Posts filed under 'Women Writers'

How to Start Women in Translation Month Off Right

August 5, 2021  |  in News  |  by Xiao Yue Shan

Stock up this August with some of our favourite presses and titles!

The impetus to read women is very similar to the desire to read the world; one does not necessarily do it out of a purely social cause—though that can hardly be argued against—but because the profound, intelligent curiosity that sustains the act of reading can only be validated by reading variously, probingly, and with an awareness of life as it is being lived now. Even as the world of letters is slowly ridding itself of entrenched biases and definitions, it remains an indisputable truth that the idea of being a woman in this world continues to throb with chaos and fragility, and increasing globalist awareness only reinforces the fact that womanhood remains replete with mystery, inquiry, and greatly variegating methods of approach.

To find the language that does justice to this experience of living—whether or not womanhood is the subject—requires a persevering intellect and originality that one finds in the greatest of minds. A reader does not pick up a work of translated literature to learn how being a woman is done in that part of the world, but to be allowed entrance into a vast, ridiculously under-explored, realm of humanity, whose inner workings often prove to be—as a result of challenges that must be overcome—intellectually complex, stylistically thrilling, and revolutionary in their uncoverings of human nature.

That is why I, for one, am grateful for the existence of causes like Women in Translation Month, which celebrates the excellent work produced by women around the world and also urges towards an increased conscientiousness about our reading choices. In solidarity with our fellow comrades who support global literature, below are some incredible opportunities you can take advantage of this August.

Many presses are currently offering promotions for the duration of WIT Month. One of our favourites, Open Letter Books, is offering a generous discount for the women-written and women-translated books in their lineup. Some recommendations I can make confidently include Mercè Rodoreda’s Garden by the Sea, a gorgeously lyrical fiction of 1920s Barcelona; Marguerite Duras’ The Sailor from Gibraltar, of that terrific Durassian ardor and intimate poetry; and Can Xue’s Frontier, masterfully multilayered and graceful in its surrealism. Fum D’Estampa, a press specialising in Catalan literature, is also offering discounts on all their titles, with Rosa Maria Arquimbau’s brilliant melding of the personal and the political, Forty Lost Years among them.

The wonderful Charco Press, which time and time again has brought out exceptional Latin American works, has put together special bundles of their texts—three carefully curated sets of three books each. “Revolutions” includes Karla Suárez’s Havana Year Zero, a sharp and attentive novel about unexpected connections during Cuba’s economic crisis; “Interior Journeys” features the subversive, cerebral work of Ariana Harwicz; and lastly, “Stories of Survival” gathers narratives of persistence against violence and trauma, with Selva Almada’s incredibly powerful Dead Girls among them.

World Editions is another publisher getting it right, partnering with Bookshop to provide a list of highlighted titles. Included is Linda Boström Knausgård’s October Child, a poetic and elegant autofiction about the escaping borders of reality in her experiences with mental illness and memory loss. The Last Days of Ellis Island, the award-winning novel by Gaëlle Josse that centres around the painful tenets of migration, is also up for grabs. READ MORE…

One’s Own Desire: Arab Women Writers Speak for Themselves in We Wrote in Symbols

June 23, 2021  |  in Reviews  |  by Mariam Diefallah

This anthology provides a glimpse into a world that has been constantly made invisible or policed within systems of domestication and abuse.

We Wrote in Symbols: Love and Lust by Arab Women Writers, edited by Selma Dabbagh, Saqi Books, 2021

As an Egyptian, Arab, and Muslim woman, love and lust have largely occupied two separate worlds in my life. While I yearned for the elusive idea of love in my youth and pursued it in relationships, I had also deeply internalized that it had to end in heartbreak; I believed that love, like many ideas, could never be fully comprehended. But lust was different. Lust was an action—an action to avoid and repress, because it leads to sex, and sex is dangerous. When I started reading We Wrote in Symbols: Love and Lust by Arab Women Writers, I thought of my upbringing, of the two separate worlds I have built for love and lust, and the difficulties of reconciling them in my adult life. This anthology, edited by the British-Palestinian writer Selma Dabbagh and published by Saqi books, includes one hundred and one pieces by seventy-five different women from the Middle East and North Africa region, as well as from the diaspora. Most of the pieces are translated from Arabic, many are originally written in English, and the minority are translated from French.

