The annual Words Without Borders gala celebrated the fifth anniversary of the Ottaway Award for the Promotion of International Literature on November 1, named for the first chair of the board, Jim Ottaway. This year, the award honored Jill Schoolman, publisher of Archipelago Books. Archipelago has been a stalwart of the small but dedicated cohort of advocates for international literature in the U.S. since Jill founded the house in 2003—the same year Words Without Borders was created. In her humble, sincere acceptance speech, she told the room full of publishers, writers, translators, educators, and philanthropists, “I’ve felt a special kinship with WWB from the beginning. We created ourselves around the same time for many of the same reasons… Books that Archipelago publishes allow us to lose ourselves in other cultures and explore other worlds. It is our extraordinary translators who guide us through those worlds. We are extremely lucky to be working with such talented translators who are able to make books come alive for us, in both language and spirit. This wonderful award also belongs to them, too.”
Young people are being told that America comes first. I think we are here tonight because we believe otherwise and because we read otherwise.
A behind-the-scenes scoop on what our team members have been up to!
Communications Manager Alexander Dickow translated Guillaume Apollinaire’s celebrated “Song of the Unrequited Lover” for the Spring 2017 issue of Metamorphoses.
Assistant Blog Editor Aurvi Sharma was awarded the 2017 New York Foundation for the Arts fellowship in Nonfiction Literature.
Drama Editor Caridad Svich’s play Iphigenia Crash Land Falls On the Neon Shell That Was Once Her Heart was performed on 30 July at Bread and Roses Theatre in South London and by London-based company Clumsy Bodies from 4 to 12 August at theSpace on Niddry Street in conjunction with the Edinburgh Festival Fringe. Her essay, “Riding Uphill on a Red Bike,” based on her play Red Bike, is featured as the closing reflection on the making of the Stages of Resistance series.
Editor-at-Large for Romania and Moldova MARGENTO a.k.a. Chris Tanasescu will be presenting with his team a paper titled “Access(ed) Poetry. The Graph Poem Project and the Place of Poetry in Digital Humanities” at the 2017 Digital Humanities Conference in Montreal. Chris also recently presented a paper on automated metaphor detection in poetry at the Association for Computational Linguistic Conference in Vancouver.
Criticism Editor Ellen Jones was awarded one of the 2017 ALTA Travel Fellowships to attend this year’s conference in Minneapolis. She, like Social Media Manager Thea Hawlin, has written an essay for the upcoming anthology “The Digital Critic: Literary Culture Online,” published by OR Books.
Contributing Editor Howard Goldblatt has published an essay in Korean Literature Now discussing the issue of translating fiction and creating fiction as two distinct literary genres.
Editor-at-Large for Indonesia Norman Erikson Pasaribu is showcased as an emerging Indonesian writer in Kill Your Darlings, a cultural magazine based in Melbourne, in partnership with the upcoming Ubud Writers & Readers Festival (UWRF) in Bali.
Social Media Manager Thea Hawlin wrote about the rise of female literary magazines for LitHub and reviewed a response to George Eliot’s ‘Silly Women Novelists’ for the Times Literary Supplement. She also published essays on Italian director Antonioni’s first color film and the designer Salvatore Ferragamo in AnOther magazine. It’s also her birthday today so please joining us in wishing her a very happy birthday!
Editors-at-Large for Singapore Theophilus Kwek and Tse Hao Guang have launched UnFree Verse, an anthology of formal verse from Singapore, co-edited with poet Joshua Ip. Theophilus was also featured last week in an episode of the new BBC4 series ‘Mother Tongue’, which focuses on poetry in translation.
Read more dispatches from around the world:
The blog team's top picks from the Summer Issue!
