Posts featuring Sergio Pitol

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. 

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Weekly Dispatches from the Front Lines of World Literature

The latest from Mexico and Hong Kong!

January brought a plethora of literary events, from author talks to publishing announcements. In Mexico, the publishing house Juan de la Cosa / John of the Thing put out a new bilingual poetry volume. In Hong Kong, the Dante Alighieri Society hosted a discussion on writing in your second language. Read on to find out more!

Alan Mendoza Sosa, Editor-at-Large, reporting from Mexico

The first month of 2022 has seen many commercial and independent publishers announce new books, both in Spanish and in translation. Though the year, like the two before it, will also be strangled by the global pandemic, the exciting vitality of the publishing scene brings momentary solace and hope.

North American publishing house Deep Vellum published The Love Parade, George Henson’s translation of El desfile del amor, a detective fiction by acclaimed Mexican writer Sergio Pitol originally published by Anagrama in 1985. An expert in contemporary fiction from Latin America, Henson has also contributed to Asymptote in the past, publishing the translated work of other outstanding Spanish-speaking authors such as the Mexican Alberto Chimal and the Peruvian Pedro Novoa. Deep Vellum is not new to Mexican literature either; its catalogue includes the names of contemporary international luminaries from Mexico, among them the poets Carmen Boullosa, Rocío Cerón, and Tedi López Mills.

The renowned Mexican writer Valeria Luiselli co-edited the sixty-fifth edition of independent San Francisco-based literary journal McSweeney’s, assembling a stellar collection of stories, letters, and translations. The compendium is not only dazzling but also urgently political. According to the journal’s website, the issue “delves into extraction, exploitation, and defiance.” The quarterly includes work by several internationally acclaimed writers from the American continent. Many are authors whom Asymptote has featured in the past, such as Gabriela Wiener, Samanta Schweblin, and Claudia Domingo. Their names are listed alongside other famous voices who have rapidly achieved international fame, including Laia Jufresa, Megan McDowell, and Yásnaya Elena Aguilar Gil.

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In Conversation: George Henson, Translator

Rosie Clarke chats with George Henson, translator of Sergio Pitol's "The Art of Flight"

George Henson is a senior lecturer at UT Dallas, where he specializes in literary translation, translation theory, Spanish language, 20th century Latin American poetry and narrative, and queer literature. His translations of short stories by Mexican author Elena Poniatowska have appeared in Nimrod, Translation Review, The Literary Review, and Puerto del Sol. His translation of Carlos Pintado’s short story “Joy Eslava” was published by Zafra Lit, and his translations of poems by Francisco Morán have appeared in Sojourn and The Havana Reader.

His translation of Sergio Pitol’s The Art of Flight, the first of Pitol’s “Trilogy of Memory,” was published last month by Deep Vellum. Recipient of the Cervantes Prize in 2005, Pitol is considered by many to be Mexico’s greatest living author, but this is his first appearance in English translation. I spoke with George via email about why this could be, and discussed his translation practice and the challenges of working with a multigeneric work like Pitol’s. READ MORE…