In the book’s introduction, Dabbagh explains that translating works about love and lust is difficult, though we do not learn about the ways in which the various translations could have impacted the anthology. This is especially pertinent in the cases of translations from Arabic to English, which represent the majority of the works in the text; Arabic can be seen as a unifying language, but the subtleties and differences between the dialects dictate different cultural specificities and reflect a stark diversity in both place and community. In other words, unless the place of origin is clear, the readers lose a sense of place with the absence of dialect, and different geographies and contexts start feeling neutral.

In the introduction, Dabbagh contextualizes the largely overlooked history of erotic female writers in Arabic literature. Although names of ancient goddesses of love and fertility in the Arab region—such as Isis and Ishtar—are well known, the topic of female Arab sexuality still comes as a novelty for many. Similarly, despite the fame of certain Abbasid poets such as Abu Nawas, female poets in elite Abbasid literary salons are not famous, if known at all. This lack of awareness is further complicated by the total disappearance of women erotic writings during the fall of Andalusia in 1492; Dabbagh clarifies that women writing on love and lust faced a blackout for almost half a millennia, reappearing only in the late nineteenth century. By then, authors and novelists—like Zaynab Fawwaz—began challenging common misogynistic practices such as arranged marriages, and therein paved the way for many women Arab writers to discuss sexuality in various literary forms today. Ranging over three millennia, the long span this anthology covers is indicative of the two interests of my review: what lies beyond the celebratory—especially in relation to difficult and/or painful lust—and the limitations of the narrative linking love and lust as two sides of the same coin.  READ MORE…

Weekly Dispatches From the Front Lines of World Literature

June 4, 2021  |  in Dispatches, News, Weekly Roundup  |  by David Boyd, MK Harb, and Vivian Szu-Chin Chih

The latest from Japan, Taiwan, and Lebanon!

As certain places are heating up with a flurry of events, others are remaining cautious and mindful. Still, the good thing about the page is that it remains steadfast, and our work remains something that we can always turn to, celebrate, and share in. This week, our editors are once again bringing you the latest in world literature news, with a new Japanese literary translation workshop centering on heritage speakers and people of colour, a newly virtual Taipei Literature Festival, and a new winner of the prestigious Sheikh Zayed Book Award. 

MK Harb, Editor-at-Large, reporting from Lebanon

Poet and academic Iman Mersal has won the prestigious Sheikh Zayed Book Award! Her creative non-fiction work, In the Footsteps of Enayat Al-Zayyat, is part journalistic excellence, part poetic elegy, all while maintaining the sensibility of writing in the life of a complex character. It traces chronicles the late Egyptian writer Enayat Al Zayat, her struggles with mental illness, and her tragic death in the 1960s.

What’s new in Arabic literature? Banipal Magazine’s Spring issue is out, and it’s dedicated to Jerusalem and the acclaimed Palestinian auteur, Mahmoud Shukair, who has penned over forty-five books and six television series. This comes at a time when the Arab literary scene has overwhelmingly expressed its solidarity with the Palestinian people. Also on the subject of Palestine—this spring, I interviewed Palestinian-French writer and researcher, Karim Kattan, over here at Asymptote where we discussed belonging, the craft of writing, and other curious things. Also, Palestinian-Chilean writer Lina Meruane has a new novel out; Nervous System, translated into English by Megan McDowell, deals with the daunting specter of writer’s block. Read a review of the acclaimed work right here on the Asymptote blog!

How about some Arab cabaret? Well-read academic and translator Raphael Cormack’s Midnight in Cairo: The Female Stars of Egypt’s Roaring 20’s is an engrossing retelling of vagabonds, feminists, and performers as they defied gender norms, transgressed class lines, and created iconic productions. Another beautiful and timely publication by Saqi Books is We Wrote in Symbols: Love and Lust by Arab Women Writers. Edited by British-Palestinian writer, Selma Dabbagh, the anthology celebrates and examines the tradition of erotic writing in Arabic literature and its many women pioneers. Lastly, yours truly has a short story out with The Bombay Review, dealing with censorship and artificial intelligence. READ MORE…

Anger, Sorrow, Compassion: On Tove Ditlevsen’s The Copenhagen Trilogy

April 1, 2021  |  in Reviews  |  by Xiao Yue Shan

Strange that to learn about one’s life, it is not sufficient to only live; one must also wander the halls of the past.