Juxtapositions are rife in Intan Paramaditha’s enchanting story, “Visiting a Haunted House,” translated from the Indonesian by Stephen Epstein. To me it read almost like an incantation, the words constantly looping memory upon the story’s present. As a granddaughter visits her dead grandmother’s house, she paints a pointillist picture of her grandmother’s life, whose colors soon run into her own. A broken red lipstick, a cloudy mirror, vanished smells of Gudang Garam cigarettes—the world spins, and so do familial memories, ancestral souvenirs, and time.
The granddaughter is an eternal migrant, “dashing around in bus terminals and airports with a backpack.” She remembers how her grandmother had always wanted to go abroad but contented herself with the thrill of riding a minibus to market while dressed in a flowery cotton dress. The story is ostensibly a simple tale of returning to an ancestral home. But the narrator’s voice soon bifurcates like a snake’s tongue, each sentence describing the grandmother and the granddaughter both. When speaking of a kuntilanak, “a woman no longer here, in our world, but not ‘over there’ either,” is she describing the ghost, or herself?
A behind-the-scenes scoop on what our team members have been up to!
Poetry Editor Aditi Machado’s forthcoming collection, Some Beheadings, is available for pre-order from Nightboat Books. Her translation of Fariq Tali’s Prosopopoeia was recently reviewed by Jill Magi.
Drama Editor Caridad Svich‘s piece, Carthage, will be performed at TheatreLab in New York from 19 to 21 July, by Signdance Collective. She is also on the editorial board of Global Performance Studies, a new journal which has just launched its first issue, Fluid States—Performances of unKnowing.
Criticism Editor Ellen Jones has translated some poems by Enrique Winter, which are appearing in a bilingual chapbook called Suns, published by Cardboard House Press on 25th July.
Romania and Moldova Editor-at-Large Chris Tanasescu a.k.a. MARGENTO will be presenting a paper on “Metaphor Detection in a Poetry Corpus” at the Association for Computational Linguistics Conference in Vancouver. The paper is co-authored with Vaibhav Kesarwani, Diana Inkpen, and Stan Szpakowicz, and is a part of the GraphPoem research project he conducts on graph theory applications in poetry. Earlier this month, MARGENTO co-edited a Romanian Poetry feature in Plume together with Tara Skurtu.
UK Editor-at-Large Megan Bradshaw has a new short story, Tigre, in the most recent issue of Litro Magazine.
India Editor-at-Large Poorna Swami‘s essay, Wonder Woman, the Fierce Superhero Feminists Deserve, was published by The Wire.
Chief Executive Assistant Theophilus Kwek has new poems in Hyphen Magazine and the Asia Literary Review. He also read at the 21st Anniversary Showcase of the Ledbury Poetry Festival alongside Fiona Sampson, A E Stallings, Tony Hoagland, and other featured poets.
Read more dispatches from around the world:
Like most other translators, I’m plagued by the feeling that it can be done better, though not by me, not here, not now.
This week we bring you the sixth installment of Translator’s Diary, a column by Vincent Kling, winner of the 2013
Same Thomism, Different Place: Last month I wrote from Ghent, New York, where ten translators had gathered for a week of all-day workshop sessions. Warm thanks to Shelley Frisch and Karen Nölle for their expert guidance. Now I’m in Straelen, Germany until late June, at the European Translators’ Colloquium, meeting colleagues from all over (Turkey, Japan, Italy, Albania, Canada, and more) and free to concentrate on Strudlhofstiege. That’s just as well, because I’m at a very difficult place, working even more slowly than usual. My colleagues keep saying, “Es wird schon”—“It’ll turn out fine,” but it doesn’t feel that way.
And while I want to get back to specifics of Doderer’s novel, I’m finding more to say about Thomism, since I’m starting to consider the influence of Aquinas more and more central to my understanding of what happens in Strudlhofstiege—what happens and how it happens.
