispatches take us to South Africa, the United States, and Guatemala. 

Alice Inggs, Editor-at-Large, reporting from South Africa:

An anticipated event on the Cape Town literary calendar, the annual Open Book festival,will take place from September 5-9. The inclusive festival, at which spoken-word performances and bookmaking classes are added to the program alongside interviews with international authors and panel discussions on feminism, appears to have a particular focus on migrancy and notions of place this year, with several talks hosted by the African Centre for Cities.

The attendance of influential urbanist, researcher, and author AbdouMaliq Simone points to this unofficial theme. Simone’s enduring optimism with regards to city spaces and the possibilities they hold for producing new forms of trade, particularly in the context of those inhabitants who are forced to adapt for reasons such as crumbling infrastructure or illegal residency, is a trait that looks to carry over to the rest of the festival.

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From the Headbanger, the Metalhead, All the Way to the Failed Hip-Hopper: An Interview with Wingston González

For me, poetry is the metadata of life.

If I were to describe Wingston González as a poet, I’d say he’s an unusual poet. Scratch that. To be more precise, the fractured aesthetics, the cadence, the triplets, the vertiginous narrative found in Wingston’s poetry, can only be summoned by the unusual artistic upbringing he had. Born in Livingston, brought up on Garífuna culture, traditional Guatemalan education, classical literature, and hip-hop music, Wingston stands as an undeniably original and musical wordsmith—utterly unique within the tradition of Guatemalan literature.

He is also an entrancing performer and a fascinating poet that keeps changing and augmenting his cultural and intellectual heritage.

Early July, Wingston and I got together at Casa Cervantes in downtown Guatemala City to talk about his creative process. Of course, we effortlessly drifted towards other topics. We ended up talking about music—like we often do—and ignoring the mathematical structure on which language is based. Wingston’s poetry, I might argue, has almost an allergic reaction to the formulaic configuration of Spanish. And it is thanks to that free will and unhindered flow that his verses explode and reach out with utter casualness.  

Wingston argued that as time passes, he is less worried about fulfilling what is expected of him as a poet. The narrative fabric of his poetry is often based on everyday life and he admits he thrives on capturing that everydayness, either through the plot, though mostly through the words.

During the translation process of the Four Poems, featured in Asymptote’s Summer 2018 issue, he repeatedly confessed that while writing them he was concerned people might not understand what he was trying to say.

“I wanted to play with the language, but I was unsure if it made any sense,” he insisted, and months later, in Casa Cervantes, he repeated that line.

The result—and his poetry in general—though intellectual and highly literary, is also tinged with elements of the quotidian plus the type of slang and idiolects found in Livingston, in Guatemala. From references to Garífuna culture, musical narrative, unorthodox rhythmic pattern, ritualistic cadence, inventive spelling, stutters, theatrical delivery, and—as he calls them—a set of useless facts, these Four Poems show many of the poet’s tricks, antics, and cultural inheritance. His unrestrained flow truly showcases the vitality he wants to impregnate in his poetry.

José García Escobar (JGE): Your poems featured in Asymptote’s July issue, I think, are a perfect example of the type of aesthetics you used at the beginning of your career. In them, there is a lot of experimentation, musicality, unusual rhythm and unorthodox narration—things you rarely use now. How has your approach towards poetry changed over the years?

Wingston González (WG): I don’t know if my approach has changed, but the process definitely has. Naturally, when you start writing, you’re not entirely aware of what you’re doing. The act of writing becomes automatic. That happened to me. But right now I’m not as worried as I was in the past with the limitations of language. I’m more concerned with the limitations of human nature. I think that with my poetry I’m getting closer to how I speak every day. That is my intention now, to use everyday language. Even if these poems, the ones featured in Asymptote’s Summer 2018 issue, are pretty experimental, I remember I was worried that I wouldn’t be able to communicate what I was trying to say. I thought, “What am I doing with my ax!” I was afraid I wouldn’t be able to reach the reader. Now I’m not as concerned about this.