The Copenhagen Trilogy by Tove Ditlevsen, translated from the Danish by Tiina Nunnally and Michael Favala Goldman, Farrar, Straus and Giroux, 2021

When I was a young girl, when beginnings were pure and brute in their unknowing, my mother ruled alone over the great realm of truths. There was the education in sensual matters (the fragrance of her unfettered in the mornings, porcelain spoons filled to overflow) and the introduction of worldly wonders (mittens, pinwheels, rock sugar), but mostly she was the insistence of one, axiomatic certainty: no one will ever love you the way I love you. She said it often, matter-of-factly, without any cadence of sentiment or tenderness, to comfort just as well to condemn—no one will ever love you the way your mama loves you. This line never wavered. It never tarnished. And it has stayed with me my whole life.

The memoir can be a baffling genre, and the writer’s memoir most of all. One spends their whole life under the thrall of converting subjectivity into objectivity, studying the essence of things and their multiplicity, studying the losing journey living matters embark on in order to arrive at the page—at the culmination of such a discursive, cognitive, and all-bearing life, what is left for the private language to make public?

“a whole person / is too much to take,” Tove Ditlevsen writes in her ninth volume of poems, Det runde vaerelse. Yet in her memoir, The Copenhagen Trilogy, she still commands the facts of her life with that same prolific, torrential force that has sprawled through dozens of texts, telling of madness and poverty and femininity in the various violences they enact upon a single body, all in a fastidious discernment of what can be made material by ink and paper. In the reading of this monument to a life of letters, one is left with the sense that yes—a whole person is too much to take, in the way that anything, forced to be seen with such unimpeded clarity, is.

To tell the story of a life, there is always the light shone into the intimate, unthinking crevices of origin. Before Tove Ditlevsen was a woman, she was a daughter. The excavation of memory is a conscious act; some things may rise to the surface in gasps and startles, but in Childhood—the first act of the trilogy—the author is herself grasping the glimmers of what can be told to make sense of the now. In the way of Hayden White, who said, “What is at stake is not, ‘What are the facts?’ but rather, how are the facts to be described in order to sanction one mode of explaining them rather than another.” The first fact then, is that there was a girl, and there was her mother. It is the people who know you from your first moments who hand you the legends by which the world can be deciphered, and this, as Ditlevsen goes on to tell, is the making of a tragedy. READ MORE…

A Brief Introduction to Nermin Yɪldɪrɪm’s Secret Dreams in Istanbul

March 11, 2021  |  in Essays  |  by Ümit Hussein

Secret Dreams in Istanbul is a work of literary fiction, but deals with issues that are very much on the agenda of today’s society.

Secret Dreams in Istanbul is a fascinating Turkish novel by Nermin Yɪldɪrɪm, published at the end of last year by Anthem Press. Before I go any further, I must confess that I am the book’s translator, but I would want to share it even if that weren’t the case. Only very occasionally does one come across a book that leaps out from all others and lodges itself in one’s mind. When that happens, it mustn’t be taken lightly.

March 8 was International Women’s Day, and it strikes me as a very apt time to talk about this novel, given that it draws attention to so many issues that are relevant to the battles women have been fighting for over a century to combat injustice. These themes include domestic violence, forced marriage, feigned virginity, self-induced abortion, physical and social inequality, and, more broadly, the condition of being a victim. In varying degrees, all of the characters in this novel are victims: of their gender, their social class, their biological clock, their complexes, social taboos, social expectations, their physical, intellectual and financial limitations, and of their own family. This is a book in which the weak are oppressed by the strong: it’s about facing up to one’s insecurities and confronting one’s demons; it’s about the age-old problem of sibling rivalry. And running parallel to all of these conflicts is the other key theme in the novel—the role of memory in the human psyche.

To use a somewhat frivolous simile, if you have a diamond necklace, you wouldn’t leave it locked away in a drawer where nobody can appreciate it when it could be displayed for all the world to see. I am a translator in the very privileged position of making it possible for Anglophones to enjoy the literature of other languages, and I felt the need to share this particular gem. For that reason, I decided to translate the book and to now write of why I regard the book so highly, as well as the process of translating it.

I first encountered Ruyalar Anlatɪlmaz (as it is called in Turkish) in 2012 when I was commissioned to translate a section (the first seventy pages). It moved me very deeply; I knew there would be elements of this book that would stay with me forever. But it wasn’t until 2016 that I received the go ahead (at my instigation) to translate it in its entirety.

