Place: Hungary

What’s New in Translation: October 2025

New titles from Haiti, Argentina, Japan, Germany, Italy, Norway, Turkey, Mexico, Taiwan, Hungary, South Korea, and Latin America!

This month, we bring you twelve reviews from twelve countries: a poetry collection that reimagines friendships with long-gone revolutionaries, a tender and incisive rumination on disappearance, the latest novel on the inexplicability of love from a Nobel laureate, a story of Silicon Valley-fueled descent, a compilation of Latin American feminist thought, and much much more!

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Duels by Néhemy Dahomey, translated from the French by Nathan H. Dize, Seagull Books, 2025

Review by Timothy Berge

Néhémy Dahomey’s Duels is set in 1842, thirty-eight years after Haiti’s independence—a storied liberation that came through one of the largest slave uprisings in history. France withdrew, but issued an absurd debt of one hundred and fifty million francs. Paying off a debt while attempting to modernize a new country was a tough balancing act, so Haiti imposed high taxes on its citizens and forced them into unpaid labor.

Duels takes place in Böen, a small town in the Cul-de-Sac Plain that evaded a census for several years. As a result, no one in the town had fallen victim to the government’s schemes—until a local official decides that he needs laborers for a new project. From there on, in the context of freedom, economic entrapment, and postcolonial growing pains, the events of Duels unfold. Nathan H. Dize’s translation reads like a yarn spun out by an old relative with a deft deadpan humor, aptly navigating the tense shifts between past and present, and generating a sense of perpetuity for these characters and their stories. Here, the historical and the contemporary connect and blur.

At the center of the story is a wealthy notary named Ludovic Possible, who runs a school in Böen—primarily with the motive of getting close to his illegitimate daughter, Aida. When a two-week long rainstorm hits the region, Aida’s mother, Gracilia, dies, and Ludovic reveals himself as Aida’s father, taking over her care. Yet, what truly drives Dahomey’s narrative is the tenets of community and storytelling. Ludovic falls in love with Gracilia because of the way she tells stories, and she passes these tales to Aida; before the child was born, Gracilia “. . . placed a hand on her lower abdomen and told her fertile ovaries the very first story she’d learned from her own mother, who’d learned it from her grandmother, who’d learned it from her great-grandmother. . .”—and so on, all the way back to their first ancestors. Fittingly, the story itself is about a chantrèl who was admired by all: “When she spoke, things would happen. When she made demands, people got to work. With her voice, the rapture caused men to fear for their own sanity.”

Aida internalizes the story and, after her mother’s death, becomes the chantrèl. Armed with the tales passed down from her mother, the young girl builds and fortifies a circle of people who will come to care deeply about her, who will fight on her behalf. Building on the singular capacity of stories to bring people together, Duels captures their particular power within the historical context, demonstrating how the act of telling can frighten those in power and liberate those in captivity.

Whether against an elemental antagonist or a human one, the people in Böen unite to enact change through rebellion. As Duels connects the creation of such solidarities with storytelling, it also works to help the citizens of a tumultuous country imagine a future where violence, injustice, and exploitation no longer govern—necessary work for any nation undergoing immense transformation.

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Diving Board by Tomás Downey, translated from the Spanish by Sarah Moses Invisible Publishing, 2025

Review by Regan Mies READ MORE…

Translation Tuesday: An Excerpt from That Any Might Be Saved by Panni Puskás

I told them no mercy, you must be destroyed, because violence is the only path to happiness

Ready to dig deep? The narrator of Panni Puskás’s novel That Any Might Be Saved is, as demonstrated by this dizzying excerpt, brilliantly translated from the Hungarian by Austin Wagner. Asked by their psychotherapist to recall their childhood, the narrator draws up their very first memory: a tantrum provoked by their inability to find a plastic ball to play with. From here the narrator’s monologue unfurls in a dazzling spiral, transitioning seamlessly from their childhood recollections to their frustrating relationship with their perpetually unemployed friend and finally to the liberatory violence of vandalism and of the destruction of their mother’s possessions—an apparent rejection of their own richly remembered past, which frees them from the strictures of polite society and psychotherapy alike. Read on!

