Place: Romania

Translation Tuesday: Excerpts from Mediterranean Suite by Florin Caragiu

Not far away, the frescoes catch in their fishing nets The memory and the wind. Closely following behind us, the dolphins.

Today’s Translation Tuesday is brought to you by MARGENTO, Asymptote Editor-at-Large for Romania and Moldova, and poet and translator Marius Surleac. As you immerse yourself in these lines, it is worth keeping in mind Florin’s unique profile and approach to creation as he combines poetry, mathematics, and Eastern Orthodox theology. There is a specific emphasis on mystical practice, particularly the kind that involves “iconic Hesychasm.” These excerpts from Florin Caragiu’s work, Mediterranean Suiteexplore a sense of nostalgia, loss, and change.

Excerpts from Mediterranean Suite

It was only after long that we found the poet’s grave

In the graveyard by the sea. We barely made out

His name on the burial stone. We had passed

The spot several times

Without noticing it. Just as day after day people keep reaching

Your sight and you have no idea what they’re holding back.

Just as the blotchy calligraphic lettering

Overshadows a voice and its sharp beams

Coming out of a cloud of sea gulls, out of the lighted beacon

Piercing the sea’s costa and its coastal heart,

The wave amphitheater, and the city’s watery arteries.

 

Not far away, the frescoes catch in their fishing nets

The memory and the wind. Closely following behind us, the dolphins.

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Translation Tuesday: Excerpts from Tempodrome by Simona Popescu

"You have as many countries as the languages you speak."

Today’s Translation Tuesday is brought to you by MARGENTO, Asymptote Editor-at-Large for Romania and Moldova. The lyrical excerpts from Romanian essayist and poet Simona Popescu’s writing explore a mood—memories of the nineties related as if at a remove, stating plainly what the narrator saw, while encapsulating the myriad complications simmering beneath the still surface of the narration. 

“I confess I do not believe in time. I like
to fold my magic carpet, after use,
in such a way as to superimpose one part
of the pattern upon another.”
—Vladimir Nabokov, Speak, Memory

“Then everything regroups as if in a hot fog
where things recover among the obscure
plantations of the accidental.”
—Gellu Naum, The Blue Riverbank

“I have no idea of time, and I don’t wish to have”
—Wislawa Szymborska, On the Tower of Babel

In the house of my childhood, somewhere in my parents’ mixed up bookcase, leaning on a couple of books stood a black teddy bear in a white sash ribbon with some red lettering on it saying Grüsse aus Berlin. On other shelves there were other “souvenirs” from Abroad. For instance, a wooden cylinder with a lid in the shape of a Russian church dome, with a rose and the word “Bulgaria” burnt onto it. Inside was a vial of Bulgarian rose perfume. My folks never traveled Abroad. In fact, nobody in our little town ever traveled Abroad. Not even the Saxons and the Hungarians who, judging by the language they spoke, had to have another country somewhere, if push came to shove, right? You have as many countries as the languages you speak, the saying went. The Hungarians and the Saxons were therefore half foreign. But even so, even they never got Abroad—it was only the old people that sometimes went, but they always returned. Nobody needed them and they didn’t need anybody or anything except a quiet life in their homes. Only old people returned. They and the migrating birds.

It was me who had brought the rose perfume home. I was 12 when I went, without my parents, on a trip—well, yes—Abroad. I don’t recall much. It was I think in spring, there was I think a crisp sun, I was on a terrace I think by the sea, somewhere on a cliff, there were breakers I think in front of me, not very close though, I think I never went down the stairs to dip my toes in the sea. In the “vision” conjured by the word “Bulgaria” in which I’m a child a milky light and a bluish expanse approach me. And I’m all alone there, for a second, my back turned on everybody else. And I can hear a roaring wind. (I am back there anytime I want. I’m 12 and then—as I keep adding now—44. I hold an invisible butterfly net in my hand and collect images with it.) READ MORE…

Close Approximations: In Conversation with Poetry Winner Anca Roncea

On translation as an impossible object, and the possibility of a direction.