This is Nermin Yɪldɪrɪm’s second novel. She has since written another five, all of them very fine and more successful than this one. Yet it was Secret Dreams in Istanbul that I felt compelled to translate. Whilst re-reading it, four years after my initial reading, I was taken aback to discover it was almost unnecessary to keep reading because I remembered practically every word. I don’t recall that ever happening to me, either before or since.

To briefly summarise the plot, Pilar, the novel’s Spanish protagonist, returns from work one evening to discover that her husband, Eyüp, has suddenly and inexplicably disappeared from the home they share in Barcelona. She learns from the police the following morning that he has boarded a plane for Istanbul, the city of his birth that he has not visited since he left it almost two decades previously. Mystified as to what could have provoked such uncharacteristic behaviour, and assailed by her own insecurities, she decides to follow him there and bring him back. Packing a tiny bag with just a few clothes and the dream diary that Eyüp’s psychologist has asked him to keep (in an attempt to get to the bottom of what has been disturbing his sleep), she sets off for Istanbul, where she will embark on a journey of painful discovery. Meeting Eyüp’s dysfunctional family, from which he has been as good as estranged since before she has known him, and his friends, and seeing for the first time the city where he grew up, she pieces together the clues to uncover the horrifying truth about what drove Eyüp away. READ MORE…

What it Takes to Come Home Again: Nadia Terranova’s Farewell, Ghosts in Review

September 9, 2020  |  in Reviews  |  by Victor Xavier Zarour Zarzar

Terranova [. . .] foregoes the hyperbolic, opting instead for nuance and realism.

Farewell, Ghosts by Nadia Terranova, translated from the Italian by Ann Goldstein, Seven Stories, 2020

Nadia Terranova’s sophomore novel—her first to be published in English—is a carefully crafted meditation on familial ties and the pernicious effects of unprocessed trauma on a woman’s sentimental education. Originally published in 2018, Farewell, Ghosts tells the story of Ida, a thirty-six-year-old woman who lives in Rome and makes a living by writing stories for the radio. One morning in September, she receives a call from her mother, asking her to come home to Messina—a city that Ida has ceased to think of as hers—to help prepare their house for sale. In sorting through the objects of her childhood, Ida will be forced to revisit the trauma that defined her life: the sudden departure of her father when she was thirteen.

Although we are told that Ida’s father, Sebastiano, suffered from severe depression, his disappearance is never explained, nor is it clear if he is still alive. His fate, however, is of little consequence to the novel, which instead lingers with the living—those left behind in the wake of abandonment. Years after the event, Ida’s emotional growth has been stunted by the failure to come to terms with her pain, a failure exacerbated by the lack of a body to mourn, or even the certainty of death. As a result, Ida has grown into a woman who meticulously and egregiously avoids emotion, preferring to reroute her suffering via the “fake true stories” that she writes. She carries herself—and her relationships—with a composure that betrays a tumultuous undercurrent of repressed feelings, acquired through years of conscious disassociation.

There is, for instance, her marriage—described as a “lame creature”—to the dependable-if-too-bland Pietro, perfectly named for his rock-like reliability and immutability. As Ida remarks at some point, “our bodies had stopped functioning together, stopped fitting together in sleep and the waking that precedes it; we had become shields for one another.” Progressively, the novel reveals that this extreme reserve comes from Ida’s adolescent years, in which her mother entrusted her with the care of her father while she went—or, as Ida saw it, escaped—to work. The pain of these years and the culminating abandonment drove a wedge between the two women. “If there was an art in which my mother and I had become expert during my adolescence,” Ida says, “that art was silence.” Even decades later, their relationship is entirely modulated by her father’s absence, governed more by the things left unsaid than those they are able to utter.

It is to Terranova’s great merit that she is able to capture trauma’s potential to stop time in such a limpid manner. Among the novel’s many metaphorical figures (the house and its crumbling foundations, for one) is the alarm clock that belonged to Ida’s father, frozen at 6:16 a.m. on the day he left. “The alarm clock said six-sixteen,” Ida muses, “[and] would say six-sixteen forever.” Victorianists and fans of Dickens will sense a reference to Great Expectations, specifically to the morbidity of Satis House, where all the clocks had been stopped at twenty to nine, the exact time when Miss Havisham realized she’d been abandoned by her lover. Conjuring the specter of Miss Havisham makes abundantly clear just how high the stakes are for Ida, and the extent to which she risks being trapped in the prison of trauma. And while Dickens’s depiction of a woman ravaged by abandonment was inflected by his extraordinary gift for the grotesque, Terranova makes a similar claim about the dangers of remaining stuck in the circuity of grief, even if she foregoes the hyperbolic, opting instead for nuance and realism. READ MORE…

Announcing our August Book Club Selection: People From My Neighborhood by Hiromi Kawakami

August 31, 2020  |  in Book Club, Reviews  |  by Lindsay Semel

The portrayal and analysis of collective experience makes this a text that truly meets our moment.