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What’s New in Translation: May 2025

New publications from Italy, Denmark, the Netherlands, France, Hungary, Germany, Switzerland, Egypt, South Korea, Greece, and Poland!

This month, we’re introducing thirteen new publications from eleven different countries. A strange and visceral collection of poems that distort and reimagine the body; a contemporary, perambulating study of the contemporary city; a novel that forsakes linearity for a complex exploration of chance and coincidence; a series that splits the act of storytelling—and the storyteller—into kaleidoscopic puzzle-pieces; an intimate and unflinching look at motherhood and its disappearance of boundaries; and more. . .

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Transparencies by Maria Borio, translated from the Italian by Danielle Pieratti, World Poetry Books, 2025

    Review by Jason Gordy Walker

Italian poet Maria Borio’s English debut, Transparencies, transports us to an Italy defined as much by glass, screens, and holograms as it is by history and landscape. Divided into three sections—“Distances,” “Videos, Fables,” and “Transparence”—Borio presents a world where past, present, and future converge toward an audible silence, where the self presents itself as genderless, morphable—the I becomes you becomes we becomes they—and the poet plays not a character nor a confessionalist but an airy, elegant observer, as illustrated in “Letter, 00:00 AM”:

At the end of the video, soundless voices,
hollowed-out faces scroll like the ground stumps
of legend: even people with desires

emptied like furrows in tar can carry
a fable. The screams are timbers, old water
they turn to bark, white knots, even.

Danielle Pieratti’s translations preserve the glassiness inherent in the Italian originals; she has strived for accuracy of voice and image, as evident in “Green and Scarlet” (“Verde e rosa”), an eight-part poem that considers natural, national, and human borders: “Between the trees there’s the border’s furrow / the heavy sign that stopped them / all around shapes spring up like nations.” In an interview at Words Without Borders, Borio recalls how she and Pieratti chose to use “scarlet” instead of “pink” when translating “rosa”: “ . . . in English it’s literally ‘pink,’ but . . . the color referred to the luminous atmosphere of a sunset in the woods, so ‘pink’ would have given too sharp an impression . . . Danielle came up with the word ‘scarlet,’ which . . . feels softer, more delicate, with a gradual outpouring . . . .” Such close attention to diction permeates the collection.

Although the book examines the modern world and its technology—recordings, photos, videos, cellphones—Borio refuses to be glitzy (she’s no Twitter-verse poet). Describing the London Aquatic Centre, she pens lines like, “The transparent organs overhead open / become a soft line chasing itself, / cleansing the breath’s dark colors . . .” and “Life is everywhere, in the curved line / we inhabit as though thinking.” Simultaneously detailed and abstract, her verse brings to mind Eugenio Montale and Wallace Stevens, two influences that Pieratti mentions in her illuminating translator’s note—although there’s some European surrealism rolling through her veins, too: “The cactus spines clench their vertebra of water.” Such accents only add to her poetry’s dreamlike magnetism, its cultured mystique. READ MORE…

Translation Tuesday: “The Silent Bird” by Csenge Fehér

I vanished too. Bird’s wing, crone’s water, old man’s beard—nothing could hide me.

For this week’s Translation Tuesday, we bring you a haunting short story by Hungarian author Csenge Fehér, translated by Dorottya Mária Cseresnyés. In this eerie tale, A young woman, ostracized for her otherworldly beauty by the inhabitants of her small town, flees into the forest at the exhortations of her abused and overworked mother. There, she is pursued by a huntsman, here transformed from the noble rescuer of Western fairy tales into a rapacious brute, with none but the creatures of the forest to protect her—men and women whose transformations have left them barely human, ravaged by time. But even they cannot protect her forever—not from the violence the huntsman brings.

There lived I, a girl with black nails and pale soul, in a raven ravine, deep into the woods. My small village―bones banging―was wrapped in a thicket. I was so pretty that I was pelted with dung if I dared to speak, was chased by hounds if I dared walk alone. You’re such a treasure, not even pigs would desire you, they said. In vain did the moonbeams weave your skin. In vain does your river of hair flow after your feet. In vain do your eyes mirror the ashes of the nights―no one will desire you. You’ll be of no use, bear no fruit, grow old alone, what a shame.