Today, we continue our spotlight on the winners of Asymptote’s annual Close Approximations translation contest, now into its third edition. (Find the official results and citations by judges David Bellos and Sawako Nakayasu here.) From 215 fiction and 128 poetry submissions, these six best emerging translators were awarded 3,000 USD in prize money, in addition to publication in our Summer 2017 edition. After our interviews with poetry runners-up Keith Payne and Sarah Timmer Harvey, we are thrilled to bring you poetry winner Anca Roncea in a short but illuminating conversation with Asymptote Assistant Interviews Editor, Claire Jacobson. 

Anca Roncea is a poet and translator. She is a recent graduate of the Iowa Writers’ Workshop and is currently attending the University of Iowa’s M.F.A. program in literary translation. In 2012–2013 she was a Fulbright visiting scholar at UC Berkeley. She was born and raised in Romania and now lives in Iowa City where she writes and translates poems. She is working on translations of Romanian poetry, an experimental translation of Tristan Tzara, as well as her first book of poetry. She explores the space where language can create pivots in the midst of displacement while incorporating the aesthetics of Constantin Brancusi. She is the 2017 winner of the Omnidawn Single Poem Broadside Contest. Her work can be found in Omniverse, Berkeley Poetry Review, Beecher’s Magazine, and The Des Moines Register.

Close Approximations poetry judge Sawako Nakayasu writes, “I’m thrilled to have selected this year’s winner for poetry: “wrong connections” by Andra Rotaru, in Anca Roncea’s excellent translation from the Romanian. I love how this work reads like a film that can only take place in the mind of the reader. The scenes (I read them like scenes) carry you through a changing landscape that can be menacing, historical, scientific, or downright violent—all in torqued connection with each other like the “incorrect connections” of the tribar.

“Ms. Roncea brings to our attention a new voice in contemporary Romanian poetry: Ms. Rotaru’s work has already been translated into numerous European languages, but very little has been translated into English so far—though this is soon to be remedied, I believe.”

Claire Jacobson (CJ): In your translator’s note you refer to the tribar, or “the geometrical concept of an impossible triangle whose three sides do not connect but still exist in the form of a triangle, creating a direction for movement.” What are some ways you see Andra Rotaru’s work embodying the “wrong connections” of this impossible shape, and how have you recreated those moments in English?

Anca Roncea (AR): I think that in some ways Andra’s “wrong connections” in her tribar here are speaking to the interesting ways that poetry works to create human experience. It made me think of one of Lyn Hejinian’s lines in her book My Life that says: “You put two things next to each other they start resembling each other.” In Andra’s poems there are strong tactile images next to visual memory next to literary quotes and even descriptions of chemical elements and they all connect and speak to each other even though they technically shouldn’t, but together form an experience. In the translation process, I tried to make the images as visceral as possible because I knew the connections would come through the more the reader could experience these different elements.

CJ: Can you talk about the shifting format of these poems? Moving from citation to almost-prose to definition and back to free verse, how did you maintain the threads of connection between these disparate elements?

AR: That was one of my favorite things about this poem in the Romanian—the fact that the text felt free enough to move through all of these different formal gestures to express what it needed to. One of the biggest challenges was that in Romanian there were quotes in English, and the question was whether to show that and how to do it. In Romanian, the quotations sounded to me like an external voice that comes in the text and is somehow able to be inhabited by the speaker and become part of the tribar, and in English the graphic gesture of leaving them in quotes and citing the author in addition to the change in tone in those moments came through in a very similar way.

CJ: Do these citations—among them Bruno Ernst, Aldous Huxley, and Anne-Marie Blanchard—have significance to a Romanian readership? How does this linguistic and cultural cross-pollination affect the way these poems are perceived?

AR: I couldn’t speak for every Romanian reader but I think it’s different for every one of them. Aldous Huxley might be more recognizable than Susan Howe in Romania, but what I found interesting about these citations is the fact that it shows a poet who is influenced by and in conversation with a range of genres and discourses across time and space from 20th century fiction to 21st century poetry to psychology. You really get to see how the poem is in conversation with what the poet is reading and thinking about.

CJ: You write in your translator’s note, “The poems shift from the movement and breath of a child’s body—the powers and limits of her movement—to those of a dead, ghostly body—its visibility and invisibility.” How do these images interact and overlap throughout the work?