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Weekly Dispatches from the Frontlines of World Literature

Our weekly roundup of literary news brings us to Central America, Albania, and Hong Kong.

We are a week out from the launch of our Summer 2018 issue of Asymptote and we could not be happier about the reading we have enjoyed and the positive response we have received from readers. As we get ready for the weekend, we bring you the latest news from around the world. José García Escobar reports from Central America, Barbara Halla from Albania, and Jacqueline Leung from Hong Kong. Happy reading!

José García Escobar, Editor-at-Large, reporting from Central America:

Guatemala has just closed its annual book fair, the Feria del Libro de Guatemala (Filgua), which hosted some of the most important publications and announcements of the year.

First, it was announced on Thursday, July 19 that the latest winner of the prestigious Premio Luis Cardoza y Aragón (Luis Cardoza and Aragón Prize) for Mesoamerican poetry was the Mexican writer, René Morales Hernández, with his book, Luz silenciosa descendiendo de las colinas de Chiapas. Born in Chiapas, René Morales joins the ranks of well-known and critically acclaimed writers such as David Cruz from Costa Rica, Maurice Echeverría from Guatemala, and the Garífuna poet, Wingston González, featured in Asymptote’s Summer 2018 Issue.

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In Conversation: Eduardo Halfon

All of my books are intimately related, like brothers who live far away.

The last time Eduardo and I talked, in July of 2015, days before he presented his latest book, Signor Hoffman, we were both weeks away from coming to New York City, though each for different reasons. “You got a Fulbright to do your MFA? That’s impressive,” he said, smiling. “You’ll be the writer-in-residence at Baruch College?” I said. “I’m not sure what that means, but it also sounds impressive.”

Eduardo and I had met in Guatemala, near his house, at a brand new mall that, according to him, was now between local residents and a lush view of tall trees, misty mountains, and coppery sunrises. Or sunsets? Within five minutes he dismantled most of the questions I had prepared for the interview.

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Weekly Dispatches from the Frontlines of World Literature

This week we report from Mexico, Guatemala, and the UK.

We’re still elated over the launch of our Spring 2018 issue, but that doesn’t mean the work of compiling literary news ever stops. Our weekly roundup brings us to Mexico, Guatemala, and the United Kingdom.

Paul Worley and Kelsey Woodburn, Editors at Large, reporting from Mexico

April has been an exciting month for the Tsotsil Maya poetry collective Snichimal Vayuchil. First, on April 12 the collective participated in a transnational indigenous poetry reading with Kimberly L. Becker, a poet of mixed Cherokee, Celtic, and Teutonic descent. Poems were read in English, Spanish, and Tsotsil, with collective coordinator Xun Betán translating several of Becker’s works into Tsotsil. The event was sponsored by Western Carolina University in Cullowhee, North Carolina, United States, and Abuelita Books in San Cristóbal de las Casas, Chiapas, Mexico.

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Weekly Dispatches from the Frontlines of World Literature

Our weekly roundup of literary news brings us to Guatemala, Mexico, and Poland.

Wondering what is going on around the literary globe? You are in luck! This week we have reports from our amazing Editors at Large from Guatemala, Mexico, and Poland. Keep on reading! 

José García Escobar, Editor-at-Large, reporting from Guatemala:

We’ve got new winners and new publications coming from Guatemala!

F&G Editores just announced the latest winner of their biannual short-story collection award, BAM Letras, Marlon Meza with his book Coreografía del desencanto. Additionally, the jury suggested the publication of Hijos del pedernal y la brea by Gerardo José Sandoval and Voices aisladas by Mario Alejandro Chavarría. Sadly, the BAM Letras award, which has recognized the work of great writers such as Arnoldo Gálvez Suárez and Valeria Cerezo has come to an end, according to F&G Editores’ director, Raul Figueroa Sarti.

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In Conversation with Nicaraguan writer Sergio Ramírez

We mustn’t be allowed to be jailed by our own countries.

