Place: Macedonia

Weekly Dispatches from the Frontlines of World Literature

The latest literary news from Hong Kong, Mexico, and North Macedonia!

This week, our Editors-at-Large explore blockchain publishing, poets’ novels, and literary surrealism. Read on to find out more!

Charlie Ng, Editor-at-Large, reporting from Hong Kong

In December, Hong Kong independent bookstore Mount Zero Books announced that it will be closing in March 2024 due to anonymous complaints on the bookstore’s “illegal occupation of government land”, and the resulting warning from the Lands Department regarding the tiled platform outside of the bookstore. Mount Zero Books’ experience is not an isolated issue; it is part of the narrowing of Hong Kong’s cultural space under the current political climate, in which independent publishers and bookstores are facing increasing control and censorship. In 2022, for instance, local independent publisher Hillway Press was not allowed to participate in the annual Book Fair organised by Hong Kong Trade Development Council. The publishing house then planned to host a “Hongkongers’ Book Fair” featuring 14 independent local publishers and bookstores in the shopping mall Mall Plus in Causeway Bay. Unfortunately, the book fair was forced to cancel as they were accused of violating the terms of venue use. In December 2023, one of the founders of Hillway Press emigrated and the company decided to close down. What is more, two of Hong Kong’s remaining independent bookstores, Have A Nice Stay and Hunter Bookstore, have said that they face frequent complaints and regular monitoring by government departments.

In light of increasing challenges — both economic and political — faced by the local publishing industry, Hong Kong writers are beginning to explore new means of publishing their works and reaching out to readers. Hong Kong writer Dung Kai-cheung has been counting down to the 15 February publication of his new work, Autofiction, on his own writing platform, Dungfookei. Autofiction will be published in the form of an NFT. The new autobiographical nonfiction is part of the writer’s exploration of the potential of Web3’s blockchain technology for decentralizing publishing and granting more autonomy in user control and ownership of data. In 2023, Dung joined Likecoin — an application-specific blockchain for decentralized publishing developed by Hong Kong entrepreneur Ko Chung-kin — to republish his famous novel Tiangong Kaiwu·Lifelike, which became the first Chinese novel to be published as an NFT. While Tiangong Kaiwu·Lifelike is available for purchase on Likecoin’s website, Dung also developed his own platforms Dungfookei and DKC in Translation to digitalise his works and interact with readers in new ways. Although the project is still experimental, by turning to the web for more freedom and opportunities, Dung’s foray into Web3 and NFT publishing represents an innovative frontier in the evolving landscape of literature and author-reader interaction. READ MORE…

What’s New with the Crew? (Aug 2023)

Find out what our staff members have been up to when we’re not editing your favorite literary journal!

Editor-at-Large for Palestine Carol Khoury will be the guest editor of a special issue of the Jerusalem Quarterly, titled “Write-Minded: Jerusalem in Literature”; check out her call for submissions here or email her for further details.

Newsletter Editor Cody Siler published an essay in the Los Angeles Review of Books about  the impact of the American suspense writer Patricia Highsmith’s diaries on her critical reputation.

Chris Tanasescu aka MARGENTO, Editor-at-Large for Romania & Moldova, chaired in June the 5th edition of #GraphPoem at Digital Humanities Summer Institute, a “data commoning” hyper-platform performance involving hundreds of participants and watched by thousands of viewers online.

Nonfiction Editor Ian Ross Singleton translated four poems by Marina Eskina for Barzakh.

M.L. Martin has a new translation of the pre-10 c. Anglo-Saxon queer, feminist poet in the latest issue of Cordite.

Assistant Editor Megan Sungyoon‘s translation of The Cheapest France in Town by Korean poet Seo Jung Hak is scheduled to be published by World Poetry Books in October 2023.

Blog Editor Meghan Racklin’s essay on sore throats as illness and as metaphor was published in Full Stop and her review of The Light Room by Kate Zambreno was featured in The Brooklyn Rail.