AR: These antithetical images I think connect through how visceral they are. You really see and hear what the child is going through even if you don’t get a narrative of these scenes they play out in the senses—it’s almost an inner perspective which then shifts to an outer perspective when death comes in the poem, but the speaker is still using senses to connect by hearing and feeling their way through. I think it gives the whole work presence in a different way than what I have seen before in Romanian poetry, and it ultimately felt much more haunting to me.

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We’re currently raising funds for the next edition of our annual translation contest. If you’ve enjoyed this showcase and would like to support us in our mission to advocate for emerging translators from underrepresented languages, consider a one-time tax-deductible donation (for Americans) or join us as a sustaining member today!

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Read more interviews with Close Approximations winners:

Weekly Dispatches from the Frontlines of World Literature

Probably the best source of global literary news available.

It’s the official start of Autumn in the Northern Hemisphere and Spring in the South―the beginning of a new season where minor plans and promises are made that we desperately try to be faithful to. Or maybe not. Maybe it’s just the temperature that changes. Nonetheless, here at Asymptote we’ll always fulfill our promise of bringing you the latest news from around the globe, just in time for the weekend, with this week’s reports from Argentina, Romania and Moldova, and Taiwan. 

Lara Norgaard, Editor-at-Large, brings us the news from Argentina:

August in Argentina was a month for reading. Buenos Aires celebrated Jorge Luis Borges’ birthday on August 24 by organizing a walking tour tracing Borges’ most notable haunts. The 24th is also the country’s annual Día del Lector, commemorating the renowned writer.

On August 23, the Latin American Art Museum of Buenos Aires (MALBA) hosted a conversation between North American policy analyst David Rieff, and Argentine novelist Luisa Valenzuela on the topic of collective memory. Valenzuela is known for her novels that recall state violence, written during and after Argentina’s brutal last military dictatorship. The topic of historical memory is especially relevant right now as the Argentine public protests the alleged disappearance of indigenous rights activist Santiago Maldonado, who went missing at a protest in Patagonia on August 1.

In the midst of September’s Bienalsur, a major visual art biennale, literary events still abound in Buenos Aires: one upcoming highlight is the celebration of Latin American women writers, El silencio interrumpido, to be hosted at MALBA on September 6. The free event includes speakers such as Argentine novelist Reina Roffé and poet Tamara Kamenszain, as well as Cuban critic José Quiroga.

Such literary events are not limited to the city of Buenos Aires proper. The province of Buenos Aires partnered with cities Lanús and Quilmes on August 26 to host Un día de libros, a wide-ranging event series featuring everything from free lectures on literature to the release of Diez lugares contados, an anthology of stories about life in the province. Between September 18-23, FIDEO (Festival Intergaláctico de Escritores (Oficial)) will take place in San Miguel de Tucumán in northern Argentina. The festival, organized by cultural organization EsCuchara with support from the National University of Tucumán, is a free, open, and experimental space for writers to meet.

Finally, readers across the country celebrate a new translation of Polish author Witold Gombrowicz’s diaries into Spanish. Gombrowicz, who lived in Argentina from 1939-1963, had significant influence on 20th century Argentine literature. Translators Bozena Zaboklicka and Francesc Miravtilles’ rendering of Diario make the author’s personal insights available to the Spanish-speaking world.

MARGENTO, Editor-At-Large, gives us the latest from Romania and Moldova:

The second edition of the Gellu Naum Festival, co-organized by the Romanian Literature Museum and Gellu Naum Foundation on August 4-5, has as its MCs the poet and Naum critical authority Simona Popescu and French-Romanian poet and translator Sebastian Reichmann, and feature over twenty poets (from big names such as Emil Brumaru and Angela Marinescu to rising stars like Asymptote past contributors Emilian Galaicu-Păun and Radu Vancu, and Elena Vlădăreanu) reading to the jazz music performed live by pianist Mircea Tiberian. Naum (1915 – 2001), is an outstanding representative of European surrealism.

