Literature has always been at the forefront in movements for societal change, and, in the efforts to continually push for action, we perceive the bold literary markers that fulfill art’s role to pay tribute, to inspire, and to call for attention. It’s been thirty years since the Tiananmen Square massacre occurred on June 4, 1989 in Beijing. It’s been over fifty years since the Latin American Studies Association was founded in the spirit of building civic engagement. It’s been fifty years since the Stonewall Riots began on June 28th, 2019 in New York City. From commemorations in Hong Kong, joyous displays of pride in the US, and unprecedented exchange of Latin American academic dialogues occurring in Boston, our editors bring you news that show a valiant, ongoing endeavour towards justice.
Jacqueline Leung, Editor-at-Large, reporting from Hong Kong
2019 marks the thirtieth anniversary of the Tiananmen Square protests, also called the June Fourth Incident, for which it is tradition among different parties in Hong Kong to hold annual commemoration. In light of the anniversary, the city’s literary journals are organizing special features and events to take stock of the cultural, political, and social changes the incident has caused in Hong Kong, China, and beyond.
Cha, Hong Kong’s resident literary journal in the English language, is publishing a special edition of original English and translated works, photography, and art exploring the incident and its aftermath. The issue will include a selection of translated works by Chinese poets Duo Duo (featured in Asymptote’s Summer issue last year, also translated by Lucas Klein), Meng Lang, Lin Zhao, Xi Chuan, and Yian Lian, as well as a translation of “One Family’s Story” by Ding Zilin, co-founder of the Tiananmen Mothers. Alongside the Tiananmen issue, Cha is also collaborating with PEN Hong Kong to hold a remembrance reading with local writers at Bleak House Books on June 3.
Literature is interdisciplinary by nature, and the world showed us how this week. From visual art exhibitions and a reading of the Universal Declaration of Human Rights in Hong Kong to a music festival infiltrated by writers in Slovakia and a commemoration of the late sociolinguist Jesús Tuson in Catalan, there is much to catch up on the literary world’s doings this week.
Hong Kong Editor-at-Large Charlie Ng Chak-Kwan brings us up to speed:
Themed “Fictional Happiness,” the third edition of Hong Kong Literary Season ran from June to late August. The annual event is organised by one of the most important Hong Kong literary organisations, the House of Hong Kong literature. This year the event featured an opening talk by Hong Kong novelist Dung Kai-cheung and Taiwanese writer Luo Yijun, a writing competition, an interdisciplinary visual arts exhibition, and a series of talks, workshops and film screenings. Five visual artists were invited to create installations inspired by five important works of Hong Kong fiction in response to the exhibition title, “Fictional Reality: Literature, Visual Arts, and the Remaking of Hong Kong History.”
Interdisciplinary collaboration has been a hot trend in the Hong Kong literary scene recently. Led and curated by visual artist Angela Su, Dark Fluid: a Science Fiction Experiment, is the latest collection of sci-fi short stories written by seven Hong Kong artists and writers. The book launch on September 2 took place at the base of Hong Kong arts organisation, “Things that Can Happen,” in Sham Shui Po. The experimental project was initiated as an artistic effort to reflect on recent social turmoils through scientific imagination and dystopian visions. The book launch also presented a dramatic audio adaptation of one of the stories, “Epidemic Investigation,” from the collection.
On September 6, PEN Hong Kong hosted a bilingual reading session (Cantonese and English) as part of the International Literature Festival Berlin (ILB) at Art and Culture Outreach (ACO) in Wan Chai. About twelve Hong Kong writers, journalists, and academics participated in “The Worldwide Reading of the Universal Declaration of Human Rights” by reading excerpts of their choice from works that deal with issues of human rights.
Amid the literary and artistic attention to Hong Kong social issues and history, local literary magazine, Fleur de Lettre, will take readers on a literary sketching day-trip in Ma On Shan on September 9. During the event named “August and On Shan,” participants will visit a former iron mine in Ma On Shan to imagine its industrial past through folk tales and historical relics. READ MORE…
This interview marks the beginning of an ongoing conversation led by Asymptote’s new educational branch about the role of translation in the classroom. In addition to its Educator’s Guide released every quarter, Asymptote for Educators will soon host its own blog where readers and educators can find more classroom resources, lesson plans, contextualizing materials, and articles discussing the benefits and challenges of integrating global literature in diverse classrooms. Stay tuned! And if you’d like to participate in this new project, or tell us about your experience teaching literature in translation, do get in touch!