Assistant Editor (Fiction) Michelle Chan Schmidt published a review of Owlish by Dorothy Tse, translated from the Chinese by Natascha Bruce, in Cha: An Asian Literary Journal.

Editor-at-Large for North Macedonia Sofija Popovska‘s Macedonian translation of the novella Im Kopf von Bruno Schulz by Maxim Biller was published in July by Makedonika Litera Press; additionally, “Thaumatropes”, a poetry collection she co-authored with Jonah Howell also appeared in July, published by Newcomer Press.

Copy Editor Urooj recently had two poems published in Gulmohur Quarterly‘s Issue 10, released in June 2023. They were also invited to share their poems at the Bangalore Poetry Festival, in Bangalore, India as one of four young, emerging poets in a panel called “Poems in Progress.”

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Interested in joining us behind the scenes? We’re still finalizing our mid-year recruitment drive—hurry and apply if you’d like to help power the world’s literature! 

Weekly Dispatches from the Front Lines of World Literature

The latest from Guatemala, Palestine, and Macedonia!

This week, our editors-at-large report on a celebration of a beloved poets, a controversial change to a major literary award, the last chance to see a powerful museum show, and more. Read on to learn more about current events in world literature!

Rubén López, Editor-at-Large, reporting from Guatemala

On January 26, the Ministry of Sports and Culture of Guatemala announced several changes regarding the National Literature Award. The award, given yearly since 1988, honors the exceptional careers of writers like Augusto Monterroso, Rodrigo Rey Rosa, Carmen Matute, Gloria Hernández, Eduardo Halfon, among others. However, the Ministry has now announced that the award will be presented every three years. Christian Calderón, Vice Minister of Culture, said that the decision is part of a “strategy to give an opportunity to develop young writers.” Gloria Hernández, who was granted the award in 2022, expressed criticism of this new policy in a local newspaper. She argues that the Ministry’s motivation for the change is only saving the monetary grant for three years and that this will not benefit local writers. She added that Guatemala should emulate Mexico’s National Literature Award, which grants a lifetime pension so that the creator can devote to writing. In her opinion, this would be more valuable to Guatemalan literature. In the same interview, Gerardo Guinea, who received the award in 2009, said that it is absurd to grant the award every three years and argues that the only effect of this change is to limit the number of laureates.

READ MORE…

Winter 2023: Highlights from the Team

Dip your toe into our milestone Winter 2023 issue with these recommendations from our global team!

I found, as I sat down to read this issue, that what I was hungry for was urgency, vitality, wit and I found pieces that gave me what I was looking for. “There’s No Cure for the Dead” by Nazli Karabiyikoglu (tr. Ralph Hubbell) weaves a breathtakingly complex tapestry, rife with competing rhythms and energies. Selim Özdoğan’s “Seven Difficulties and One Ever-Narrowing Path” (tr. Katy Derbyshire) brought exactly the acerbic, incisive voice I needed. The Alfred Döblin story “The Woman Who Walked In Her Sleep” (tr. Joachim Redner) was filled with great verbs, gestures, colors, sounds, taking the reader on a dizzying trajectory, a plummet, really, from the character swanning about Berlin, showing off his colorful fashion ensemble, to a murderous rag doll come to life. Menke Katz’s poems with their structural challenges around diminishing or growing numbers of syllables and the love of Yiddish had me re-reading them and admiring the translation. And Aco Šopov’s deep, painful poems (tr. Rawley Grau and Christina E. Kramer) after the devastation of the 1963 Skopje earthquake show how despair communicates across decades and has much to say to us about loss and survival now, sixty years later.