Poet and translator Paul Vinicius, this year’s winner of Le Prix du Public du Salon du Livre des Balkans, has announced a forthcoming critical anthology of English-language poetry edited and translated by himself, excerpts of which he has already published in major literary venues, while also editing the collected works of Vintilă Ivănceanu, a foremost representative of the oneiric poetry school who spent most of his life in political exile. Vinicius has also recently started an independent writers association in opposition to the central one (led by Nicolae Manolescu) dating back to communist times and marred by nepotism and abuse.

Iulia Militaru is the Romanian poet invited to read and perform at the Brussels Poetry Festival whose 4th international edition scheduled for Sept 8-10 has as a theme the work of surrealist painter René Magritte and his “La Trahison des Images.” Militaru is also currently writing a series of articles to Arta on censorship in/as literature interspersed with and commenting on illustrative “pop-up pastorals” from past Asymptote (journal and blog) contributor Jennifer Scappettone’s latest collection The Republic of Exit 43.

Claudiu Komartin and his editorial team have launched the 19th issue of Poesis International, the longest running international poetry journal in Romania to date, showcasing Danish, Bulgarian, American (Frank Bidart), Albanian, French, Hebrew, Argentinian (Alejandra Pizarnik)—and much more—poetry in translation alongside Romanian literature in a bulky 236-page issue.

In Moldova, the editors of Metaliteratura journal, Aliona Grati and Nina Corcinschi have just launched an impressive and much awaited Literary Theory Dictionary.

Vivian Szu-Chin Chih, Editor-At-Large, reporting from Taiwan:

Taipei has been welcoming international athletes for the  2017 Summer Universiade since mid-August. The opening ceremony performances featured multifaceted Taiwanese cultures including the aboriginal ones, and the event has attracted more attention from around the globe to the island.

The Taiwanese writer Shu-Hau Liao (廖淑華), whose novellas and essays won several literary awards, published her first collection of novellas, Cotton Milkbush (《唐棉》) in early summer, with the funding from the National Culture and Arts Foundation. From her own life experiences in a small town in Yunlin County of central Taiwan, Cotton Milkbush is a representative of Taiwan’s “town literature” (小鎮文學), in which the writer vividly depicts daily lives of the town people, dialect spoken by these people, as well as the landscapes and architectures of the small town. In a realistic tone, Liao puts more emphasis on her female characters and has carried forward the legacy of Taiwanese town literature.

One of the oldest literary magazines in Taiwan, Wenhsun (《文訊》), has published an excerpt of the novelist Li Yongping’s unfinished wuxia novel, A New Picture of the Swordswoman (《新俠女圖》) in its August issue. The renowned Malaysian-born novelist, professor, and translator, who has lived in Taiwan for decades and retired here, has been composing his first wuxia novel in illness. Wenhsun decided to pay their tribute to the writer with its first-ever double covers, one of which has been dedicated to Li’s long-awaited wuxia novel.

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Translation Tuesday: “wrong connections” by Andra Rotaru

she sits on a tuft of grass: drying under her.

The results of our Close Approximations contest winners are in! Find the official citations as well as links to the winning entries here. For the next two months, we will spotlight these contest winners as well as their work. First up, we present an excerpt of the top entry in the poetry category. Judge Sawako Nakayasu says: “I’m thrilled to have selected this year’s winner for poetry: ‘wrong connections’ by Andra Rotaru, in Anca Roncea’s excellent translation from the Romanian. I love how this work reads like a film that can only take place in the mind of the reader. The scenes (I read them like scenes) carry you through a changing landscape that can be menacing, historical, scientific, or downright violent all in torqued connection with each other like the ‘incorrect connections’ of the tribar.”

“In the British Journal of Psychology R. Penrose published the impossible ‘tribar.’” Penrose called it a three-dimensional rectangular structure. But it is certainly not the projection of an intact spatial structure. The ‘impossible tribar’ holds together as a drawing purely and simply by means of incorrect connections between quite normal elements. The three right angles are completely normal, but they have been joined together in a false, spatially impossible way.”

—Bruno Ernst, The Magic Mirror of M. C. Escher

she sits on a tuft of grass: drying under her. even her clothes dry on her. make some wishes when throwing something in the water. rust solders iron under water, no one passes, sounds of bursts of water.

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What’s New with the Crew? A Monthly Update

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.

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Read more dispatches from around the world:

Weekly Dispatches from the Frontlines of World Literature

Never miss a world literature update again.

