Posts featuring Tijan M. Sallah

Section Editors’ Highlights: Winter 2018

Our editors choose their favorites from the Winter 2018 Issue.

Asymptote’s new Winter 2018 issue is replete with spectacular writing. See what our section editors have to say about the pieces closest to their hearts: 

It’s a struggle to pick ​just one poet to highlight from this momentous issue of our journal, but perhaps I will mention the Infrarealist Mexican poet José Vicente Anaya ​whose work Heriberto Yépez described as “revelation, a sacred practice against brainwashing and lobotomy” (source: translator​’s​ note). Much as each poet in this issue and ​the set of circumstances in which they write are distinct, I read all their works as sacred, necessary attempts to counter the forces of obliteration and oblivion against which they—and ​we—strive. In Anaya’s case, a core element of the ritual is híkuri (​”peyote” in ​the ​indigenous language of​ Rarámuri), the ingestion of which makes the speaker spiral, psychedelically, inward and outward​,​ so that nothing is quite separate from everything else. The revelation is this: we’ve overbuilt the world and left ourselves broken. Joshua ​Pollock’s translation recreates the visionary​ spirit​ of the hyperlingual source text to bring us the ferocity of lines such as these:

On Superhighways we hallucinate
in order to carry on living, Victor,
let’s build an anti-neutron bomb
that leaves life standing
demolishing suffocating buildings /
new machines working for everyone
so that time raises us
from joy
to Art
to joy / and
HUMANity governs without government

—Aditi Machado, Poetry Editor

“[there are also] a number of young writers who are emerging, for instance, in the Gambia, who are also catering a lot to the local market. They are to come.” — Tijan M. Sallah at an interview at the Library of Congress, Washington DC, 2012

It is impossible to think of Gambian literature without thinking of the poetry, short stories, and essays of Tijan M. Sallah. Sallah is The Gambia’s most renowned and prolific literary figure, but what makes him most remarkable is his generosity. Sallah, like many of the great Gambian writers before him, balanced his “day job” while continuing his tireless support of other writers and The Gambia’s burgeoning literary scene. For writers such as Lenrie Peters, it was being a medical doctor, while holding literary workshops for aspiring young Gambian writers; for Tijan M. Sallah, it was a successful career as an economist at the World Bank, while continuing to foster community among the Gambian diaspora’s literary voices, his early contributions to the Timbooktoo Bookstore, or even—lucky for us at Asymptote—his willingness to write this essay on some of The Gambia’s emerging poets. Sallah’s essay is both a tribute to the previous wave of Gambian writers and a passing on of the baton to the next generation of poets. In this essay, he spotlights three of the exciting new voices in the Gambian literary landscape today. It’s a must-read from this issue.

—Ah-reum Han, Writers on Writers Editor

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Announcing the Winter 2018 Issue of Asymptote

Celebrate our 7th anniversary with this new issue, gathering never-before-published work from 30 countries!

We interrupt our regular programming to announce the launch of Asymptote‘s Winter 2018 issue! Here’s a tour of some of the outstanding new work from 30 different countries, which we’ve gathered under the theme of “A Different Light”:

In “Aeschylus, the Lost,” Albania’s Ismail Kadare imagines a “murky light” filtering through oiled window paper in the ancient workroom of the father of Greek tragedy. A conversation with acclaimed translator Daniel Mendelsohn reveals the “Homeric funneling” behind his latest memoir. Polish author Marta Zelwan headlines our Microfiction Special Feature, where meaning gleams through the veil of allegory. Light glows ever brighter in poet Mohammed Khaïr-Eddine’s “syntactically frenetic” “Arachnid Sun”; and in Erika Kobayashi’s fiction, nuclear devastation blazes from Hiroshima to Fukushima.

The light around us is sometimes blinding, sometimes dim, “like a dream glimpsed through a glass that’s too thick,” as Argentine writer Roberto Arlt puts it, channeling Paul to the Corinthians in The Manufacturer of Ghosts. Something dreamlike indeed shines in César Moro’s Equestrian Turtle, where “the dawn emerges from your lips,” and, as if in echo, Mexican writer Hubert Matiúwàa prophecies for his people’s children “a house made of dawn.” With Matiúwàa’s Mè’phàà and our first works from Amharic and Montenegrin, we’ve now published translations from exactly 100 languages!

We hope you enjoy reading this milestone issue as much as everyone at Asymptote enjoyed putting it together. If you want to see us carry on for years to come, consider becoming a masthead member or a sustaining member today. Spread the word far and wide!

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