As we continue into the latter half of this increasingly surreal year, one finds the need for a little magic. Thus it is with a feeling of great timeliness that we present our Book Club selection for the month of August, the well-loved Hiromi Kawakami’s new fiction collection, People From My Neighborhood. In turns enigmatic and poignant, as puzzling as it is profound, Kawakami’s readily quiet, pondering work is devoted to the way our human patterns may be spliced through with intrigue, strangeness, and fantasy; amongst these intersections of normality and sublimity one finds a great and wandering beauty.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD15 per book; once you’re a member, you can join the online discussion on our Facebook page! 

People From My Neighbourhood by Hiromi Kawakami, translated from the Japanese by Ted Goossen, Granta, 2020

Like a box of chocolates, Hiromi Kawakami’s People From My Neighbourhood (translated from the Japanese by Ted Goossen) contains an assortment of bite-sized delights, each distinct yet related. This peculiar collection of flash fiction paints a portrait of exactly what the title suggests—the denizens of the narrator’s neighborhood—while striking a perfect balance between intriguing specificity and beguiling universality. The opening chapters introduce readers to each of the neighborhood’s curious inhabitants, while later chapters build upon the foundation, gradually erecting a universe of complex human relationships, rigorous social commentary, immense beauty, and more than a little magic.

Existing fans of Kawakami’s will surely recognize these common features of her award-winning body of work, while first-time readers will likely go searching for more. Goossen is better known as a translator of Murakami and editor of the English version of the Japanese literary magazine MONKEY: New Writing from Japan (formerly Monkey Business); ever committed to introducing Anglophone readers to non-canonical Japanese writers, he brings his flair for nonchalant magical realism to this winning new collaboration.

The first story, “The Secret,” introduces readers to the anonymous narrator and sets the tone for the collection. First presented as genderless, (we only find out later that she is female) she discovers an androgynous child, who turns out to be male, under a white blanket in a park. The child, wild and independent, comes home with her. Despite occasional disappearances, he keeps her company as she ages, all the while remaining a child. In this story, we receive her only concrete—but general—description of herself: “I’ve come to realize that he can’t be human after all, seeing how he’s stayed the same all these years. Humans change over time. I certainly have. I’ve aged and become grumpy. But I’ve come to love him, though I didn’t at first.” This one statement exemplifies many of the collection’s trademark characteristics and overarching themes: a version of time in which past, present, and eternity coexist, the supernatural, and the narrator’s fascinating method of characterization. READ MORE…

How Do We Remember Translators? The Many Lives of Barbara Bray

June 11, 2020  |  in Essays  |  by Nathan H. Dize

There must be a way of acknowledging the care that Bray brought to her translations while simultaneously reckoning with their faults.

Barbara Bray was a British translator and recipient of the PEN Translation Prize in 1986. In addition to having translated leading French authors of her time, including Marguerite Duras, Julia Kristeva, and the correspondence of George Sand, she also translated works by two renowned female Guadeloupian writers: Simone Schwarz-Bart and Maryse Condé. Though her work has undergone criticism—notably by Condé’s husband and translator, Richard Philcox in an recent interview with us at Asymptote—the importance of her legacy and contributions to global literature, as Nathan H. Dize proposes in the following essay, should not be undermined. 

In late December, I decided to go browsing at a used bookstore outside of Nashville to take a much-needed break from writing my dissertation. There are few things in this world more comforting than perusing the spines of books, never knowing what you might stumble upon. A few minutes into my trip, I found a hardcover copy of Maryse Condé’s Segu, translated by the late Barbara Bray. The dust jacket was pristine and its cover depicted a dying African man surrounded by his family beneath a pulpy font. I instantly knew that I had to buy it, having recently talked about the novel’s translator with a friend. Unfortunately, Barbara Bray’s name appears nowhere on the cover of Segu—not on its first edition or any subsequent editions—which led me to wonder, how do we remember translators when they are gone? What becomes of the many lives they’ve lived through the words of others? Since that day in the warehouse-sized bookstore in Middle Tennessee, I’ve considered how Bray’s translations of Maryse Condé and Simone Schwarz-Bart, Guadeloupe’s most prolific writers, might help us to remember her life and her contribution to Caribbean literature in translation.

