Posts featuring Kim Simonsen

Deep Time Elegy: A Review of What good does it do for a person to wake up one morning this side of the new millennium by Kim Simonsen

[T]his is a book for readers who prefer elegy that is alert rather than ornamental.

What good does it do for a person to wake up one morning this side of the new millennium by Kim Simonsen, translated from the Faroese by Randi Ward, Deep Vellum, 2025

In seeking an entry into Faroese poetry, one should begin with Kim Simonsen, an award-winning writer and academic from the island of Eysturoy. Having been active for over two decades in conventional academia as well as in artistic circles, he is also the founder and managing editor of a Faroese press called Forlagið Eksil, and is the author of seven books as well as numerous academic papers. Hvat hjálpir einum menniskja at vakna ein morgun hesumegin hetta áratúsundið (What good does it do for a person to wake up one morning this side of the new millennium) won the M.A. Jacobsen Literature Award in 2014, and now, its translation by Randi Ward into English will be published by Deep Vellum in 2025. Written in free verse, the collection aspires to juxtapose the vast sweep of geology with the relative miniature of humanity, invoking the life cycles of organisms and landscapes whose timescales dwarf our own lives. Yet, the lyric centre of these poems is grief; the speaker has lost their loved one, and here measures their absence against the timelessness of eons. Divided into four parts, the book is also interspersed with illustrations from natural history texts such as Maria Sibylla Merian’s Metamorphosis Insectorum Surinamensium (1705), Leopoldo Caldani and Floriano Caldani’s Icones Anatomicae (1801-1813), and Frederik Ruysch’s Thesaurus anatomicus primus (1701), among others.

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Our Spring 2024 Edition Is Here!

Featuring Andrey Kurkov, Michela Murgia, Katie Holten, and a spotlight on literature from the Faroe Islands

When we fall asleep, where do we go? Why, of course, to a #midnightgarden‚ filled with exciting discoveries from 32 countries, including interviews with Andrey Kurkov and Diamela Eltit, fiction by Michela Murgia and Khrystia Vengryniukapocalyptic drama from Honduras, new translations of Alfred Döblin and Ludovico Ariosto—specifically, of his Orlando Furioso, the bestselling book of the sixteenth century—as well as a Special Feature on Literature from the Faroe Islands, sponsored by FarLit and headlined by Kim Simonsen and Rannvá Holm Mortensen. Ahead of the 60th Venice Biennale opening this weekend, we are proud to unveil our own international showcase—illustrated with elan by Korean guest artist Joon Yoon—still the most ambitious of any literary periodical.

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Among the highlights in this edition is visual artist Katie Holten—herself a veteran of the Venice Biennale—who returns to our pages to discuss her rustling, arresting Language of Trees, a response to ecological catastrophe. Michelle Chan Schmidt reviews a similar attempt to capture new language, crisis language, when extremes brought about by Russia’s invasion of Ukraine called for A Dictionary of Emotions in a Time of War. Interviewing young Somali refugees for a dictionary entry, “Partire” or leave, Somali-Italian writer Ubah Cristina Ali Farah discovers how disasters—in this case, civil war and genocide—“reveal the limit of language.” In Fiction, a “great flood” forms the backdrop of Khrystia Vengryniuk’s mordantly funny but ultimately heartbreaking story about two star-crossed lovers. By contrast, LGBTQ+ rights activist Michela Murgia’s relatively uneventful piece centers a soon-to-be empty nester and the solution to her ennui that she tucks away in her wardrobe: a life-sized cutout of BTS boyband member Park Jimin.

Just this past week, the Financial Times reported that “rising nationalism and falling funding is reshaping the Venice Biennale;” at Asymptote, we find ourselves running up against the same constraints that keep the art world from fully realizing its potential (as a matter of fact, just carrying on remains a challenge because we are incorporated outside of the US and Europe, where most of literary arts funding lies). If you have benefitted from our work these past thirteen years, consider helping us grow this #midnightgarden as a sustaining or masthead member. Together, we can keep it alive.

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