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Translation Tuesday: “I Wonder Whether” by Anita Harag

I don’t know whether I’m in love. I do know where these words must appear in a sentence.

For this week’s Translation Tuesday, we bring you a captivating short piece by Anita Harag, translated from the Hungarian by Walter Burgess and Marietta Morry. Although our narrator is immersed in the bliss of romance, she finds herself relentlessly questioning the foundation of her happiness. Does her partner truly love her, though he appears to be drawn to other women? Does she genuinely love him in return? More fundamentally, how can she even be certain of her own feelings? Her efforts to impose a logical structure on the messy, unpredictable nature of love disrupt the lushly intimate moments she shares with her lover. With its playful linguistic twists and staccato rhythms, “I Wonder Whether” masterfully captures the sensation of being both within and without, suffused with pleasure and unease.

His hands are warm, my thighs cold; I’m chilly. It’s autumn, the AC is on. The cinema is full, I’m sitting on the aisle; the cool air is blowing on me. He asks me whether we should switch seats. I like to sit on the aisle; I don’t want to switch. I would like his palm to be bigger, to warm a bigger area of my cold thighs. I like it when he doesn’t only touch my thigh, but my shoulder and my behind, too. When he takes my hand on the street, in a store or on the bus. He takes my hand anywhere and at any time. Mine is cold; he warms it. His is always warm, mine always cold. At the bus stop he breathes on my neck, so that I won’t be cold. Women stare at him. When I look at them; they turn their eyes away.  

There are handsome men. This sentence is declarative. “Handsome” is the adjective attached to men. Not to all men, that would be “men are handsome”. Not all men are handsome; for me only the ones with prominent noses and muscular calves. In this I differ from my girlfriend, who likes men with strong arms and blue eyes. Those are also handsome; yet I don’t like them. I should say: I like some men, and some I don’t. The ones I don’t like, my girlfriend might. It’s also possible that we both like the same man, with blue eyes and muscular calves; that’s a problem.  Fortunately, my girlfriend doesn’t like men with prominent noses. They repel her; I think the reason for this is to make sure we won’t end up liking the same man, even by accident. Sometimes, I find a man with blue eyes and strong arms attractive. That makes me feel bad, and I try to find fault with him. Some of them can look at me with those blue eyes and make me forget to speak. Him, too, he hasn’t got a prominent nose nor muscular calves, yet I like him. He likes women with brown hair and brown eyes, like me. He also likes women with green or blue eyes, with large or small breasts. He finds something pretty in each of them. I can see myself falling in love with several women at the same time, he says. This is a declarative sentence. It doesn’t contain “perhaps” nor “maybe”, nor anything conditional. “Perhaps” and “maybe” are modifiers expressing uncertainty and possibility. Perhaps I could fall in love with several women, at the same time.  

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What’s New in Translation: December 2024

Discover new work from Germany, Lebanon, Romania, France, Taiwan, Hungary, Finland, and Tunisia!

In our last round-up of the year, we’ve selected twelve titles from eight countries, with tales of grand adventure and prose of intimate beauty, novels tracing orature or the piecing together of history, rediscovered poetry and letters from literary titans, stories tinged with horror or fantasy. . . All to send the year off the best way we know how: in the company of our world’s brilliant writers.

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What Remains: The Collected Poems of Hannah Arendt, translated from the German and edited by Samantha Rose Hill with Genese Grill, Liveright, 2024

Review by Liliana Torpey

In What Remains: The Collected Poems of Hannah Arendt, we are invited into the private, poetic life of the author behind the seminal political texts The Origins of Totalitarianism and Eichmann in Jerusalem. The door is not opened by Arendt herself—who never published her poems and seemingly never intended to—but by the volume’s translators, Samantha Rose Hill and Genese Grill, who dove deep into the archives to collect these poems. Reading them feels at once like a gift and a faux-pas, knowing that we are trespassing upon the intimate thoughts and gestures of one of the twentieth century’s great political thinkers.