***

Barbara Bray (née Jacobs) was born along with her identical twin, Olive, on November 24, 1924 in Maida Vale, not far from Regent’s Park in London. She was educated close to Maida Vale at the Preston Manor Grammar School in Brent and later studied English, French, and Italian at Girton College, Cambridge. After her university studies, Barbara married John Bray, a former Royal Air Force pilot, and they went to live together in Egypt, where Barbara took a position as an English teacher at the University of Alexandria in Cairo. In 1953, the couple moved back to London, where Barbara began a new job as a script editor for the BBC. In his obituary for Barbara Bray in the Journal of Beckett Studies, John Knowlson recalls conversations with Bray about her time at the BBC, when she and other producers had to fight with BBC executives and department heads to air avant-garde radio plays and programs, such as Harold Pinter’s radio plays. Three years before Barbara Bray left the BCC in 1961, her husband John died in a car accident, leaving her widowed and tasked with raising their two daughters, Francesca and Julia. After John Bray’s passing, Barbara met Samuel Beckett and the two began a multi-decade love affair in Paris that coincided with Bray’s entrée into the world of translation. READ MORE…

“It’s a floating world”: Yasuhiro Yotsumoto on Japanese Poetics

June 8, 2020  |  in Interviews  |  by Xiao Yue Shan

I’m very much interested now in the type of poet—not only in Japan but outside as well—who tries to cultivate resistance.

The life and work of poet Yasuhiro Yotsumoto is a testament to the conviction and omnipresence of poetics, profuse in every aspect of human life. In nearly twenty volumes of poetry and criticism, he has interrogated, in verse and prose, the reality and abstractions of family, romance, corporate fiscal structuring, Japanese linguistics, culture both global and insular, a struggle against cancer, and, in doing so, has revealed something essential about poetry as it coheres with all other ideas and facts. Having displaced himself from Japan by the means of an extremely successful career in business—something he calls his “real” job, despite every indication in his manner of speaking that he considers it a mere occupation—Yotsumoto has lived in Munich since 1994, and at the time of our meeting, has just begun a very tedious and significant transition back into Japanese daily life and society.

Despite meeting all the qualifications for a writer defined by (self-imposed) exile and exodus, Yotsumoto has cultivated a significant reputation in Japanese letters. As editor of the admired literary quarterly Beagle, host of the poetry podcast Poetry Talks, Japanese national editor of Poetry International, and diligent translator of poets ranging from Li Bo to Simon Armitage, he admitted casually, without any pretension or arrogance, that he is now considered somewhat of an insider (a word that he would go on to elaborate upon) within literary circles. We conversed in English, which he professed that he is able to “speak for about two hours, then the battery runs out and I start speaking nonsense.”

I met him on the very day the state of emergency—enforced within Japan due to the COVID-19 epidemic—was due to be lifted. In Yamashita Park, plentiful with roses and the bare shoulders and legs emblematic of spring-turning-summer, we ate ice cream cones overlooking the waters of Tokyo Bay. The conversation was peppered with his generous laughter, silences full of thought, and interruptions typical of the world, busy and vivid, brilliantly alive.

Xiao Yue Shan (XYS): It’s impressive to be able to balance—what I imagine to be—a very heavy workload on your day job with such a prolific poetry career.

Yasuiro Yotsumoto (YY): That’s right. I wouldn’t be able to do that if it was prose—novels, or something. But poetry is okay; I can finish it before breakfast every morning. And I write everyday.

XYS: I find that most Japanese writers have this very regulated schedule.

YY: Well, I always wanted to keep this balance. It was a challenge I put upon myself, the balance between “real life” and writing. And I made that conscious decision as I graduated from university, that I could take a very cultural job—copywriter, or something—but I somehow decided not to do that, and instead I pursued two separate worlds.

XYS: Mutually exclusive.

