Posts featuring George Henson

What’s New in Translation: November 2025

New work from India, Serbia, France, Colombia, Mexico, Puerto Rico, Iran, Spain, Lithuania, Palestine, and the Vietnamese diaspora!

This month, we’re bringing reviews of eleven different titles from eleven different regions, from a trilingual text of experimental fiction that veers between Vietnamese and English, a visceral and psychically frenetic portrait of a marriage gone wrong, a rich collection from a master Iranian poet that gestures towards his remarkable life, and the latest metafiction from a Spanish literary giant. 

dog

Dog Star by Nabarun Bhattacharya, translated from the Bengali by Subha Prasad Sanyal, Seagull Books, 2025

Review by Jason Gordy Walker

Something’s rotten in the city of Kolkata. A corrupt managerial class—within which mad scientists and war-mongers play a major role—has conspired with local authorities to capture, confine, and starve as many canines as possible. While the city’s “dead serf-servants and healthful, cellphone-carrying ever-connected mummies and balloons” stagger through their dystopia, the dogs have disappeared from the urban bustle, and no one cares. Animal rights groups have been eliminated, and in the way of Nazi death camps, the system targets even newborn pups. What’s a dog to do in these last dog days? “Bark! Bark!” replies the snappy refrain of Dog Star, the lyrical, subversive, and highly re-readable novella by Bengali writer and poet Nabarun Bhattacharya, delivered in a kinetic English by Subha Prasad Sanyal, who has doubtlessly advanced this innovative author’s reputation in world literature.

A self-proclaimed fable, Dog Star leads the reader through dark alleys where street dogs—“nerikuttas”—hide from “pincers,” form alliances, trade information about current dangers, and strategize escape plans, looking to the constellation “Lubdhok, aka Dogstar, aka Sirius aka Alpha Canis Majoris” for liberation. These survivors, along with their unlikely feline allies, are anthropomorphized in their emotions and dialogues, and their plight, although set in West Bengal, is familiar enough to seem representative of any place under political (dis)order. The Netanyahu regime’s genocide against Gaza comes to mind, for example, as do the active “detention centers” in the US: “They’ll yank and drag you by your neck with the pincers to the caged car. Then throw you in.” Bhattacharya does not avoid visceral descriptions of animal torture, but he balances its brutality with astute irony, giving the murderers absurd lines like: “We must pay heed that there aren’t ridiculous expenses.” READ MORE…

Tampoco tenemos nombre / We, too, are nameless: A Conversation with Ilana Luna

When I translate, my approach is much more of an interpretation, in the musical sense; it is a jazz riff, it is a feeling . . .

I discovered one of my favorite poets—the musician, filmmaker, and diplomat Gaspar Orozco—through Ilana Luna in the pages of Scotland-based Reliquiae: A Journal of Nature, Landscape, and Mythology. In Luna’s lulling translation, Orozco’s El Libro de los Espejismos (The Book of Mirages) meditates on the lacuna between memory and myth, and the interstices between sentience and sleep. In this interview, I asked Luna about, among other things, translating Mexican poet Gaspar Orozco and essayist Carlos Monsiváis, as well as Mexican literature in translation, with small indie presses as their prime movers. 

Alton Melvar M Dapanas (AMMD): I love your translation of Gaspar Orozco published at Reliquiae Journal! And you have a forthcoming book of translation from Orozco’s poems under the Corbel Stone Press imprint, Xylem Books. What should Orozco readers like me expect from this new title? 

Ilana Luna (IL): In fact, we have several manuscripts we’ve been working on. The first we completed is El libro de los espejismos/The Book of Mirages. It’s quite a marvelous book, with prose poetry as well as formal poetry, haiku, sonnet, octaves. They were the most fun to translate, truth be told; I love the puzzle or game-like challenge that formal limitations pose. Several of these poems appeared in Reliquiae, as well as in the July 2021 issue of Indian publication Poetry at Sangam. The one you mention, with Corbel Stone Press, is what we’re currently working on. It is more of an anthology of Orozco’s work, with a focus on natural phenomena and a mythic tone, taken from across his ten-book corpus. As always, Gaspar’s poetry is full of luminescent landscapes, vignettes, and often, has a mesmerizing, rhythmic quality. I try to capture this in my translations.