The entirety of Arendt’s poetic corpus appears in this book. For a lifetime it doesn’t seem like many—seventy-eight in total—but the book’s thorough introduction, translator’s note, and footnotes reveal just how carefully Arendt stewarded these poems over the years. Hill and Grill detail the way that Arendt hand wrote each piece in a notebook or letter, then continued to edit by hand before finally typing up the poems and arranging them chronologically, by season. Packing many of them alongside her essential documents when leaving Germany, her poems “remained among her most prized possessions.”

This care is evident in the poems themselves, which often fall on the shorter and sparser side. It’s clear that Arendt had considered and reconsidered each individual word, trying to communicate what she felt and sensed. In many cases, that world appears to be a rather bleak one: “The sky is in flames, / Heaven is on fire / Above us all, / Who don’t know the way.” While her political writings directly address the mechanisms of violence and authoritarianism, her poems often reveal an unsettling and probing uncertainty.

Alongside—and perhaps stemming from—this uncertainty flows a desire and sensuality that animates Arendt’s curiosity and nostalgia: “Heart warmth / Heart grace / Inhaling deep emotional-being / Sighing softly / Like cloud mist / Audibly trembling touched-being.” Her precision and tenderness are disarming, though not totally distinct from the Arendt that readers may already know. Marked by ambivalence and vulnerability in the face of life’s great mysteries, these poems don’t simply reveal all that we hope to know about Arendt’s internal landscape; instead, they deepen a sense of wonder that hovers, always, just beyond our reach.

letters to gisele

Letters to Gisèle by Paul Celan, translated from the German by Jason Kavett, New York  Review Books, 2024 READ MORE…

Translation Tuesday: Two Poems by Gyula Jenei

there will be something irrational in the way i stop, thirty years later, on a corner, not knowing where to go from here.

For this week’s Translation Tuesday, we bring you two poems by the Hungarian poet Gyula Jenei, in spare, elegant translations by frequent contributor Diana Senechal. In Senechal’s words, “Jenei’s poems convey at least three kinds of outsiderness: societal outsiderness, where he holds a distinctly different view from others; temporal outsiderness, where he returns, disoriented and unsure, to places of the past; and existential outsiderness, where he doubts even himself.” At once laconic and expansive, Jenei’s poems present a fascinating existential struggle, the speaker simultaneously overwhelmed by the ravages of time and the solitude they impose, yet trying all the same to distinguish past and present, to make plans, to “imagine the future” in a chaotic and indifferent universe. Read on!

After a While

ever since my father died, it’s all one whether he
was happy or unhappy. nothing matters to him
anymore. just to us, who remember him, clashed
with him, used him, didn’t love him enough.
only we feel pain if others hurt us: hit us,
ignore us, abandon us in our suffering. READ MORE…

What’s New in Translation: September 2024

Ten translated titles that hit the shelves this month!

When we first started the What’s New in Translation column in 2015, it was to offer readers a look at the incredible work done by writers, translators, and publishers all around the world. Gathering some of the most exciting publications coming out each month, the column featured regular reviews from trusted critical voices, giving the spotlight over to this great wealth of literary work. A lot has changed in the last decade; though English still reigns, we’ve seen the advocates of literary translation win a lot of battles as they seek to make our reading landscape a more various, inclusive, and interconnected space. As such, we now feel the need to extend our purview to include more of these brilliant voices, more of this innovative work, more of the insights and wonders that they bring. We are delighted to announce that our monthly column will now feature a greater number of titles —but with the same incisive critical insight that we’ve always aimed to bring.

From Argentinian horror to the latest from a Hungarian master of form, an intergenerational Greek tale to haiku interpretations, read below for a list of the ten most exciting books out in September.

