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Ruritanian Realism: A Review of This Room is Impossible to Eat by Nicol Hochholczerová

[Hochholczerová] creates an enthralling and curious sense of the banal in the sheer atypicality of the narrative. . .

This Room Is Impossible to Eat by Nicol Hochholczerová, translated from the Slovak by Julia and Peter Sherwood, Parthian Books, 2025

When Nicol Hochholczerová’s novella This Room is Impossible to Eat was first published in her native Slovakia in 2022, it caused a cultural and political storm, generating both praise and scorn for its intimate but ambiguous semi-autobiographical narrative that describes the grooming and subsequent relationship between a teenage student and her art teacher. The praise came from readers, literary critics, and jurors of literary prizes; the initial scorn came from parents worried about the impact of the book’s inclusion on the reading lists of selected Slovak high schools. Their concerns were then picked up by ever-vigilant, always campaigning politicians seeking to originate new fronts in the online Slovak culture wars. A new narrative was created for the novel, which was then ‘amplified’ (or more accurately, manipulated) into a furious national debate that almost destroyed the credibility of one of Slovakia’s literary awards, the René Prize. With the benefit of hindsight, this response can be seen as an application of divisive tropes, mirroring the social media manipulation practised by Slovakia’s eastern neighbours and offering a portent to the future direction of Slovak politics.

Regardless of the surrounding furore, the newly published English text—beautifully translated by Julia and Peter Sherwood—introduces a compelling, engaging, and forceful masterpiece of minimalism. The narrative is set out in linear but short chapters that identify the teacher and the student in a compelling, asymmetric conversation between inner dialogues, then quickly becomes a compact and sometimes austere statement of facts and emotions as both protagonists grow older. Their entanglement ‘begins,’ ‘matures,’ and then ‘ends’—though how it ends is best left for the reader to decide. READ MORE…

Translation Tuesday: “Childhood” by Maria Karpińska

Right there, in a setting so much like a fairy tale that it felt unreal, we would imagine the end of the world.

A single season can completely upend everything you used to take for granted—at least, that’s how it often feels when you’re young. This week’s short story, “Childhood”, by Maria Karpińska and translated by Jonathan Baines, depicts one such formative period. Over the course of a summer vacation, a boy is increasingly caught up in the escapades of his magnetic new friend, who sweetly conceals her taste for cruelty. Together, the children dream of apocalypse. If chaos were to invade the pastoral setting of childhood, what form would it take? Karpińska’s piece quietly hints at the looming shadows of global crises, cast over those who are too young to make sense of them.

As a child I loved the steady rhythm of trains. It sent me to sleep. The whole family, laden with provisions and luggage in extraordinary quantities, would board the train and within a quarter of an hour I’d be asleep. I’d settle down on a pile of suitcases, or on my mother’s generous thighs, and drift off, lulled by the rattling of the wheels. 

It was high summer. The trees outside the window were such a luscious green, that you could sink your teeth into it, and it would dribble down your chin. The picture postcard quality of the season had not yet been spoiled by the heat. Cottages were scattered here and there. The scene was peaceful, idyllic. Everything was blurred around the edges, smudged with dirt, like a windowpane smeared with the grease of a hundred different hands, imperfectly cleaned up by Polish State Railways. 

And who should step into this picture, but a wee girl. That’s how everyone referred to her. I can still hear my mother saying, “There’ll be a wee girl there. You’ll get along.” We were on the train then, too, on our way to see my uncle’s family, or some in-laws, I don’t recall. I’d never met the people we stayed with and I haven’t seen them since. I don’t know what the thinking was behind that trip, but then one’s childhood is packed with events for which one receives no explanation, things happening for no reason and with no goal in view, coming to pass abruptly, with no introduction. A blissful world of ignorance with no decisions to be made. 

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Weekly News Roundup, 12th February 2016: Circonflexing Muscles

This week's literary highlights from across the globe

Happy Friday, Asymptote people! Use the weekend to study for an up-to-date spelling test. This week witnessed a tragic end to that inexplicable squiggly line above (certain) vowels: the circonflexe mark (as in “î” or “û”) is going to be removed from official French orthography. And other weird French spellings (“oignon”) are going to be changed in the interest of logic (becoming “ognon”). Unsurprisingly, this #ReformeOrthographe has sparked quite the lively conversation… READ MORE…

In Review: “Sign Tongue” by Enrique Winter

Amy Rebecca Klein reviews David McLoghlin's translation: "to read Winter is to surrender to the flood of images we live in."

The title of Enrique Winter’s new chapbook, “Sign Tongue,” translated by David McLoghlin, poses a challenge for poetry: Can the flat mirror of language contain the fullness of the tongue, the way we taste and even kiss? Can we ever translate a single mother tongue into a form of collective experience when the real has no language at all, but has given rise to so many? Winter, who hails from Chile and has lived and studied in New York, and whose poems appear in “Sign Tongue” side-by-side in English and Spanish forms, understands that to name the world in only one language is to impose borders on his imagination.

Yes, if naming the world was the first thing Adam did, then it was also the task he could never do well enough—besides, of course, keeping Eve happy. How can one word—‘tongue’—mean both the cold and analytical and the warm and sensual? The sign, whether word or image, is always too simple to convey the thing we see.

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Weekly News Roundup, 31st January 2014: New Sappho, Hard science fiction, Language Olympiads

A look at some of the most important literary news this past week

Without a doubt, this week’s spine tingling, gosh-wow literary hullabaloo was due to the fortuitous discovery of two new poems by Greek lyric poet (and all-around legend) Sappho. Our archives of Sappho’s poetry are notoriously fragmented, but Oxford papyrologist Dr. Dirk Obbink says the poems are “indubitably” hers—heartening news for lyric-lovers all around. READ MORE…