The Word Made Flesh: To a Thomistic-minded creative writer, every use of words is an incarnation (capital ‘I’ included), an exercise in logos. All creation came about through God’s words: “‘Let there be light’: and there was light” (Genesis 1:3-5). No gap, no sequence, no first and second steps. Logos makes the word and the deed, the name of the thing and the thing itself, indissolubly identical. From the moment God gave Adam the power of naming the animals, a shadow of logos (Genesis 2:19-20); in the rapture empowering Coleridge’s Kubla Khan simply to “decree” a pleasure dome and make it rise; in the all-encompassing mythic vision of the America Hart Crane created in The Bridge; in the hermetic compression of Paul Celan’s late verse—threatening to enter a black hole of linguistic density—the dream of all writers has been to make the utterance the actuality, to make the word flesh. (The opening of John’s gospel is a kind of refresher course.)
“My adulthood is covered with the bubble-wrap of English.”
So here’s a story―Trishanku was a mythological king, the ancestor of the Hindu god Ram. When Trishanku grew old, the gods invited his soul to heaven, but he wanted to rise to paradise in his earthly body. “Impossible,” the gods shuddered. Trishanku went to the sage Vishwamitra for help. Vishwamitra conducted a great yagya for Trishanku, and with the power of his ritual, started levitating Trishanku―body and all―towards heaven. But when the gods barred the gates, Vishwamitra built an entirely new universe between heaven and earth where Trishanku dangles, upside down, for eternity.
As a bilingual writer, I often feel like Trishanku. Having grown up in a postcolonial country with the shadow of a foreign language colouring every aspect of my existence, a duplicity cleaves my life. I inhabit two languages―English and Hindi―but I’m never fully comfortable in either. It’s telling perhaps that Trishanku is also the name of a constellation that in English is known as Crux. This confusion of languages I reside in, this no woman’s land of living between tongues defines me.
A trip around the literary world, from USA to Latin America to the Czech Republic.
The weekend is upon us—here’s a detailed look at the week that was by our editors-at-large. In the United States, Madeline Jones reports directly from the trenches of the Book Expo in New York City. A gathering of publishers, booksellers, agents, librarians, and authors, the event is the largest of its kind in North America. We also have Sarah Moses filling us in with tidings from Colombia and Argentina, and updates on the Bogotá39, a group of thirty-nine Latin American writers considered to be the finest of their generation. Finally, Julia Sherwood brings us some hot off the press literary news from the Czech Republic. Settle in and get reading.
Madeline Jones, Editor-at-Large, reports from the United States:
Last week in New York City, Book Expo (formerly Book Expo America) set up shop at the famously-disliked Javits Center on western edge of Midtown Manhattan. Publishers, literary agencies, scouts, booksellers, and readers gathered for discussions about the future of publishing, meetings about foreign rights deals, publicity and media “speed-dating” sessions, and more. Authors and editors spoke about their latest books for audiences of industry insiders, and lines trailed from various publisher booths for galley signings.
Though the floor was noticeably quieter than previous years, and certainly nothing compared to the busy hub of foreign rights negotiations that the London and Frankfurt book fairs are, Asymptote readers will be pleased to hear that multiple panel discussions and presentations were dedicated to foreign publishers, the viability of selling translations in the U.S., and indie books (which more often tend to be translations than major trade publishers’ books). READ MORE…
Awards, publications, and readings—our team members have been keeping busy!
Assistant Blog Editor Aurvi Sharma was interviewed by Wasafiri. She was also awarded a Bread Loaf-Rona Jaffe Foundation Scholarship and her essay, Hymns for the Drowning appeared in Pleiades Magazine.
Criticism Editor Ellen Jones published a review of Juan Carlos Márquez’s novel Tangram, translated by James Womack, in the Glasgow Review of Books.
Today we delve into the literary goings-on in USA, UK and Singapore
New week, new happenings in the world of literature. President Trump continues to make headlines (read our Spring Issue for an exploration of literature in the Trump era). Madeline Jone, Editor-at-Large for USA reports how it has affected the publishing industry. Across the Atlantic, Cassie Lawrence, Executive Assistant at Asymptote, relays heartening news about women in publishing and the buzz of literary festivals in London this weekend. Chief Executive Assistant Theophilus Kwek reports how Singapore’s novelists are fighting back, and more.