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Documentary Poetry by Heimrad Bäcker, translated from the German by Patrick Greaney, Winter Editions, 2024

Review by Fani Avramopoulou

Documentary Poetry compiles a selection of German poet Heimrad Bäcker’s documentary poems and photographs with his published interviews, lectures, and essays, offering a richly contextualized introduction to his many decades of work documenting and reflecting on the Holocaust. Bäcker does not conceal his relation to the Nazi Party; he was an avid member for about a year, joining at the age of eighteen. He then denounced the Nazi ideology in the wake of the Nuremberg trials, and spent the rest of his life meticulously chronicling the Third Reich’s atrocities through photography and a poetic method he described as his “transcript system.” The collection’s title essay introduces what feels like the conceptual seed of Bäcker’s work: a reflection on the Nazis’ use of ordinary language to conceal, sanitize, enable, and systematize the horrors of the Holocaust. His conceptualization of language as a participatory, covert administrative tool of the Nazi ideological agenda leads to this development of the transcript system as a form of intervention—a way of undressing such language and purging it of its duplicities.

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English Words are Strewn All Over the Floor of My Brain: An Interview with Ági Bori

Living away from my motherland deepens my gratitude for my culture, which automatically deepens my appreciation for Hungarian literature. . .

A giant of contemporary Hungarian literature, Miklós Vámos melds vast existential questions with bread-and-butter concerns in his spellbinding short story, “Electric Train.” Published in Asymptote’s Winter 2024 issue, “Electric Train” approaches the traditional family drama at a slant, discarding the tropes of dramatic realism in favor of a jester-like narratorial voice that boldly announces, “In literature it is practically mandatory to see inside people’s heads,” before plunging headlong into the tattered lives of a family of four. Questions and answers rebound like so many jokes told at a party, but even as the humor attempts to efface the tragedy, what defines this story is a warm, humane glow that emanates from everywhere. Bringing years of expertise in working with Vámos, Ági Bori’s artful translation rises to the experimentalism of the story and crystalizes it into an English that is fresh, magnetic, and strange. In this interview, Ági and I discuss the art of translating a living author, the political history that subtly underpins “Electric Train,” her own circuitous path to becoming a literary translator, and much more. 

Willem Marx (WM): By my count, you’ve translated over a dozen of Miklós Vámos’ stories and essays, as well as conducted interviews with him and written essays on his oeuvre. Can you describe the experience of becoming so embedded—as a translator—in the work of a single writer? Are there ways this prolonged focus on one body of work has informed your approach to translation in general?

Ági Bori (ÁB): I have had a lifelong fascination with not only Hungarian, but also translated literature in general, so it seems only natural that over the last decade, I have metamorphosed into a literary translator—perhaps one of a small number of niche translators who, like you said, is embedded in the work of a single writer. The actual moment when something awakened in me was when, shortly after having fallen in love with Miklós’s books and writing style (particularly his unending gallows humor), I wanted to share this experience with my literary friends and discovered that only one of his books, The Book of Fathers, had been translated into English. I sensed that I was at an unprecedented crossroads in my life—and it turns out that I was. I reached out to Miklós and asked him if I could translate an excerpt, and he agreed. I still vividly remember choosing that excerpt, taking a deep breath, and saying to myself—perhaps somewhat naively—that it was time to listen to my inner voice, no matter how intimidating the craft of translating seemed. From that day on, I just kept going and never stopped. As my translation skills blossomed, so did our professional relationship, and it soon became clear that Miklós had an endless supply of materials I could work on, not to mention that as time went by, I became very comfortable with his writing style—by now it feels like a second skin. We work together like a well-oiled machine, one that runs on very little sleep and frequent communication via our transcontinental subway.

This prolonged focus on one body of work has certainly been a rewarding experience. It taught me how important it is to seek out the work you want to translate, and how immensely helpful it is mentally—and even emotionally—when you love the original text that you are about to render into your target language. I feel fortunate to have embarked on a writer’s work with which I was able to connect from the start. Lucky for me, Miklós’s writing style varies greatly within his oeuvre, including stream of consciousness and classic prose. At times I feel like a kid in a candy store. READ MORE…

Translation Tuesday: “The Toothpick” by Mari Klein

it had been accidentally baked into a slice of Gerbeaud cake, and the confectioner, without knowing it or wanting to, had begotten a tragedy

This Translation Tuesday, we are proud to present a brilliant vignette from the innovative mind of Hungarian author Mari Klein, who also translates her own work into English. Dropping us in media res in this tableau of a woman crouching on a bathroom floor as she gasps for her dying breath—the ignominious cause revealed only near the very end—Klein not only gives us a masterclass in the depiction of consciousness but also a glimpse into her huge gifts as a mordantly funny writer.