Last October, the Spanish publishing house Alfaguara put out Ya nadie llora por mí, the most recent novel from the acclaimed Nicaraguan writer, Sergio Ramírez and sequel to his 2009 novel, El cielo llora por mí (The Sky Cries for Me). A couple of weeks later, the Spanish Ministry of Culture announced that Sergio was the winner of the 2017 Miguel de Cervantes Prize, the most important literary award for Spanish-language writers. Other laureates include Jorge Luis Borges, Carlos Fuentes, and Mario Vargas Llosa. Sergio is the first Central American writer to receive this distinction. He has published around thirty books, two of which have been translated into English: Divine Punishment (McPherson & Company) and the 1998 Alfaguara Prize winning novel Margarita, How Beautiful the Sea (Curbstone Books).

Three months later, Sergio and I—his umpteenth interviewer since November—got together at a fancy hotel on the misty mountains of Guatemala City, hours before he presented Ya nadie llora por mí in SOPHOS bookstore. I imagined all the questions Sergio had answered during the past few months. What does it feel like to have won it? Where were you when you got the news? Can you give us a preview of your acceptance speech? I should ask him about his favorite Guatemalan dish, I thought, to shake things up.

Sergio is kind but equally incisive, serene, and voracious. He speaks with care and potency about Central American literature, being a writer, and Centro América Cuenta. Hosted in Nicaragua, this is the biggest literary festival of the region that seeks to strengthen Central American writers and bring them closer to the rest of Ibero-America. Sergio, with a cup of coffee in his hand, is also critical of the contaminated reality of his country. A reality from which his work often comes to life.

In Ya nadie llora por mí (Nobody cries for me anymore) inspector Dolores Morales has been discharged from the National Police, and he now works as a private investigator. He mostly handles cases about adultery for clients with no money. Then the disappearance of a millionaire’s daughter takes him out of his routine. In Sergio’s latest novel we also get to see how corruption and abuse of power underlie the revolutionary discourse of contemporary Nicaragua.

“As a citizen, I desire a different reality,” he says. “As a writer, I take advantage of it.”

Sergio is arguably the most important Central American writer today.

José García Escobar (JGE): What was it like to revisit detective Dolores Morales for your latest book? Did you have the story for Ya nadie llora por mí first, and then realized you needed Dolores to tell it? Or was it the other way around?

Sergio Ramírez (SR): I came up with the story first. I wanted to write about Nicaragua today, and for this, I needed a character like Dolores: a detective and former guerrilla. Noir fiction, or novela negra, as we call it, gives me the opportunity to look at the events I’m writing about from afar. With this distance I can add humor, irony. Also, given his background, this character helped work around that distance. Dolores is often bound by his ethic, a type of ethic he picked up from his years as a guerrillero; he uses that critical thought and critical distance for his work, but at the same time he’s always at risk of getting contaminated by that environment. He observes the situations as he would have in the past and is that moral nostalgia and critical distance that allows my character to lead the book.

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Weekly Dispatches from the Frontlines of World Literature

Bringing you the latest in world literature news.

Never is there a dull period in the world of literature in translation, which is why we make it our personal mission to bring you the most exciting news and developments. This week our Editors-at-Large from Mexico, Central America, and Spain, plus a guest contributor from Lithuania, are keeping their fingers on the pulse! 

Paul M. Worley and Kelsey Woodburn, Editors-at-Large, reporting from Mexico: 

On February 21, numerous events throughout Mexico took place in celebration of the International Day of Mother Languages. In San Cristóbal de las Casas, Chiapas, CELALI (the State Center for Indigenous Language and Art) held a poetry reading featuring Tseltal poet Antonio Guzmán Gómez, among others, and officially recognized Jacinto Arias, María Rosalía Jiménez Pérez, and Martín Gómez Rámirez for their work in developing and fortifying indigenous languages in the state.