YY: Well, mutually exclusive in terms of lifestyle, but my first book was about corporate finance theory. I went to the University of Pennsylvania and got my MBA in corporate finance in my twenties, and I wrote a book of poetry by applying such theories of the Black-Scholes option model, etc., to describe Japanese society at that time—which was peaking economically, and everyone was sensing that the burst of the bubble was not so far away, yet we kept going and going and going. That was an overlap. So I had always been an outsider amongst Japanese poets; I live outside [of Japan], and I write about things that have never been touched before. I try to bring in this kind of prosaic, very banal, everyday subject into the domain of poetry. READ MORE…

Translation Tuesday: Two Poems by Antonia Pozzi

January 7, 2020  |  in Translations  |  by Amy Newman

But I burned / with the desire to spring out, / in the encroaching sun

This week’s Translation Tuesday features the work of Antonia Pozzi. Translator Amy Newman writes that “Pozzi’s poetry was posthumously altered by her father Roberto Pozzi to reshape her public image; he scrubbed any evidence of his daughter’s passionate love affairs and her doubts about religion.” These translations represent the restoration of a singular vision, showing that the work of translation can polish away the muck of misrepresentation meant to stifle the subjectivity of women. In these poems the brightness of the mind is painted next to the depths of angst. Here, Pozzi explores the poetry of her own body and what it means to contemplate an individual death in a time of the hierarchy and patriarchy of war.

Thoughtlessness

I remember a September afternoon
in Montello. I still a young girl,
with slender braids and itching
to race wildly with my knees.
My father, crouched inside a passage
dug out in a rise of the ground
pointed out to me through a fissure
the Piave and the hills; he spoke to me
of the war, of himself, of his soldiers.
In the shadow, the grass, cold and sharp
grazed my calves: underground,
the roots were perhaps still sucking
some drops of blood. But I burned
with the desire to spring out,
in the encroaching sun, to gather
a handful of blackberries from a hedge.

Milan 22 May 1929 READ MORE…

What’s New in Translation: December 2019

December 16, 2019  |  in New in Translation, Reviews  |  by Filip Noubel, Georgina Fooks, and Jacqueline Leung

Our selected works of translation this month touch on the eternal themes of narrative, identity, and the poet's voice.

It has been a wonderful year of covering, dear reader, the most fascinating translated works of world literature. Today, we are back with three more varied and exceptional books. Below, find reviews of a discursive and genre-bending Korean work, a powerful Uzbek novel that traverses existential questions of migration and hybridity, and the intimately potent lines of a young Argentine poetess. 

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Seven Samurai Swept Away in a River by Jung Young Moon, translated from the Korean by Yewon Jung, Deep Vellum Publishing, 2019

Review by Jacqueline Leung, Editor-at-Large for Hong Kong

To Jung Young Moon, the author of Seven Samurai Swept Away in a River, meaninglessness is a more accurate portrayal of reality than contrived narratives. Continuing the fascination of Vaseline Buddha, one of his earlier novels which delves into the mind of an insomniac writer, Moon experiments with how the novel as a genre may go beyond the typical constituents of character, plot, and structure, and whether or not readers are able to find enjoyment in navigating largely banal thoughts and experiences. 

Set in Texas, where Moon did a residency in 2017 (specifically, in Corsicana, which he refers to as “C, a small town near Dallas”), Seven Samurai culminated from his desire to write about the state. But Moon does not know much about Texas, nor does he pretend to do so. Meandering through a list of stereotypes, from the assassination of President John F. Kennedy to cowboys to the disdain for adding beans to chilli, Moon does not so much feature Texas as a place of interest, but rather as a springboard for his endless ruminations that find beginnings in almost anything, but that ultimately lead nowhere. READ MORE…

Impossible Technologies: Pola Oloixarac’s Dark Constellations in Review

July 1, 2019  |  in Reviews  |  by Nina Perrotta

The characters and plot points can be imagined as stars in the night sky . . . that give the novel its visible, traceable structure.

Dark Constellations by Pola Oloixarac, translated from the Spanish by Roy Kesey, Soho Press, 2019

The Incas, according to Pola Oloixarac’s Dark Constellations, didn’t see the night sky as we do: instead of what we might call “connecting the dots,” they focused on the darkness between the stars, the shapes formed by negative space. If true—and it’s hard to know what, exactly, is true in Dark Constellations—it’s an intriguing image, one that informs our understanding of the novel’s structure as well as its content.