(Then she groped on all fours on the worn bathroom floor, along the bathtub, under the washing machine, behind the laundry basket, but couldn’t find it: half a pair of the pretty green stone earrings were gone; there goes the family heirloom, she thought, wiping the blood that had clotted on her neck. But the snake bracelet―the clasp was broken and it was only cheap trinket gold anyway―she couldn’t get rid of, even though she threw it in the toilet and flushed it three times: the blue-purple marks of the scales would have to be worn and concealed on her wrist for a long time to come.)

She opened St. Peter’s Umbrella, to be read by Wednesday, and turned to the last page: “. . . a whisper, it sounded like the buzzing of a fly. Poor child!” she read, but suddenly slammed the book shut, crumpling the dust jacket in her hands, clenching it so tightly that her knuckles turned white. Then she gently stroked the letters on the cover, as if to apologise, and put the book back on the bedside table, next to the polka dot mug. With her finger she stirred the cold cocoa: the pale swirl swallowed the skin and then, as it weakened, spat it back to the surface. She licked her finger: the milk had gone sour. Titi said her daddy made her cocoa every night too.

 (From the white vinyl apron on the drying rack above the bathtub, she counted: water dripped on every fourth. The heavy body was sweating, panting, reeking of booze and garlic; but then all she could see was the fly on the mirror, rubbing its feet, buzzing, moving back and forth a few centimetres every now and then.) READ MORE…

Winter 2024: Highlights from the Team

Get excited to dip into our Winter 2024 issue with these highlights from our team!

Ilya Kaminsky’s “Reading Dante in Ukraine” makes an impassioned case for the crucial role of art amid the horrors of war. What we need, as Dante’s journey shows us, is to defend ourselves with it: a tune to walk to, even in the underworld, as long as one still walks. In Miklós Vámos’s “Electric Train,”  translated by Ági Bori‚ the question-answer format gives the piece levity and rhythm, and the counterpoint of the humor interplaying with the troubled relationships brings it powerful depth. I found wisdom in the wry humor of Jaime Barrios Carrillo’s poems in David Unger’s translation. I love the image of angels spending the evening in their hotel rooms, ironing their enormous white wings.

—Ellen Elias-Bursac, Contributing Editor

The masterful language in Ági Bori’s translation, as though hand-holding the reader through a children’s story, and the simple act of gifting a present in the story belie the depth and complexity of emotional turmoil that wash over Miklós Vámos’s characters in “Electric Train,” a turmoil that seemingly hits out of nowhere like a wave yet in fact stems from a deep brewing well of built up memories and tensions. The contrast highlights all the more the challenges, and perhaps even limits, of recognizing and understanding another’s intentions, experiences, and feelings.

Rage, sorrow, resilience, helplessness, hope, a hunger for life and love and connection, grief, a numbing screaming despair: it is difficult to put into words the sensations that ran through me as I read Samer Abu Hawwash’s “My People” in Huda J. Fakhreddine’s translation. It cannot possibly compare to the feelings and thoughts of Samer Abu Hawwash and the Palestinian people, to the reality of having each day and moment narrow down to dried bread and tear tracks.

I was intrigued by Laura Garmeson’s discussion, in her review of Brazilian author Itamar Vieira Junior’s Crooked Plow, of the tongue as “both creator and destroyer. It has the power to make and unmake worlds.” It is a through line in Crooked Plow that reminds us of the power and possibilities of language and story to shape our lives. Garmeson’s review, in a way, is also a fire that kindles awareness of Itamar Vieira Junior’s work and the legacies, realities, and possible futures for Afro-Brazilian communities. The tongue as symbol also feels like a through line between these pieces in their rumination on what is gained and lost and pushed aside in the choices we make of what, how, and when we say (or write) things, or not.