Editor-at-Large Madeline Jones gives us the round-up from USA:
US media narratives have been deluged with news of presidential catastrophes. No surprise, then, that this is reflecting in the publishing world, from book publishers struggling to understand how to talk about Trump to children, to books about the electoral process. With timing that seems ominous, in the light of the very popular TV adaptation of Margaret Atwood’s 1985 novel The Handmaid’s Tale, the book has edged its way between a Danielle Steel and a James Patterson on the New York Times Best Sellers list. Another notable that has been on the list is Shattered: Inside Hillary Clinton’s Doomed Campaign.
Speaking of which, the annual Book Expo America, popularly known as the BEA, is scheduled from May 31 to June 2, and Hillary Clinton is one of its top draws this year. A gathering of publishers, booksellers, agents, librarians, and authors in New York City, the Book Expo is the biggest event of its kind in North America.
Last night’s dreams, sins of the past, unlivable dreams, the sin of living incompletely.
Relentless time is the subject of these poems by Choi Seung-ja, an iconic figure in Korean literature, so influential that she was called “the common pronoun of the 80s’ poets.” But the existential despair captured in broad bravura strokes here transcends both culture and era.
Two Kinds of Death
Like a rumor or drifting cloud
the lodger in Cheongpa-dong passes away
and morning’s black phone call rings.
Suddenly at the edge of the dining table
the species of mothers and fathers
melt into the longing spirit of water and fire
the rice and soup in a chorus
recite the deceased’s prehumous words:
Wishing to die
yet going mad
A black boat appears from the blue sky.
Full of cosmic humidity
transmitting an extraterrestrial Morse code
on and off
Death sends us a message.
Someday in Manhattan
John Lennon dies and
the voice of the dead is floating.
Mama don’t go
Daddy come home
At the End of the Deserted Street
The smell of sin, the smell of sin, ruins of sadness,
still lingering in my soul.
Every day I wake up at the end of the deserted street.
Last night’s dreams, sins of the past,
unlivable dreams, the sin of living incompletely.
In the dark of last night
the clock that measured all of me
keeps ticking in the same countdown.
Run, time, run
putting on my frail weight
made of only dream and sin
speed like a bullet.
I want to watch my bones shatter.
I want to snigger in the windblown
dust of my bones.
The earth emits mysterious heat.
The chirping of birds withers midair.
While the ashen sky retreats
aching leaves turn.
The thirsty verdure grows by degrees.
At last green’s fearful chaos pours out.
Everything will be over.
Time will come to rest.
In the air, the sneer of green afire.
Into the deep, deep earth, the sap drains.
The barren background sways.
The sun comes to a halt forever.
Like a ghost only green remains in the world.
Translated from the Korean by Lei Kim
Choi Seung-ja was born in 1952 and made her literary debut in 1979. Shortly afterwards, she became the icon of youth and freedom in Korean literature. She lived through the 1980s, the Dark Age in modern Korean history, both in political and social aspects, and she was called “the common pronoun of the 80s’ poets.” For her the time was “time… feeding me shit / yet ruthlessly leaving me alive” (“Unforgettableness or Oblivion”) and “never-ending period.” She declared herself “the priest of void” and executed poems that manifested the indignity of the period. Among her poems, the expression of assumed evil, masochism, self-contempt, and stark vulgarism signal the advent of a new style of poetry. Women in the patriarchal society are bound to live with self-abuse as a pathetic defense to overcome the crisis of self-existence. Her works show how far she has pushed the bar set by the male dominant system, and in some point, she made her own escape from the conventional women’s poetry. In consequence, she is reputed to have started “feminist poetry” for the first time in the history of Korean poetry, so it is nonsense, without consideration of her impact on others, to talk about Korean women’s poetry. Her works include The Love Of This Age, A Merry Journal, The House Of Memory, My Green Grave, and Lonely And Faraway.