We are back with literary news you simply cannot miss! This week we will take you to Romania where MARGENTO will help you discover the intricate networks of performance art. Also reporting from Europe is Fiona Le Brun who discusses the eclectic list of recent French literary prize winners, while subtly underlining the theme of migration that cuts across the various literary events. Far away from Mexico, Paul Worley and Kelsey Woodburn will highlight the increasingly important role of translation in its contemporary cultural landscape. 

Editor-at-Large from Romania and Moldova, MARGENTO, provides us with an insider’s view of the exciting world of Romanian artistic experimentation:

The Bucharest International Poetry Festival featured last month an impressive line-up of international writers and performers, among whom were Christian Bök from Canada, LaTasha Nevada Diggs from the US, Steven Fowler of the worldwide prolific Enemies Project, Max Höfler (the tireless organizer of the yearly Text-World—World-Text Symposium in Graz, Austria), the multilingual performance vocalist Maja Jantar of Belgium, the Bucharest-based American poet and translator Tara Skurtu, and many more, alongside local poets such as Claudiu Komartin and Razvan Tupa.  Organized by London-based Romanian poet and curator Simona Nastac, this annual event has grown more and more visible and central in a country where the tradition of performance poetry going at least as far back as Tristan Tzara’s DADA seems to be thriving more than ever, with festivals thrown from Craiova in the south to Brasov and Sibiu in Transylvania to Cluj and Iasi up north (some of them performance-driven events, other more standard literary ones with a strong reading or performance section).

Petrila is a one-of-a-kind venue among all of the above, both in Romanian and international terms.  The derelict milltown riddled with condemned coal mines and shutdown falling-apart factories has been transformed over the last two decades by visual artist, political caricaturist, and curator Ion Barbu into a mecca of non-conformist festivals (initially thrown in his own backyard), eclectic or scandalous arts events, and improbable post-communist absurdist or faux-kitsch museums (including one that has resonantly revived the memory of once-censored outstanding dissident writer I.D. Sirbu).  A competitor—or rather concurrent event—has been the CUCA Festival organized over the past couple of years in Cartisoara, up in the mountains of Sibiu County, where cutting-edge and indie performances and installations converge with Romanian traditional architecture restoration work done by international volunteers.  A long-feature documentary titled Planet Petrila casting Ion Barbu in the lead role and portraying his eclectic personality and work against the background of the (post)communist history of his hometown has recently been widely praised and awarded at the international film festival TIFF.

READ MORE…

What’s New with the Crew? A Monthly Update

From launching journals to winning literary prizes, our team has had a wonderful month!

Incoming Communications Manager Alexander Dickow has recently received tenure from the College of Liberal Arts and Human Sciences at Virginia Tech. He currently serves as Assistant Professor of French.

Spanish Social Media Manager Arthur Dixon has launched the second issue of Latin American Literature Today, a new journal where he serves as Managing Editor and Translator.

Drama Editor Caridad Svich has been named one of 2017’s O’Neill Finalists at the National Playwrights Conference for her play, Town Hall.

Romania and Moldova Editor-at-Large Chris Tanasescu (MARGENTO) has launched a book titled poetryartexchange, co-authored with 8 other British and Romanian poets and artists, at the Birmingham Literary Festival. The project is a collaboration between University of Bucharest Press and Centrala, and will see more events in London and Birmingham in May through early June.

Contributing Editor Ellen Elias-Bursac will speak alongside poets Athena Farrokhzad and Noemi Jaffe, and fellow translators Jennifer Hayashida and Julia Sanches, on a panel entitled ‘Corrosive Power’ at PEN America’s World Voices Festival.

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What’s New with the Crew? A Monthly Update

From World Poetry Day to PEN competitions, we've had a busy month!

One quick piece of housekeeping news before our regular update! First, thanks to 98 wonderful backers, we’ve raised $13,547 so far toward our project to showcase new work created in response to Trump’s #MuslimBan. (Read the interviews given by our editor-in-chief at The Chicago Review of Books and at the Ploughshares Blog.) With only 7 days left to contribute to our fundraiser, we’ve unveiled a secret perk just for blog readers like you: for $100 apiece, you get first dibs on autographed books from writers like Junot Díaz and Yann Martel, who also stand with us against the travel ban! Fancy your own autographed copy of The Brief Wondrous Life of Oscar Wao while also supporting frontline efforts to reverse Trump’s travel ban (20% of all proceeds of this fundraiser will go to the ACLU and Refugees Welcome)? Want to help keep Asymptote around beyond 2017? Wait no more: Throw in your support for our fundraiser today!