—Ellen Elias-Bursac, Contributing Editor

This issue I was particularly blown away by the quality of the interviews published. The César Aira interview conducted by Michal Zechariah is truthfully hilarious, and the line of questioning really allows his trademark wit and absurdism to shine through. I found Geetanjali Shree’s interview with Rose Bialer to be incredibly generous and thoughtful, fascinating and sharp. In both cases, I thought a really strong sense of their writing came through thanks to the interviewers. The visual section brought together two incredible artists—I’m researching the interplay of poetic text and space at the moment, so Lynn Xu’s thinking (teased out by Laura Copelin) really spoke to me, and I appreciated the climate focus of Bahia Shehab’s work, and her interview with Heather Green. Last but certainly not least, I loved Jared Joseph’s review of Johannes Göransson’s Summer. As a researcher, Göransson’s thinking on poetry translation has been incredibly insightful, and I enjoyed the same insights applied to his work, really engaging in depth with poetry as a genre and mode of being. As a bonus, I thought the criticism section was pleasantly varied in terms of geographies and genres!

—Georgina Fooks, Director of Outreach

All the fiction pieces in this issue are truly marvelous, as if they’re in conversation with one another! For example, Kim Cho Yeop’s “Laura” (tr. Sukyoung Sukie Kim) and Dalih Sembiring’s “Floccinaucinihilipilificatius” (tr. Avram Maurits) can be seen as companion pieces, as both stories deal with corporeal limitations and spiritual transcendence. Laura’s sci-fi context, on various conditions related to body dysmorphia, eloquently evokes the plight of non-binary and transgender groups, while Floccinaucinihilipilificatius represents a metaphorical lotus—its trajectory from pain and putrefaction toward the light of maternal love. There’s a sense of metaphysical wonder to both stories—even though one is inspired by science and the other by magical realism. READ MORE…

Weekly Dispatches From the Front Lines of World Literature

Literary news from Macedonia, Palestine, and China!

This week, our editors report on controversial novels from the Macedonian, testaments from Palestine, and a pop-star-turned-writer from China. From a subversive eroticism to details on the lives of migrant workers, these writers are defying standarisations to illuminate the truth of their realities. Read on to find out more!

Sofija Popovska, Editor-at-Large, reporting from Macedonia

The last days of 2022 saw a controversial sensation return to the Macedonian literary scene; the publishing house Mi-An released an anniversary edition of Jovan Pavlovski’s provocative novel, Sok od Prostata (Prostate Juice).

As an author of almost fifty works, a member of the Macedonian Writers’ Association and PEN Center Macedonia, an editor of the prominent Macedonian newspaper Nova Makedonija, and the editor and publisher of the first Macedonian encyclopedia, Pavlovski (born in 1937 in Tetovo) has contributed a diverse body of work to Macedonian culture. Reaching beyond its confines, his work has been translated into more than twenty languages. Politically dissident and candidly sexual, Sok od Prostata, originally published in 1991, is one of Pavlovski’s best known oeuvres, and has received the title of Most Read Book in Serbia.

Telling the story of a young man desperate for love, Sok od Prostata is described by Mi-An as “not only an erotic novel, but also a deep lyrical story about loneliness and culture shock, passion and love…” Despite its lyricism, rebellion and irreverence remain at the core of the work: “(Sok od Prostata) strives to break through elitist, hardened attitudes about the decent/indecent, and to deconstruct the hypocrisy of ‘high literature’”. READ MORE…

Weekly Dispatches From the Front Lines of World Literature

The latest from Palestine, Sweden, and Macedonia!

In this batch of literary dispatches from around the world at Asymptote, we cover literary conferences, recent publications, and rankings of writers in translation! From a gathering dedicated to the late iconic Palestinian poet Mahmoud Darwish, a new Disney+ series revolving around the life of a boy in Scandinavia, and a collection of contemporary women’s poetry in Macedonia, read on to learn more!

Carol Khoury, Editor-at-Large for Palestine and the Palestinians, reporting from Palestine

Last weekend, the A. M. Qattan Foundation and its partners revived the memory of the late iconic Palestinian poet Mahmoud Darwish with more fervor than anyone has done since his death and burial in 2008. In collaboration with Chaire Mahmoud Darwich, Bozar, and Mahmoud Darwish Foundation, a three-day conference titled “Mahmoud Darwish: The Narrative of the Past and the Present,” was held in Ramallah and on Zoom, with twenty speakers discussing nearly as many topics related to the poet’s works and life. 

