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.
“A good reader, a major reader, an active and creative reader is a re-reader,” Vladimir Nabokov reminds us in his article “Good Readers and Good Writers”. There are so many books in this world, and unless your life revolves solely around books, it might be hard to be widely read and an active re-reader. Attaining this level of perfection that Nabokov describes is impossible, but the idea of re-reading as a tool to better understanding the value of a book underpins the philosophy of the Man Booker Prize International’s judging panel since its inception.
The 2018 Oscars may be over, but the awards season for the literary world has barely begun, with the Man Booker International Prize receiving the most international attention. In the world of translated fiction, the Man Booker International holds a prestige similar to the Oscars, which explains the pomp and excitement surrounding the announcement of this year’s longlist, made public March 12. The longlist includes thirteen books from ten countries in eight languages, from Argentina to Taiwan.
The MBI used to be a career-prize akin to the Nobel, awarded to a non-British author for his or her entire body of work every two years. Since its merger with the Independent Foreign Fiction Prize its format has changed. Now the Prize seeks to honor the author and translator of the best book (“in the opinion of the judges”) translated into English and published in the UK for the eligible period. For 2018, all eligible submission were novels or short story collections published between May 1, 2017 and April 30, 2018. Much like its sister prize (known simply as the Man Booker Prize), the winner of the MBI tends to garner much attention and sees a boom in book sales. Its history accounts for its prestige, but just as importantly, the MBI is one of the few prizes out there that splits the monetary value of its prize between the writer and translator.
Part of the MBI’s unofficial mission is to raise the profile of translated fiction and translators in the English-speaking world and provide a fair snapshot of world literature. What does this year’s longlist tell us about the MBI’s ability to achieve that goal? Progress has been made from past years, especially with regard to gender equality: six of the thirteen nominated authors and seven of the fifteen translators are women. Unfortunately, issues arise when taking into account the linguistic and regional diversity of the prize not only this year, but with previous lists as well. For 2018, only four of the thirteen books come from non-European authors, with no titles from North and Central America or Africa. This is an issue that plagued the IFFP before it merged with the MBI and marks even the Nobel Prize for literature, as detailed by Sam Carter in his essay “The Nobel’s Faulty Compass.”
What an overwhelming ten days since the launch of the Asymptote Book Club! We received queries from as far afield as Australia and Canada—so much interest from Canada, in fact, that we decided to open our book club to Canadians four days ago. But why a book club in the first place? some asked. Well, in a nutshell: the idea was to take the important work we have done with our award-winning, free online journal and our Translation Tuesday showcases at the Guardian—that is to say, showcasing the best new writing from around the world, and giving it a physical presence outside of the virtual arena. We also wanted to celebrate (as well as support) the independent publishers who work hard behind the scenes to make world literature possible.
What sets your book club apart from others?
Curation is a big part of what makes the book club special. We have a large team of editors based in six continents to research and pick the best titles available from a wide variety of publishers. Subscribers will receive a brand-new (just published or, in many cases, not even in the bookshops yet), surprise work of fiction delivered to their door each month. This is another thing that distinguishes us from a few other book clubs before us: we choose from new releases only—nothing from a backlist that readers may already have on their bookshelves.
Subscriptions are for three or 12 months (for as little as USD15 a month, shipping included!) and, depending on the package the subscriber picks, they may receive additional perks in the form of Asymptote merchandise and ebooks (see below), but the real focus here is on creating a serious book club for a dedicated reading public. Many subscription services focus as much on the gifts as the books themselves, but we do not see ourselves as experts in tea or socks, so we’re concentrating rather on ensuring our readers get their hands on the most amazing literature we can source, applying the same curatorial instincts that won us a London Book Fair Award in 2015. READ MORE…