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Educational Arm Assistant Anna Aresi conducted and translated interviews with Scottish poet Kathleen Jamie and Italian translator Giorgia Sensi as part of Mosaici‘s feature for World Poetry Day, which can be read alongside Sensi’s translations of five poems by Jamie.
 
Editor-at-Large for Romania and Moldova Chris Tanasescu (MARGENTO) has published an article entitled “Community as Commoning, (Dis)Placing, and (Trans)versing: from Participatory and ‘Strike Art’ to the Postdigital”  ​in the latest issue of Dacoromania Litteraria.  One of his performances from the CROWD Omnibus tour in 2016, featuring 100 writers from 37 European countries, has recently been released by Forum Stadtpark in Austria.

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Weekly Dispatches from the Frontlines of World Literature

Your literary update from Romania, Cuba, and the UK

This week, we dock first in Romania, where Editor-at-Large MARGENTO updates us on the political climate and how it’s influencing literary output. Then we sail southwest to Cuba, where we’ll hear from Blog Editor Madeline Jones about the foreign diplomats barred from an awards ceremony, as well as highlights from the International Book Fair in Havana. Finally, back across the Atlantic, M. René Bradshaw, Editor-at-Large for the UK, maps out the best literary events taking place in and around the capital throughout March and April.

MARGENTO, Editor-at-Large for Romania & Moldova, catches us up on the Romanian literary scene:

The recent wave of rallies that have swept Romania, where hundreds of thousands took to the streets to protest the government’s decrees decriminalizing certain corruption-related offences, has sparked reactions both on social media and in literary and creative circles.  The “light revolution” received huge global media coverage when tens of thousands of smartphones converged their glows outside the government building in Bucharest, sending a blinding anti-graft message while also forming the image of a huge national flag.  The true hallmark of this revolution has been internationally perceived as the deployment of digital apps and catchy, pun-filled slogans in both English and Romanian, inundating social and mass media with what hip-hop star Călin “Rimaru” Ionescu has termed the new “OUGmented reality” (OUG being the Romanian acronym for a governmental decree).  As #Rezist has gone viral across digital media channels, it is apt to share from our past archives a celebration by Asymptote contributor Ruxandra Cesereanu of what she sees as a revival of the anti-Soviet and anti-communist rezistance, a Romanian partisan movement that heroically lasted from the late 1940s through the mid-1960s.

In a similar vein, American poet and translator Tara Skurtu—currently in Romania on a Fulbright grant—has revisited the Romanian gulag in a poem inspired by the recent protests and published in the Huffington Post. A couple of days later, the same publication ran an interview on similar issues with Radu Vancu, also an Asymptote contributor.  Still, one of the authorities on modern and post-communist history Mircea Stănescu, who has consistently and shrewdly chronicled and analyzed the protests, maintained a cautionary stance, pointing out the generation gap strongly manifest in the current movement and warning about deeper political and educational issues that might remain unaddressed and resurface later.  Yet it seems that the ongoing rallies and sense of solidarity are a breath of fresh air that has already inspired a great deal of writers. Poet, novelist, and essayist Cosmin Perța has already announced a forthcoming #Rezist literary anthology.

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Weekly Dispatches from the Frontlines of World Literature

Your arts and culture update from Mexico, Ecuador, and Romania

It’s been a big week in literature around the world, with major awards, book fairs, and new publications vying for media attention in a particularly crowded news cycle. But the book world keeps turning even when it seems like everything else has come to a standstill. Blog Editor Madeline Jones reports from south of the border in Mexico, Editor-at Large MARGENTO gives us the update on Romania, and Contributor George Kirkum checks in from Ecuador.

