Place: New England

Translation Tuesday: Excerpt from “The Garden of Seven Twilights” by Miquel de Palol

I grew aware of the immense distances spread out in front of me, breathing for me.

“When I read Miquel de Palol,” says Mireira Vidal-Conte, “I see reflections of such authors as Claudio Magris, Robert Walser, Cortázar, Ray Bradbury, Clarice Lispector, Stendhal, Szymborska, Casares, Karel Čapek, Pessoa, Proust, Flaubert, or Novalis; but also of painters like Brueghel the Elder (the first of many predecessors of the surrealism of the detail) or the cinema of David Lynch, Fellini, or Wong Kar-wai. This is true irrespective of the genre, for the poet under discussion works not in a specific genre (save for that of language), but in the broader category of art. As a literary artist, he employs genre in the manner of a simple tool, employing the one that works or those occasions when it works. He is a poet when poetry is what is called for.” For this Translation Tuesday, we present an excerpt from The Garden of Seven Twilights, in which the great Miquel de Palol touches the real in all its vertiginous vastness in childhood moments spent face to face with the cosmos. This piece was first published last Thursday along with new work from thirty-one countries in our Fall 2017 issue.

—Lee Yew Leong, Editor-in-Chief

The Story of the Swing and the Stars

My American childhood, super-protected, closed in on itself, took place between Long Island and New England: Providence, Boston, Salem . . . Now they seem to me like places from a dream. My godfather Kaspar had a house on the outskirts of Boston, and I stayed there for long stretches in the summer, until my mother died.

There was a swing between two apple trees in the garden behind the house, but from a very young age, I preferred to kill time staring at the cockroaches and butterflies.


An interview with Edil Hassan: Writing poetry rooted in migration, otherness and Somali heritage

When I write of those days now, there is something fuller and heavier

Edil Hassan is a poet of Somali background based in New England. Two of her poems appeared in Asymptote’s most recent issue in the feature on banned countries. Ms. Hassan graciously answered a few questions about her work and inspiration.

Claire Jacobson (CJ): Your poems are so grounded in deep family relationships and stories from the past. Can you talk about the inspiration for these poems? What drove you to write them?

Edil Hassan (EH): The Drought for a long time was only the last stanza. I had seen a picture of a capsized migrant boat in the Mediterranean on some news site—a new picture every week or month, never the same boat. It’s like those videos of Black girls and boys who are killed; I’m waiting to know the person behind the camera. I knew though that this poem was incomplete, and like all stories is layered. Migration comes with a loss of place, and mediating on family helps me track that disappearance.