Claire Pershan (Asymptote for Educators) met Laila Familiar at NYU Abu Dhabi, where Laila was Claire’s Arabic language instructor. Among her many projects and accomplishments, this interview focuses on Laila’s innovative work as editor of abridged contemporary Arabic novels for Arabic language learners: Hoda Barakat’s Sayyidi wa Habibi: The Authorized Abridged Edition for Students of Arabic (Georgetown University Press – 2013). Sayyidi wa Habibi [My Master and My Love], by celebrated Lebanese novelist Hoda Barakat takes place during the Lebanese Civil War, tells the story of Wadie and his wife Samia and their flight to Cyprus. Laila’s adaptation provides introductory materials and exercises that develop linguistic and cultural competencies. (Free audio files of the author reading from her work as well as a recorded interview are available on the press website.) Additionally, she is project manager of Khallina, an open source website dedicated to the teaching and learning of Arab cultures through audiovisuals. The topics of Khallina’s cultural modules range from calligraphy to the Lebanese rock band Mashrou’ Leila. Check it out!
The interview below is from their email correspondence.
Claire Pershan (CP): What do you call this practice of adapting novels into language learning resources? Do you consider it a form of translation or editing?
Laila Familiar (LF): The practice of adapting novels into language learning resources dates back to the 1930s. There is evidence in the scientific literature that this was done to help learners of French advance their language skills. Some call these works “adapted” texts, but they are also named “abridged” or “simplified” versions. There are differences in the meaning and connotations of each term, but I would not call it “translation” because the new version is in the same language as the original and the plot is usually the same. When a series of texts is adapted within the various proficiency levels of language learners, we call these Graded Readers. It is definitely a kind of editing.
Manufactured: c. 1966
Height: 5.9 inches, width: 15 inches
On display at the Malay Heritage Centre, Singapore
Jawi, an Arabic alphabet, was the dominant form of written Malay in Malaysia and Singapore for more than 600 years, but these days it’s in danger of becoming as obsolete as the typewriter.
Though the Malaysian ministry of education attempted to revive Jawi learning in the past—in 1970, elementary schools began teaching Jawi, and soon after high schools followed suit—by 1981, when I started Standard One (Malaysian first grade), Jawi was no longer part of the national curriculum. By 2006, Malaysia’s only remaining Jawi newspaper, the Utusan Melayu, which first appeared in Singapore in 1939, had ceased publishing.
As a translator of Malay into English, I’ve long been interested in Jawi, and when I spotted what I thought was a Jawi typewriter at the Malay Heritage Centre (MHC) in Singapore, I was immediately curious. I wanted to know where it came from, how old it was, who had owned it, how it was used. What follows is the conversation I had with the MHC concerning its typewriter, carried out over email. Noorashikin Zulkifli, Head of Curation and Programs at the MHC, helped trace the typewriter’s origins and explained its features. Encik Syed Ali Semait, Managing Director of Singapore-based Pustaka Nasional Pte. Ltd, the publishing and typesetting company that donated the typewriter to the MHC in 2012, helped identify the typewriter’s original owner. READ MORE…
When last we left off (read part I here!), I was discussing an imagined translation of an ordering system devised by a (fictitious) king of Siam in the mind of the (very real) W. Somerset Maugham. This time, I will jump to a different author.
Jorge Luis Borges, like Maugham, takes us once again to a land East of Eden, more precisely, somewhere East of Suez (where the best is like the worst, where there aren’t no Ten Commandments). In his essay “The Analytical Language of John Wilkins,” Borges introduces us to “a certain Chinese encyclopedia entitled ‘Celestial Empire of Benevolent Knowledge’” that was discussed by one “doctor Franz Kuhn.” Borges writes:
In its remote pages it is written that the animals are divided into: (a) belonging to the emperor, (b) embalmed, (c) tame, (d) sucking pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies.
A few weeks ago, I sat down to write up a few thoughts I had been having regarding a twelfth century South Indian encyclopedia called the Mānasollāsa. I’ve been reading from this encyclopedia with much guidance from Dr. M.A. Jayashree, who is currently leading up a massive translation and critical edition project. The encyclopedia itself is massive: much of its scholarship gives up halfway, and the translation project still has a long, long way to go.
Somewhere in the translation process, I picked up the rhythms and cadences of king Someśvara III. What was initially supposed to be a short blog post morphed into a bizarre trip down many (partially fictitious) orientalist caverns, eventually reemerging somewhere in what is now known as Karnataka. The editors at Asymptote followed me down the rabbit hole, offering guidance along the way, and together we decided to split up the piece into a series of more digestible fragments. Hang in there! I hope you all stick along for the ride.