Madeline Jones, Blog Editor, brings the literary update from Mexico:

Hundreds of Mexican artists have been mocking the President Elect of the United States, Donald Trump, by way of political cartoons. Now that he’s clinched the elections, the value of the peso has plummeted and Mexicans on both sides of the border are speaking out about their disapproval of Trump’s platform as well as their own fears for the future. Poet, novelist, and activist Javier Sicilia told El Universal, “This man unified fragments of fascism that were scattered throughout North America. And he’s creating proposals for destruction…it doesn’t matter if Trump wins, the theme is systemic.”* Well-known Mexican author and historian Enrique Krauze’s op-ed in The New York Times also captures the sentiments of many, in Hank Heifetz’s translation from the Spanish.

Eduardo Lizalde, who is recognized as one of the most important living poets in the Spanish-speaking world, was awarded the Premio Internacional Carlos Fuentes a la Creación Literaria en el Idioma Español this week. The judges said that his collection El tigre en la casa [The Tiger in the House] is “one of the most influential and poignant books in several generations.”*

2017 marks the 40th anniversary of the reopening of diplomatic relations between Mexico and Spain after the Franco regime ended. Last week, the organization la Cátedra México-España, which was founded with the purpose of studying and fomenting the historical, cultural, and linguistic links between the two nations, celebrated its tenth year. Attendants at the anniversary conference noted that the international relationship is still in its “honey moon” phase and the first ten years of the organization’s work have seen significant academic collaboration across the Atlantic.

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Mid-autumn News from the Asymptote Team

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, Archipelagopremieres 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.

Assistant Editor K.T. Billey, who also edited Asymptote‘s recent Special Feature on Canadian Poetry, has three new poems in the latest issue of the Denver Quarterly

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Weekly Dispatches from the Frontlines of World Literature

I wrote whenever anything struck me. As I started to write, I began to revive little by little, from my fingernails to my hair.

Happy Friday, readers! The Asymptote team has some exciting news: starting this week, we will be replacing our Friday literary news round-up with a more diverse and decidedly international column, brought to you by our team members around the world. We’ll have the latest and most pertinent updates on the literary scenes from various regions each week, from national trends to local events. This is your one-stop, world tour!

Starting this week in India, Poorna Swami, Editor-at-Large for India, updates us by region:

Noted Assamese poet Nalinidhar Bhattacharya passed away on September 2 in Guwahati at the age of 95. The Sahitya Akademi Award winner’s books include five poetry collections, five essay collections, and even a translation of Dr. Zhivago into Assamese.

But while the country lost a literary great, it also regained one. Tamil writer Perumal Murugan ended his self-determined literary exile on August 22. His reentry in to the literary world comes a year and a half after he publicly declared to quit writing because his book, Madhorubhagan [One-Part Woman], faced attacks from Hindu fundamentalist and caste-based groups. He had said on his Facebook page: “Perumal Murugan the writer is dead. As he is no God, he is not going to resurrect himself.”

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Crowdsourcing a Poet

"...I asked a number of significant writers for an input on the place of this writer in our literature..."

Have you ever thought of starting a poetry crowdsourcing? While contemplating writing on Alexandru Muşina’s magnetic personality (as a tie in to Ruxandra Cesereanu’s article in our July issue), the idea presented itself to me as the best way of introducing him to Asymptote’s readers; definitely an exciting opportunity to bring people together around the work of this amazing poet. Why? For at least two reasons. First, Muşina is one of the most important poets of Generation 80 (the poets that changed the face of Romanian poetry starting back in the 1980s), and arguably its most influential theorist, teacher, and public figure. Therefore, given the writer’s impressive public profile, crowdsourcing arises as a truly viable option in trying to unveil the many facets of his personality as mirrored by poets, critics, and theorists from various schools and walks of life. Second, taking the pulse of the current literary scene by asking some of its most outstanding representatives for input on the matter would obviously provide remarkably candid insights into the writer’s legacy, but it may also add up to a quick x-ray of Romanian letters, a sort of present-day portrayal of a young literature as revisiting an established man…; this latter aspect may prove of interest particularly since Cesereanu’s article focuses mainly on the place of Muşina’s poetry (and specifically his poem “Budila Express”) in the historical context of the communist regime and Ceausescu’s dictatorship (when the poem was first published). READ MORE…