—Julie Shi, Senior Executive Assistant

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Translation Tuesday: Immortal by Miklós Vámos

if possible, I’d rather not talk about the awkward details, I did horrible things, and pretended to do even worse ones

How do you say goodbye to those you love? In Immortal, one man concocts a desperate plan: to mistreat his wife and daughters in the hope that it will lessen their pain when he inevitably dies from terminal illness. An emotional rollercoaster, full of twists, jokes, ironic digressions and absurd scenarios, this dark, comedic stream-of-consciousness by the prolific Miklós Vámos swells with feeling, dexterously captured in Ági Bori’s translation from the Hungarian. Read on to slip into a mindset irreversibly eroded by anguish.

XXXXXlet’s have a man to man conversation
XXXXXdon’t tell me you’re doing everything that is humanly possible
XXXXXit’s been nine months since I first came to see you, they sent me here with my lab results since you’re a nationally renowned expert, aren’t you, doctor, and you looked deep into my eyes with that nationally renowned expertise of yours, let out a long sigh, and told me: this is where your knowledge ends, given that my case is not operable, but you wanted me to believe that you’re doing everything that is humanly possible, and you might also recall that I received the news quietly, and only asked, how much time do I have left? you tried to dodge the question, you beat around the bush, saying you’re not a psychic, the same illness could manifest itself in numerous ways, there is no universal rule, but when I cornered you, you finally spit out that I had about six months to live, and I thanked you
XXXXXon my way home I reflected on what still remained for me, what my realistic expectations should be, and I refrained from swearing, because the larger the problem, the more calmly my brain operates, it turns into a sober and reliable computer, back then I was working on my doctoral dissertation, The French Enlightenment and its Hungarian Relations, which still needed two to three weeks of work before it would be complete, was it even worth finishing, I pondered, but then I decided to devote the necessary time to it, let it be finished, order has been important to me all my life, why would I back out on my own principles now? as soon as I type up the final copy, I’ll bid a proper farewell to everyone and everything, people and things I loved…then let…let it come READ MORE…

What’s New in Translation: December 2023

New titles from Italy, Hungary, and Cuba!

In our final round-up of the year, we’re presenting a selection of titles that capture the human condition with various, masterful depictions and incisive intelligence. From Italy, the first volume of artist and writer Guido Buzzelli’s collected works present scrupulous and unwavering critiques of society; from Hungary, the master poet Szilárd Borbély writes the life of Kafka in relation to his father’s; from Cuba, a stunning bilingual collection from Oneyda González explores the surreal nature of the mirror.

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Buzzelli Collected Works Vol.1: The Labyrinth by Guido Buzzelli, translated from the Italian by Jamie Richards, Floating World Comics, 2023

 Review by Catherine Xin Xin Yu, Assistant Director of Outreach

What happens if, at the end of a normal workday, a sudden blast razes the world to the ground and you become one of the few survivors? Or if, waking up on an ordinary morning, you find your head and limbs dissociating from your torso and taking off on their own? Setting the scene with these Kafkaesque premises, Italian comic master Guido Buzzelli explores the monstrosity and power of dystopian societies in his graphic novellas, The Labyrinth and Zil Zelub, with a compelling visual language that is dense yet dynamic.

Buzzelli stands apart from his peers in every way—style, form, and theme. Born into a family of artists and trained in figure drawing, he is lauded as both “the Michelangelo of monsters” for his naturalism, and “the Goya of comics” for his chimeric blend of the real and the fantastical (as pictured below). He was also one of the first Italian comic artists to tackle complex literary subjects in uncommissioned, standalone works, counter-current to the Italian comics industry of the 1960–70s that pumped out commercial series with fixed characters and simplistic plots. As a self-proclaimed “man in doubt,” Buzzelli also rebelled against the progressivism of 1960s Italy, satirising the hypocrisy of political discourse and the violence of utopian mirages while alluding to the political upheaval at the time, from terrorist bombings to murky electoral campaigns. READ MORE…

Translation Tuesday: From “MetaXa” by László Garaczi

you cannot discriminate between the noises, you are waiting for Marina and salt blisters grow on your skin

