Posts filed under 'woman writers'

What’s New in Translation: April 2022

Discover new titles from Iranian poet Forough Farrokhzad and Korean novelist Kyung-sook Shin, out this month!

In this month’s roundup of translations, we review the works of two iconic feminist writers, Forough Farrokhzad and Kyung-sook Shin, who trace, narrativize, and engage with gender and politics in its most vivid and various forms. In dialogue with the greater schemes of sexuality, passions, and poetics, these women writers work within and trespass the boundaries of their language to paint bold new portraits of the world, as a place lived in the mind.

season

Let Us Believe in the Beginning of the Cold Season by Forough Farrokhzad, translated from the Persian by Elizabeth T. Gray, Jr., New Directions, 2022

Review by Georgina Fooks, Director of Outreach

A poet of (com)passion: such is just one of the myriad ways to encapsulate the unique encounter with Forough Farrokhzad and her poetry. One of 20th-century Iran’s most celebrated and outspoken poets, she was controversial for the ways in which she lived and loved—openly, in transgression of patriarchal societal norms—and as a result, her work was banned for more than a decade after the Islamic Revolution. Yet, her legacy has lived on in illicit fragments and poems shared between readers, and now she is one of Iran’s best-loved women poets, widely read and translated. Through the work of Elizabeth T. Gray, Jr., this latest translation seeks to offer lovers of poetry a comprehensive critical edition of Farrokhzad’s work.

Born in 1934, the poet’s turbulent life was tragically cut short by a car accident in February 1967, leaving us with a nonetheless prolific oeuvre spanning a wide range of creative endeavours. A poet, filmmaker, actress, painter, and more, her work across various formats bears witness to the vibrancy of human life in the face of suffering, and to the wonders and pleasures of living despite overwhelming pressures and pushbacks.

Farrokhzad is undoubtedly a poet of romance. Drawing on a long tradition of Persian love poetry (Rumi was one of her great inspirations, according to Sholeh Wolpé), Farrokhzad’s work remains unique in its fervent declarations of physical and emotional intimacy, opening up possibilities for women poets in the Persian language. The opening poem of the collection, ‘Captive’, points to the vastness of desire:

I want you, and I know that never
will I hold you as my heart desires
You are that clear bright sky
I am a captive bird in the corner of this cage

READ MORE…

What’s New in Translation: March 2021

The best in world literature from Iceland, Palestine, Algeria, and Japan!

This month, our selection of excellent new publications are representative of literature’s capacity for translating worldly phenomenon into language, converting the lived into the understood. From Iceland, a passionate and intimate call to response on the tragedies of environmental destruction; from Palestine, a monumental work of love and resistance from “the Virginia Woolf of Palestine,” Sahar Kalifeh; from Algeria, a sensual novel that treads the tenuous territory of colonialism’s aftereffects; and from Japan, the English-language debut of Akutagawa-winner Kikuko Tsumura, who with graceful humour and intrigue tackles the toxic concept of labour in the thrive of capitalism.  

on time and water

On Time and Water by Andri Snær Magnason, translated from the Icelandic by Lytton Smith, Open Letter, 2021

Review by Rachel Farmer, Chief Executive Assistant

When Greta Thunberg addressed the UN Climate Summit in September 2019, she choked back tears as she uttered the now infamous words: “How dare you?” Reactions to this display of emotion were mixed to say the least. Some showed discomfort, others concern for her wellbeing; some dismissed her outburst as manipulative, others ridiculed her. Her face and words were even immortalised in meme format. In displaying her anguish and rage so plainly, Thunberg violated the unspoken rule that seems to underpin much of the communication and discussion around climate change, wherein impassivity, stoicism, and detachment reign supreme.

In On Time and Water—part memoir, part interview, part impassioned treatise on the future of our planet—Andri Snær Magnason follows the young Swedish activist’s example, casting aside convention and delving into the emotional side of the climate crisis. In doing so, he embarks on a deeply humane and vulnerable exploration of what manmade climate change truly means for the planet—and for us. In this compelling hybrid of a book, translated sensitively by Lytton Smith, he explains how, a few years ago, he was called upon to defend a region in his country’s highlands from being destroyed in the name of energy production. Despite his deep admiration for the spiritual fervour with which Helgi Valtýsson, another Icelandic writer, wrote about the region in 1945, Magnason found himself unable to infuse the same passion into his defence. Bringing emotions into the discussion would have risked his arguments being dismissed as hysterical, doommongering, or hopelessly idealistic.

I’d found myself overwhelmed by melancholy at the unruly devastation that washed out this peerless region, yet I chose words that seemed moderate and inviting to readers. I used the prevailing language of liberalism, innovation, utilitarianism, and marketing. I discussed the area’s importance for Iceland’s image, its potential tourist income, the area’s research value, how the highlands were a magnet for foreign currency as a filming location for movies or commercials. [. . .] We live in times when money is the measure of reality. I couldn’t argue nature’s right to exist, its essential value, by saying that we might find God’s all-encompassing expanse there. READ MORE…