It was indeed a very interactive conference, as many of the speakers and a majority of the audience knew Darwish personally. With lots of biographical anecdotes shared by panellists and attendants alike, Darwish’s designation as iconic was undoubtedly attested. It felt as if every single person knew every single detail of Darwish’s works and life. I wondered how long Darwish’s ‘response’ would have been if he were to attend the conference! He probably would have needed another three days to dot the i’s and cross the t’s! But, that wouldn’t have been too troublesome for Darwish; the relationship between him and his audience had always been one of tension. People loved him, his poems, and particularly his orations and readings. But it was such an overwhelming and imposing love that he himself had to write in 1969, “Save Us from this Cruel Love!

READ MORE…

Tales of Contagion: A Comparative Reading of Goran Stefanovski’s Divo Meso

[T]he image of Western Europe as a cataclysmic pathogen becomes a motif, repeated unto the ages of ages.

The Macedonian playwright Goran Stefanovski, working against the background of ex-Yugoslavia, has long used the microcosm of the theatre to address shifting politics, disintegrating identities, and violence in both physical and spiritual levels. His most well-known work, which encapsulates this lifelong address, is perhaps Divo Meso, an intimate family drama that speaks to the overarching condition of the Macedonian nation, as it is subsumed by invasive forces. In this following essay, Sofija Popovska discusses how the play’s oft-overlooked pathogenic themes dialogue with other texts and narratives from across history, and how, seen along these lines, it speaks universally to the private tragedy of loss, as hidden within the greater global narrative of cultural collisions.

The horseman on the white horse was clad in a showy and barbarous attire. . . While his horse continued galloping, he was bending his bow in order to spread pestilence abroad. At his back swung the brass quiver filled with poisoned arrows, containing the germs of all diseases.

—Vicente Blasco Ibáñez, The Four Horsemen of the Apocalypse

In Scene VIII of Goran Stefanovski’s 1979 theatrical piece, Divo Meso, a destitute Macedonian household is paid a visit by a German investor, who offers to buy their house in order to have it remodeled into a showroom. Upon his arrival, Maria, the mother of the family, plunges into reverie, ruminating about a mythical condition she’s certain she’s plagued by: the eponymous divo meso. It is, we are told, an “old wives’ tale”—flesh which forms around a hair inside the throat, and grows until its victim asphyxiates. Despite its superstitious roots, Maria’s fear sublimates the intuition of a condition more cataclysmic and widespread: the body of Macedonian society, weakened by discord and poverty, being infiltrated by foreign interests as if by a pathogen. Transformed into an eschatological growth, the will of their German visitor continues its indomitable conquest throughout the play, leading the family to a coda marked by desolation, surrender, and powerless rage.

Though indicated by the title, the element of illness in Divo Meso hasn’t been explored much, relegated to the background in favor of discussing the loss of tradition. Regardless, the pathogen metaphor is especially apt at describing imperialist intervention into cultures; rather than cultivating a mutualistic or commensalistic relationship between two consenting cultures, it introduces a drastically one-sided power dynamic, to the profit of one and the undoing of another. However, before we delve further into the specificities of Divo Meso, I would like to invite you to consider two episodes, one historical and one literary, that tell stories of cultural contagion. These will help unravel the pathogen-host relationship in its cultural, imperialist context, and illuminate individual processes that comprise it—such as the transformation of identity into a collision site of imposed, internalized, and inherent traits. Rather than the reductive (albeit also valid) reading of Divo Meso as a tragedy of familial and national scope, a simultaneous reading of the following tragic—and in many ways analogous—texts will allow for a richer understanding of the theatrical piece, one that includes transcultural motifs.