An excerpt from MetaXa translated by Csilla Toldy channels the celebrated voice of contemporary Hungarian writer László Garaczi. Witty and provocative, this Translation Tuesday, we view the mundane with intense feeling through Asztrik’s eyes, jumping from erratic observation to probing thought on the love of a woman. Read on for an uncommon foray into another’s sensory world – feverish in its vibrance.   

a spacious lonely month awaits me, pinned to it the remainder of my life at home, light trembling under the skin—I have to meet the middleman from Hamburg, we have to clarify the details of the mission; I don’t talk to anyone for days, I stagger around in the July heat, I slowly begin to understand that I cannot do anything with this city, sharp menacing hot unevenness, it does not let me come closer to itself no matter how sly or flattering I am, I cannot smuggle myself into its good graces and my patience is running out—it is hard to imagine that I will have to sun dry in the heat for another two weeks—a blind fire flares up from under the earth—even your shadow scorches—you jerk back from the flame that flashes at you from the dying waves on the shore or the white stones, the cars are colourful leeches on the steaming asphalt—you hover weightlessly without an outline and choke, and then, when you are ready to give up there is the miracle, a new era—you throw the red plastic camera into an armchair, fall asleep—wake—sleep, forget even the forgetting—you carry on with the mantra even when awake—the air conditioning monster crunches its iron teeth, a picture on the wall, the air vibrates with the colours as if humming—you wriggle around on the bed, the picture on the wall doesn’t let you sleep, it’s a salmon with a glory,

you go down to reception—name tag Saulius—he rants on an exhale: how-are-you-thanks- fine, he holds a lit cigarette between his ring and little finger—you ask for the key to the net room, the air conditioning is not working, the window opens to a filthy alleyway and a neon sign in the gap between the fire walls: Moon Palace—you visit a few hacker sites, they are selling stone samples brought from the moon in apollo 13, stolen from NASA with photos and prices; with your usual name: Asztrik, you enter a Hungarian language US-room, there are about ten of them around not excited to see you, a closed group and they have no time for you—they are busy bankrupting Cat Canada at the moment; Maximillia is the demon of the chat room—she dominates the territory, knows no mercy, brutal, real—are you rebelling slaves—she leaves and knows that they will talk about her—a few of them follow her straight away—and then there is only Little Strawberry left—silence—you’re waiting for her to say something; Detko enters and starts chatting: she is holidaying in New York, she gives you her number privately, call her and have a drink together—Little Strawberry remains silent all along; before you leave, you take a look at the Gellert Mountain on the web camera and the light chain of the Elizabeth Bridge, you twitch under the feelings flooding you—go up to your room, it is cooler now, but the air conditioner is screeching—you imagine Maximillia, the demon in Budapest and Detko, the giggling teenager in New York—you are lying alone in a ran-down room in Brooklyn, the dread pumps adrenaline into your brain, even though tomorrow will be summer, too, and a bank holiday—the skyscrapers are sparkling, two spinning numbers show how many people are living on the planet and how much they owe to the banks—the sun is beating down in the park, rock musicians wearing white on a podium, spinning dancers on skates, a guitar-shaped boxplant, toilet basin, skull, another bush shaped like a finger-biscuit, forget, forget, oblivion—the Chinese girl who taught you the word oblivion after a concert—you cannot remember her name—forgetting the problem is the solution; you wake up at noon, sweltering heat—you are sitting on a bench on the promenade near the bridge in the shade, on the other side of the water the houses are trembling in the rising steam, the smell of chips iodine dead fish rubber acetone—cities smell more in summer—little balls of different smells bang your nose, the last miserable smoker stubs out his last miserable cigarette in Manhattan; at night I’m again in the net room—the mouse lies exactly in the same angle on the mousepad showing the airplanes approaching the WTC towers; in one of the common areas at least forty of them are fighting, Maximillia amongst them—you don’t even check the name list when your private window appears—you are alone with the demon—what’s up, hi, Maximillia—you did not call Detko, upsy-daisy—she disappears, you search around: nothing, she left—you call Detko on an impulse—it is ringing, you have to concentrate to breathe—in and out;

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