Dark Constellations, translated into English by Roy Kesey, is the second novel from Pola Oloixarac, one of Argentina’s rising literary stars (pun intended). Like her countrywoman Samanta Schweblin, whose story collection Mouthful of Birds has recently garnered considerable attention, Oloixarac tends to blur the line between science and the supernatural, taking a certain kind of pleasure in repeatedly throwing the reader off balance. Dark Constellations, however, has a much wider range than Schweblin’s stories, skillfully handling subjects as varied as botany, world history, and computer programming. The book’s publisher, Soho Press, calls Dark Constellations “ambitious,” and while I agree completely, I would argue that the novel’s ambition is its greatest weakness as well as one of its strengths. 

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Weekly Dispatches from the Front Lines of World Literature

June 28, 2019  |  in Dispatches, News, Weekly Roundup  |  by Daniel Persia, José García Escobar, and Xiao Yue Shan

The glorious fragrance of fresh literary works, hot off the presses from around the world.

It seems that national literatures around the world are shaping their next representatives as we receive further updates of new works by authors from around the globe. From publications by a Guatemalan indie press, to a remarkably young award honouree in Brazil, to a historic list of nominations for the most prestigious literary prizes in Japan, our editors are bringing you a glimpse of what is in your—and your bookshelf’s—future. 

José García Escobar, Editor-at Large, reporting from Central America 

The biggest book fair in Central America, the Feria Internacional del Libro en Guatemala (FILGUA) is only a few weeks away. And like every year, on the days leading to FILGUA, the Guatemalan indie press Catafixia has been announcing its newest drafts. Mid-July, Catafixia will put out books by Manuel Orestes Nieto (Panama), Jacinta Escudos (El Salvador), and Gonçalo M. Tavares (Angola-Portugal). 

Additionally, this year’s FILGUA marks the tenth anniversary of Catafixia, which has helped launch the careers of poets like Vania Vargas and Julio Serrano Echeverría.

Last month, Costa Rican press los tres editores put out Trayéndolo todo de regreso a casa by Argentine author Patricio Pron, who won the Alfaguara Prize in 2019. los tres editores have previously published books by Luis Chavez, Mauro Libertella, and Valeria Luiselli. 

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Weekly Dispatches from the Front Lines of World Literature

June 14, 2019  |  in Dispatches, News, Weekly Roundup  |  by Barbara Halla, Layla Benitez-James, and Nestor Gomez

Friendship, solidarity, and freedom: this week, our editors present literary news under the banner of liberation.

Borders fade into the background during literary festivals and book fairs in Spain, El Salvador, and Kosovo this week as our editors report on an increasing resolve to disregard distance in honouring literature, gathering readers, publishers, and writers from around the world. Madrid glows with a rich festival of poetry, history is made in El Salvador as its first multilingual online literary publication is unveiled, and Kosovo pays tribute to women artists and writers in its capital. 

Layla Benitez-James, Podcast Editor, reporting from Spain 

A rowdy concert, out-of-control house party, or public protest are what come to mind when I think about the police showing up to a gathering in Madrid. However, it was a poetry reading whose audience had spilled out onto the street in front of bookshop Desperate Literature which brought them to give a warning on a warm Tuesday night on May 28.

Over the past two years, I have become involved with the Unamuno Author Series in Madrid, first by doing some introductions for the more or less monthly reading series, and eventually becoming their Director of Literary Outreach as we began to make plans to launch Madrid’s first ever anglophone poetry festival. A grassroots and volunteer outfit from the beginning, the series started by accident on March 27, 2012 when poet and Episcopal priest, Spencer Reece, held what was intended to be a “one-off” reading on the patio of the Catedral del Redentor for Cuban-American poet, Richard Blanco. In partnership with bookseller and co-founder/co-manager of Desperate Literature Terry Craven, and scholar Elizabeth Moe, Reece was unaware that the series would eventually evolve into the packed and vibrant Unamuno Poetry Festival. In the end, the week of May 27 through June 1, 2019 would see eighty readings spread across five venues, including a lecture series hosted in the historic Residencia de Estudiantes, where Federico Garcia Lorca, Salvador Dalí, and Luis Buñuel all lived and studied. Taking place in the mornings, these panels counted poet Mark Doty, Laura García-Lorca (niece of Federico García- Lorca), and local Madrid native poet Óscar Curieses among their ranks, alongside many others. 

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