On June 23, 1763, trader and land speculator William Trent recorded in his diary that two Native American diplomats had arrived at Fort Pitt in order to persuade the British to abandon the location. After negotiations failed, the British offered the Delaware emissaries a parting gift. “Out of our regard to them we gave them two Blankets and a Handkerchief out of the Small Pox Hospital. I hope it will have the desired effect,” wrote Trent. It remains unknown whether this instance of biological warfare succeeded, though the Native American population around Fort Pitt was “struck hard” by smallpox in the spring and summer of 1763. This wasn’t the first, nor last tale of contamination to be found in the imperialist trajectories of Western Europeans. Engraved upon traditions, echoing through languages, and rising scar-like from the surface of collective memory, the image of Western Europe as a cataclysmic pathogen becomes a motif, repeated unto the ages of ages. READ MORE…

Weekly Dispatches From the Front Lines of World Literature

The latest in literary news from Macedonia, India, and the Czech Republic!

This week, our editors from around the world are reporting on trailblazing new releases, award winners, and literary festivals! From the return of the Dhaka Literature Festival after two years on hiatus to Czech comic artists at the International Comic Art Festival, read on to learn more!

Areeb Ahmad, Editor-at-Large, reporting from India

Initially announced in July, more information has emerged regarding the Armory Square Prize for South Asian Literature in Translation in a feature published by World Without Borders. The prize, sponsored by Armory Square Ventures with a jury of acclaimed translation specialists from around the world, aims to “recognize an outstanding translator of South Asian Literature into English.” The winning work will be published by Open Letter Books while excerpts from finalists will appear in WWB. The founders of the prize intend to highlight literatures that are “all but invisible outside South Asia” in the global English-speaking sphere, joining the JCB Prize for Literature in promoting translated Indian literatures both at home and abroad.

The acclaimed Naga writer, Temsula Ao, passed away on October 9 at the age of seventy-six. In her obituary, Chitra Ahanthem explores her legacy and bibliography, highlighting Ao’s focus on the Naga community and her resistance to the homogenizing impulse to club writing from all the Northeast Indian states into a singular literature, which would dismiss the differences across communities and tribes both within and beyond each state. Meanwhile, the 2022-23 cohort of the National Centre for Writing’s Emerging Translator Mentorships was recently announced. Among its recipients, Vaibhav Sharma was awarded the Saroj Lal Mentorship in Hindi and will be mentored by the International Booker Prize winner, Daisy Rockwell.

READ MORE…

Physical Object and Metaphysical Destiny: To the Lake Journeys to the Heart of the Balkans

Kapka Kassabova’s English-language travelogue invites readers in the Balkans to consider local culture with a fresh perspective.

On a website called Lost Bulgaria, anyone curious enough can browse thousands of carefully preserved and curated photographs depicting the poignant yet essential ways in which the people, customs, and landscape have transformed or been transformed from the last quarter of the 1800s until 2010. About a dozen of the blurred images kept in this time machine take us back to the first half of the twentieth century and Lake Ohrid, one of the world’s oldest and deepest, which nowadays is split by the border between North Macedonia and Albania. The majority of the visuals reveal everyday life near the shores, the monasteries that dot the mountainous terrain, the traditionally clad locals, or the passers-by who felt the need to extend a prayer to Saint Naum of Ohrid. Kapka Kassabova’s latest travelogue with distinct autobiographical elements, To the Lake: A Balkan Journey of War and Peace, offers a similar but much more powerful passage through the lake’s past and present.

The book, which reviewers often place in the travel fiction genre, is pronouncedly personal, even though the disclosed memories, both on an individual level and as an outlet for the collective subconscious, undoubtedly remind readers from diverse regions of the globe of their unique roots and unending voyage of self-discovery.