AMMD: In his prólogo to Lapidario: Antología del aforismo mexicano (2014), critic-translator Hiram Barrios maps the presence of aforismos en verso (“aphorism taking refuge in the short poem”) within Mexican poetry since the late nineteenth century, naming Gaspar Orozco’s father as a practitioner of this “anomalous” free-verse that “questions the nature of genre.” Do you think Orozco has followed in his father’s footsteps, and how, if so, has that influenced the way you translated his works?

IL: I’m quite sure that Orozco was deeply impacted by his father’s love of literature, and he tells stories of youthful interactions with preeminent Mexican scholars and literati—for example, the infrarealist poet José Vicente Anaya, also from Chihuahua, whose famous poem “Híkuri” is a reference in our “Notas de un cuaderno de híkuri”/ “Notes from a Peyote Journal.” Orozco’s prose poetry has been elegantly analyzed in “‘Image Machine’: Gaspar Orozco’s Book of the Peony and the Prose Poem Sequence as Perceptual Trick,” Helen Tookey’s chapter of Prose Poetry in Theory and Practice (Routledge, 2022). As for how this paternal influence has impacted my translation, I’d have to say not very much—or at least not directly. I know I can’t be alone in this, but when I translate, my approach is much more of an interpretation, in the musical sense; it is a jazz riff, it is a feeling, it is something like a cover. It is always a direct interface between me and the poem, nothing else. As sheer as that, it is an immersion and a remaking, a new thing unto itself. 

READ MORE…

What’s New With the Asymptote Team

We've been keeping busy!

Spanish Social Media Manager Arthur Dixon’s essay, Surrealism on the Subway: Translating ‘UniversidadIndios Verdes’ by Arturo Gutiérrez Plaza was recently published on World Literature Today.

Drama Editor Caridad Svich‘s La Isla de Los Hombres Solos (The Island of Lost Souls)inspired by Jose Leon Sanchez’ novelpremieres this month at Teatro Espressivo in San Jose, Costa Rica under Jose Zayas’ direction. She will also speak on a panel sponsored by the Brooklyn Academy of Music at the Brooklyn Book Fair with Chuck Mee and Kaneza Schaal, in conjunction with a production of Phaedra.

Contributing Editor (Chinese) Francis Li Zhuoxiong, also a two-time Golden Melody Award Winner for Best Lyricist, will have a book out on 2 September to commemorate his twenty illustrious years in song writing. Celebrated lyricists Jonathan Lee and Lin Xi have penned introductions for this book, which will also include this interview conducted for Asymptote‘s debut issue.

Contributing Editor George Henson’s translation of Alberto Chimal’s short story, ‘The Waterfall’, has been published in The Best Small Fictions 2016 anthology by Queen’s Ferry Press.

Assistant Editor K.T. Billey wrote about the Icelandic language and Instagram art for Guernica. 

Assistant Managing Editor Lori Feathers’s review of Annie Proulx’s Barkskins was published in The Rumpus, while her review of Pamela Eren’s Eleven Hours appeared in Rain Taxi. Lori served as a judge for the 16th Annual Raymond Carver Short Story Contest, and the winners will be published in the October issue of Carve Magazine.

The shortlist for the 2016 PEN New Voices Award, whose judging panel includes Editor-in-Chief Lee Yew Leong, has been released. The winner will be announced later this month during the 82nd PEN Congress in Ourense, Galicia.

Editor-at-Large for the UK Megan Bradshaw has joined The London Magazine as a staff writer, where she recently reviewed a performance of Yerma at the Young Vic.

Editor-at-Large for India Poorna Swami published a vignette, “A Pillar in Covent Garden,” in Coldnoon: International Journal of Travel Writing & Travelling Cultures. 

Finally, Chief Executive Assistant Theophilus Kwek will be hosting ‘5 Under 25’, a reading of new Singaporean poetry, on 3 September, and moderating a conversation with novelist Krishna Udayasankar on ‘Writing and Identity’ in Singapore on 9 September. His new poetry journal, The Kindling, co-edited with Tash Keary, has also just opened its first submissions call.