Later in San Cristóbal, at the Museum of Popular Cultures, there was a poetry reading that brought together four of the Indigenous Mexican poetry’s most important voices: Mikeas Sánchez, Adriana López, Enriqueta Lúnez, and Juana Karen, representing Zoque, Tseltal, Tsotsil and Ch’ol languages, respectively. Sánchez, Lúnez, and Karen have all published in Pluralia Ediciones’s prestigious “Voces nuevas de raíz antigua” series.

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Courage and Turmoil: the Story behind Nuevo Signo

This essay traces the history of one of the first and most important literary groups in Guatemala.

2018 marks the fiftieth anniversary of the formation of Nuevo Signo, arguably the most influential literary group in Guatemala. Formed during a time when the country was ridden by war, writers didn’t have access to publishing houses and artists and political dissidents were targeted continuously to the point that many sought refuge in neighboring countries. The work done by the members of Nuevo Signo was nothing short of monumental.

In three years the group funded, edited, and published over ten books of poetry, including a “greatest hits” entitled Las Plumas de la Serpiente (The Serpent’s Feathers) that stirred the local art scene. The group disbanded in 1970, after the disappearance of one of its members, poet Roberto Obregón. Roberto is just one of the many writers disappeared during the internal war (1960—1996). Except for Obregón, Antonio Brañas—who died in 1988—and José Villatoro, all of the other members went on to receive the Miguel Ángel Asturias National Prize in Literature for their life’s work.

Last year, Luis Méndez Salinas and Carmen Lucía Alvarado from Catafixia Editorial rereleased Las Plumas de la Serpiente. With a cover designed by Odiseo del Silencio, this new edition of Las Plumas captures the intensity, sensitivity, poetic beauty, commitment, and ferocity of its authors. For this piece, the author spoke with former Nuevo Signo’s editor, Francisco Morales Santos and Luis and Carmen from Catafixia Editorial.

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Weekly Dispatches from the Frontlines of World Literature

Our weekly roundup of the world's literary news brings us to Central America and Hong Kong.

You know the drill—time for another weekly update on literary happenings the world over. This week, we learn of the passing of several cherished Central American poets, as well as some recent developments in Hong Kong. 

José García Escobar, Editor-at-Large, reporting from Central America

Claribel Alegría, one of Central America’s most beloved poets, recently passed away at age ninety-three. Mere months after Alegría became the second Nicaraguan to receive the Reina Sofía Prize for Iberoamerican Poetry, only after Ernesto Cardenal, Claribel died last Thursday, January 25. Claribel is one of the cornerstones of Nicaraguan poetry and was the author of dozens of books of poetry, fiction, and non-fiction.

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Weekly Dispatches from the Frontlines of World Literature

Your weekly literary news from around the world.

Our team is always keen to keep you up to speed on the most recent prizes, festivals, and publications regarding the most important writers around the world. With this in mind,  we are excited to bring you the latest news from our editors-at-large in Mexico, Central America and Indonesia. Stay tuned for next week! 

Paul Worley and Kelsey Woodburn, Editors-at-Large, reporting from Mexico: 

The Tsotsil Maya poetry and book arts collective Snichimal Vayuchil held a book presentation for its latest publication, Uni tsebetik, on November 30 at the La Cosecha Bookstore in San Cristobal de las Casa, Chiapas, Mexico. A collection of works by the group’s female members, the volume was introduced by the Tsotsil sculptor and multimedia artist Maruch Méndez and anthropologist Diane Rus. The event is part of a big month for the group, which includes the publication of their selected works translated into English, and a reading of works from Uni tsebetik at the Tomb of the Red Queen in the Maya archeological site of Palenque.

The same night, the State Center for Indigenous Languages, Arts, and Literature (CELALI) held a book presentation for its latest publication, Xch’ulel osil balamil, by poet and artist María Concepción Bautista Vázquez. The anthology Chiapas Maya Awakening contained her work in an English translation by Sean S. Sell, who was interviewed in Asymptote in April.

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