Lei Kim is a literary translator. She has translated Lee Jangwook’s poetry collection, Request Line at Noon (Codhill Press, 2016), and received the Modern Korean Literature Translation Commendation Award.
Read More Translation Tuesdays:
- Spotlight on Indian Languages: Part I
- Translation Tuesday: Two poems by Shubham Shree
- Translation Tuesday: “The War is Coming” by Jazra Khaleed
From erotica in translation to magazine launches, no rest for world literature!
Spanish Social Media Manager Arthur Dixon has helped to found Latin American Literature Today, a new online literary journal, with support from World Literature Today! He will serve as its Managing Editor when it launches on January 31, 2017.
Contributing Editor Ellen Elias-Bursać will be part of an evening of readings in translation at Berl’s Brooklyn Poetry Shop on December 17, 2016, presented by Harlequin Creature. Her translation of Dubravka Ugrešić’s brilliant address on receiving the Neustadt International Prize for Literature 2016 has been published on LitHub.
Slovakia Editor-at-Large Julia Sherwood‘s co-translation (with Peter Sherwood) of Uršuľa Kovalyk’s short story “Julia” was published in the latest issue of SAND, Berlin’s English literary journal.
Romania & Moldova Editor-at-Large, Chris Tanasescu, aka MARGENTO, will be launching an anthology of contemporary Romanian erotic poetry in New York together with past Asymptote contributor Martin Woodside. Another contributor to the project is Ruxandra Cesereanu, the primary editor of Moods & Women & Men & Once Again Moods.
Editor-at-Large for India Poorna Swami‘s poetry reading in Bangalore was featured by The Hindu, Metro Plus. Her poem “River Letters” was published in Prelude, Volume 3. She also wrote a blog piece on the politics of social media friendship for The Huffington Post, India. She has been long-listed for the 2017 Toto Awards for Creative Writing (English).
English Social Media Manager Thea Hawlin‘s ‘five-point guide’ to avant-garde artist Yves Klein was published in AnOther magazine.
Chief Executive Assistant Theophilus Kwek placed Second in the Stephen Spender Prize 2016 for poetry in translation, and his translation of Wong Yoon Wah’s poem, ‘Shadow Puppets’, was featured in The Guardian‘s Translation Tuesday series in collaboration with Asymptote. He was also part of recent poetry readings at the Woodstock Poetry Festival and the Pitt Rivers Museum in Oxford.
Indonesia Editor-at-Large Tiffany Tsao has had two translations and a short story published in BooksActually’s Gold Standard 2016—a “best of” anthology of short fiction by cult writers from East and Southeast Asia that aims to counter the tokenistic way Asian writing is often curated in the West.
More Dispatches from the Asymptote Team:
I can’t quite remember what American writing was like before Words Without Borders—it was a dark and domestic place.
This Tuesday evening marked one of the most important nights for international literature in New York (which are few and far between), and what a star-studded, city-lit affair it was. The annual Words Without Borders Gala at the spacious TriBeCa Three Sixty kicked off with a cocktail hour featuring surround views of the Manhattan skyline, reunions of old friends and co-translators, and plenty of champagne-fueled gossip. I was feeling a bit out of place (unpublished, fluent enough in just one foreign language) and wary of the champagne (knowing I might need to form complete sentences in front of Edith Grossman later).
But the atmosphere overall was decidedly celebratory. When I chatted with Words Without Borders’s founding chairperson, the retired newspaper man Jim Ottaway, we noted that perhaps this air of goodwill reflects how literature in translation is motivated more by passion than profit—there was no business to be done, no egos in the room. Translators and the community that supports them are all rooting for a common cause. “I suppose it is a nonprofit,” I said of the organization. “Very nonprofit-y,” Mr. Ottaway agreed, surveying the room.