The author (b. 1973) spent her childhood and teenage years in Sofia and later moved with her family to New Zealand, only to finally—or at least for the time being—settle down in the Scottish Highlands. Her extensive travels have informed her writing, which encompasses poetry collections and novels, in addition to literary travelogues. Although Kassabova’s mother tongue is Bulgarian, she writes in English, a practice that evokes the likes of Vladimir Nabokov, Khalil Gibran, and Joseph Conrad and makes her Bulgarian translations all the more fascinating.

Located on the edge of her grandmother’s homeland, Lake Ohrid is where she passed a few of her summer holidays. Once considered the pearl of the Balkans, nowadays it is listed as a UNESCO World Heritage site and boasts endemic species and unique prehistoric remnants. Despite this international protection however, its pristine waters are still threatened by climate change and widespread pollution. While making a convincing case for immediate preservation action of global scale, Kassabova’s fictionalized reportage can also be perceived as a continuation to her previous one, Border: A Journey to the Edge of Europe, in which she sets on a quest to comprehend the meaning of the separation points not only between countries, but also between people. In a similar fashion, To the Lake prompts us to tag along as she traces the ancient Via Egnatia and dives into the bloody history of the region, where Bulgarians, Macedonians, Albanians, and Greek are always at crossroads, especially in the aftermath of the two Balkan wars and the ensuing decades under communist rule. READ MORE…

Blog Editors’ Highlights: Summer 2020

Oral poetry, plague journals, and surrealist masters: our blog editors are here with their selections from the Summer 2020 issue!

With our Summer 2020 issue, Asymptote has brought together new work from thirty-one countries drawn under “This Strange Stillness,” acknowledging all the fearful, sorrowful, and newly arriving things that are in great need of language. It is a timely collection, though we also hope that it is a lasting one, as the texts of this issue remains full of beauty, grace, craft, as well as a knowledge of these unnerving times. If you are in need of a place to start, let our blog editors be your guide.

In these varying todays that blend into one another, I am thinking of Audre Lorde: “seeking a now that can breed / futures.” With the daily cycles of news, statistics, and corresponding tides of political turbulence, the act of reading is accompanied by the weight of scrutiny into factual truths, and the attempts to form a set of principles out of them. All this in the hope that the formidable now will be rescued into a manageable, comprehensible future. As readers and thinkers, we find ourselves in the position of insisting on the importance that literature has always taken, yet literature that thinks only of its utility is powerless—any potency can only result from a craft that knows equally of its form as it does its function.

In perusal of the Asymptote Summer 2020 issue, I returned to indulging in the pure pleasures of reading—linguistic play, secret collaborations of words, and the mysterious harmony of object, image, sound, and divinity that culminates in the sublimity of poetry. I took a particular joy in the Iranian lickos, an anonymous collection of the indigenous, oral poetic form. They are brief, curious, and contain both the wideness and aliveness of a language meant to be passed between two people. The couplets and tercets, translated brilliantly and cohesively by Mahdi GanjaviAmin Fatemi, and Mansour Alimoradi, possess a fluidity and attention that draw the beauty of simple conversation, and the immensity of a single day’s emotions, sharply into view. From petty humour to profound loss, their visual simplicity are an entryway into the profound origins of a poetics.

There is also a great vivacity in Sanja Mihajlovik-Kostadinovska’s “(In)Finite Models of the Short Story,” in which the concept of narrative itself is taken on a wild spin throughout its wanderings into people, places, things, feelings, and myths. Too often we are distracted by semantics, and Mihajlovik-Kostadinovska, along with translator Igor Popovski, bring the reader back into the exhilarating disarray of imagining, reorienting the story back into control of itself. READ MORE…

Blog Editors’ Highlights: Spring 2020

Our blog editors pick their favorite pieces from the Spring 2020 issue!

Asymptote’s Spring 2020 issue is here, featuring new work from thirty countries and twenty-four languages, as well as a Galician Poetry Special Feature. Not sure where to begin? Our blog editors can help, as they reveal their top picks from the new issue below:

It’s difficult to write, these days. In this state of global precarity, wrenching us from our patterns into stasis, the days stretch towards their completion; daily urgencies take on a more sinister tone, heightened by circuity. There is indeed time, heavier in our stock, yet the dilemma remains: the heaviness, the disintegration of form, the failure of words to justify their surroundings. After a while I realized that it is because in order to write, and to write forcefully, the writer must be able to imagine a world in which their text survives, and contributes. Yet the time has arrived, much sooner than anticipated, of a future in pieces. I’ve never been one to envision literature as a portal for escape—it seems to me that the most sublime of texts enforce us into the deep centre of the world we live in. So from Asymptote’s Spring 2020 issue—a wondrous collection of work that arrives, across boundaries, to strike a new presence—I selected certain poems that bring a special dignity to our capacity for visioning.

Natalia Toledo’s poems, translated from the Zapotec and Spanish by Clare Sullivan and Irma Pineda, stir vibrant tremors across the senses. Precise in intimate reference and conditioned with everyday magic, her language is of the sacred nature we infuse into the ordinary in order to contextualize the world to our definitions. Take “Prayer”:

For those days when the sun burnished my hair
And my smile was the blinding bright of a salt crust.
For the photographs stuck to a piece of cardboard,
their swift migration to our family altar.
For the petate and its map of urine stains,
for the twisted trees upon the rippled water.
For all that I made into a life.
I sing.

READ MORE…

(Inter)Artistic Dialogues in Contemporary Macedonian Poetry

Contemporary Macedonian poetry is dialogical—a spiritual fruit on the literary crossroads between the East and the West

The interplay between different art forms has long been a subject of poetry. How can visual art, color, or sound be translated into the medium of language? In the following essay, Vladimir Martinovski reflects upon such meeting points in contemporary Macedonian poetry: the poetic dialogue between Mateja Matevski and the Japanese haiku-master Kobayashi Issa; ekphrasis in the poetry of Blaze Koneski; musical instruments in the poems of Jovan Strezovski, Slavko Janevski, Jovan Koteski, and Bogomil Gjuzel; medieval Byzantium sacred art in the poems of Mihail Rendzov. Through a selection of extracts from his essay collection Literary Cross/roads, Martinovski explores the rich and subtle interaction between words and the artistic forms that inspired them.

Contemporary Macedonian poetry is dialogical—a spiritual fruit on the literary crossroadbetween the East and the West, between tradition and modernity, between different artistic forms of expression and the art of the poetic images. A dialogue is established between poetry and different modes of artistic expression. In the attempt to transform paintings into a poetic text, poets must inevitably choose which pieces of visual information is to be transposed into poetic discourse. During the process, the semantics of ekphrastic poetic text is inseparable from—even incomplete without—the connection with the work of art that is the subject of literary description. The poem always depends on the role of the viewer that the reader receives, connecting the words from the poem with the work of art to which they refer.Therefore, a work of art could be treated as a visual catalystof the poem, whereas the poem is an opportunity—thanks to the art of language—to see the work of art in a new way.   READ MORE…

Postcolonial Philosophy in Idlir Azizi’s Novel Terxhuman

Building Terxhuman on postcolonial thinking, hitherto absent in Albanian literature, Idlir Azizi has created a new literary genre.

By rebelling against his country’s dominant Euro-centric discourse and disobeying the fundamental rules of Albanian grammar, writer Idlir Azizi has created a new kind of Albanian literature. In today’s essay, researcher Adem Ferizaj analyzes Azizi’s Terxhuman and helps us understand the implications it might have for Albanian-language literature and Albania as a whole.

The pyramid crisis in Albania and the Kosovo Liberation War are the only two Albanian incidents that simultaneously made headlines in The New York Times, Le Monde, and Frankfurter Allgemeine Zeitung in the 1990s. Since Western journalists’ interest in the Albanian lands depends on political turmoil in the Balkans that could ruin European “geopolitical stability,” this comes as no surprise. When Western editorial offices are urgently in need of articles about this region, the local who organizes meetings, provides information on the addressed issue, and translates interviews becomes indispensable for them.