The gala is known for being a who’s who of writers, translators, and publishing bigwigs. Everyone mingled in the rare, low-pressure environment to celebrate the online magazine that put literature from elsewhere on the United States’ map for the first time, at least in a consistent and visible way. As acclaimed translator Susan Bernofsky put it to me, “Words Without Borders has been the pioneer of this kind of publishing—it sort of gave rise to all these other great journals and now there’s a whole fantastic landscape, which I’m really happy about.”
Throughout the cocktail portion, groups of guests taking advantage of the unusually formal occasion, by publishing standards, to dress in understated black ensembles and sensible heels posed for photos in front of a red-carpet-style, Words Without Borders backdrop. Calls of “how have you been?” bounced off the floor-to-ceiling windows as familiar faces caught sight of more familiar faces, reinforcing the completely true notion that everyone in publishing—especially of translated literature—knows each other. Refined cheek pecks were quickly followed by earnest probes of “what are you working on now?” in keeping with the crowd. We all wanted to know what we had to look forward to next season or next year. María José Jiménez told WWB Communications Coordinator Savannah Whiting about translating a novel by Uruguayan writer Rafael Courtoisie with Anna Rosenwong. Ms. Bernofsky had just turned in a new Jenny Erpenbeck translation the day before. Natasha Wimmer and agent Cristóbal Pera chattered in Spanish about the Wimmer’s current project—translating El Comensal by Grabriela Ybarra, which is also in development for a film, according to Pera. I felt very excited and also as if I were just assigned a lot of homework—a feeling familiar to any avid reader.
From poetry to graph theory to dance, we've been keeping busy.
Poetry Editor Aditi Machado‘s poem ‘Route: Desert’ was recently published in Poor Claudia.
Drama Editor Caridad Svich‘s new play, Archipelago, premieres in the UK on 24th November at the Lighthouse in Poole, directed by Stephen Wrentmore. Her essay, ‘Six Hundred and Ninety-Two Million: On Art, Ethics and Activism’ recently appeared on Howlround.
Romania and Moldova Editor-at-Large Chris Tanasescu, aka MARGENTO, co-authored an academic article on artificial intelligence with Bryan Paget and Diana Inkpen that has recently been published in the Journal of the Association for the Advancement of Artificial Intelligence. This is part of an ongoing research project, The Graph Poem, led by MARGENTO that applies graph theory to poetry computational analysis and poetry composition or generation.
Contributing Editor Ellen Elias-Bursac‘s translation of Hotel Tito by Ivana Bodrožić will be published by Seven Stories Press. Read an exclusive excerpt in Asymptote‘s Spring Issue! She has also just been elected Vice-President of the American Literary Translators’ Association.
The latest in literary news from Africa and North America
As the week comes to a close, we’ve been busy reading and re-reading the Fall 2016 issue of Asymptote, while trying to escape the fact that November is nearly upon us. This week, we hear from Alice Inggs, Editor-at-Large based in South Africa, who shares the details of the literary awards season from across the continent. We visit Editor-at-Large Marc Charron in Canada next, before heading south to catch up with Blog Editor Nina Sparling in New York City.
Alice Inggs, Editor-at-Large in South Africa, sets us afloat with a whirlwind literary tour of the continent:
After peaking in the polls but missing out on the Nobel Prize for Literature, Kenyan writer Ngũgĩ wa Thiong’o, author of Decolonising the Mind: The Politics of Language in African Literature and In the House of the Interpreter: A Memoir, was subsequently awarded the prestigious Pak Kyong-ni Literature Award by the South Korean Toji Cultural Foundation. Thiong’o, a champion of African literature(s), has produced novels, plays, short stories, and essays, publishing primarily in the Gikuyu language.
In West Africa, Abubakar Adam Ibrahim won the Nigeria Prize for Literature for Season of Crimson Blossoms, which explores sexuality, loss, and community through an affair between a twenty-five-year-old street gang leader and a devout widow and grandmother. Shortlisted candidates included Elnathan John (Born on a Tuesday) and Asymptote-featured writer Chika Unigwe (Night Dancer).