In Albania, this local is often referred to as a “fixer,” although the word terxhuman (which shares a root with the English “dragoman”) is used as well. The latter is also the title of Idlir Azizi’s 2010 novel, which takes this profession as a starting point to address Western arrogance towards Albanians and to provide an unprecedented analysis of Albanian society. In a very original way, Azizi deconstructs the mainstream Albanian discourses that are based on Eurocentric concepts, or, to put it differently, on Western arrogance towards Albanians. In this way, Terxhuman (which has yet to be translated into English) interprets Albanian reality in an alternative and postcolonial way. Such an analysis did not previously exist in contemporary Albanian literature.

READ MORE…

Translation Tuesday: “Punctuation of Life” by Lidija Dimkovska

Now we meet in front of the immigration desks

In this poem by Lidija Dimkovska, the full stops at the end of each word raise more questions than the simple answers they appear to be. These categories create both lack and excess in meaning when stripped from their contexts—there is a sense of isolation but at the same time a certain kind of clarity that in life, for better or worse, we often move from having just one home to having many. 

Punctuation of Life                                                 

“Those who forgot me would make a city.”
Joseph Brodsky, May 24, 1980

Home.
Fatherland.
Language.
Family tree.
Individual and collective memory.
Archetypes.
Atavism.
Uniqueness.

Ah, a misprint.

Home?
“Fatherland”
Language!
Family tree;
Individual and collective memory…
Archetypes –
Atavism:
Uniqueness.

Complaint.

Those who have forgotten me, Joseph,
would make not one but three cities,
except the citizens have either died or moved away.
Now we meet in front of the immigration desks
at the border of the earthly, or the heavenly kingdom.
One alien is akin to another,
so we all fill in the forms together
passing the same pen from one to another.
It’s only the punctuation of life
that we all, covering the form with our hand,
write
for ourselves.

Translated from the Macedonian by Ljubica Arsovska and Patricia Marsh

Lidija Dimkovska was born in 1971 in Skopje, Macedonia. She is a poet, novelist, essayist, and translator. She competed her PhD in Romanian literature at the University of Bucharest, Romania where she worked as a lecturer of Macedonian language and literature. She lives in Ljubljana, Slovenia and translates Romanian and Slovenian literature to Macedonian. She has published six books of poetry and three novels, translated to more than 20 languages. She received the German poetry prize “Hubert Burda,” the Romanian poetry prizes “Poesis” and “Tudor Arghezi”, the European Prize for Poetry “Petru Krdu” and the European Union Prize for Literature, among others. In the States, The American Poetry Review in 2003 dedicated the cover page and the Special Supplement to her. In 2006 Ugly Duckling Presse from N.Y. published her first collection of poetry in English, Do Not Awaken Them with Hammers, and in 2012 Copper Canyon Press published her second book of poetry pH Neutral History (short-listed for the Best Translated Book Award 2013). 

Ljubica Arsovska is editor-in-chief of the long-established Skopje cultural magazine Kulturen Život and a distinguished literary translator from English into Macedonian, and vice versa. Her translations from English into Macedonian include books by Isaiah Berlin, Toni Morrison, Susan Sontag, and plays of Lope De Vega, Harold Pinter, Edward Albee, Tom Stoppard, and Tennessee Williams. Her translations from Macedonian into English include works by Lidija Dimkovska, Dejan Dukovski, Tomislav Osmanli, Ilija Petrushevski, Sotir Golabovski, Dimitar Bashevski, Radovan Pavlovski, Gordana Mihailova Boshnakoska, Katica Kulafkova, and Liljana Dirjan, among others. 

Patricia Marsh is a writer of fiction and non-fiction, author of The Scribe of the Soul and The Enigma of the Margate Shell Grotto, and translator of a number of plays and poems from Macedonian into English. She lectured in English at the University of Skopje for a long period before returning to live and work in the UK in 1992. 

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