Editor's Note

You and I, self and the other—it is the oldest, simplest difference we know. At a time of flooding across the world, from India to the US, the writers of our Fall 2024 issue call attention to physical and social separation, to the rushing waters that pull us apart, rendering us #Outsiders to one another. In exploration of this theme, we proudly bring you new work from 32 countries, including drama from Norwegian Nobel Laureate Jon Fosse, an interview with exiled Russian author Mikhail Shishkin, a review of French icon Simone de Beauvoir’s latest English publication, nonfiction by Omani writer Hamoud Saud, a spotlight on Brazilian artist André Griffo, and, for our final Brave New World Literature entry, a moving essay by the recently announced US National Book Award nominee the Kuwaiti author Bothayna Al-Essa. One year on from October 7th, Al-Essa confronts the limits of literary activism as she reflects on her video calls with a Gazan colleague: “Did I expect a person besieged in an open prison since 2006 to rejoice at the sight of a shelf of books?” In another highlight, German-Ukrainian writer Natascha Wodin’s narrator resuscitates her drowned mother, trying to fathom her across the gulf of time even as she pictures the Regnitz river washing her away. Meanwhile, Swiss poet Prisca Agustoni and Moroccan author Khalid Lyamlahy confront another kind of drowning—that of modern day migrants in search of a better life—in particular, the 269 lives lost to the sea around Lampedusa in a shipwreck, the news of which lights up Agustoni’s phone, and the death of a Gambian Lyamlahy never got to know: “I dream of a book that would contain all the words refused you, all the silences imposed on you. A book where the word ‘help’ is constantly repeated, in which the author would fade from each line, each fragment, to give you back the space denied you in life.” 

Lyamlahy’s feat of empathetic imagination leads off this edition’s wildcard Special Feature, first announced on August 15th. By the time submissions closed one month later, anti-migrant rhetoric in the US had hit a new low with Trump repeating baseless claims of Haitians “eating cats and dogs” in his presidential debate. So, although we received more than one hundred manuscripts spotlighting every stripe of outsider, I decided to carve out space for the racial/national “other” so often denigrated in politics. From Cuban author Odette Casamayor-Cisnero drawing courage from her great-great-grandmother and taking a fiery stand against racism (“I’m done with running away”) to Croatian writer Nebojša Lujanović’s nuanced portrayal of a migrant who cannot bring himself to enunciate his full name for fear of outing himself to other members of his newly chosen community, the myriad voices showcased in this Feature are resounding proof of the struggle and humanity of those we as a society are so eager to condemn to the margins. All of this is illustrated by Spain-based guest artist Anastassia Tretiakova’s haunting photography.

Wrapping up another full year of literary activism from the margins, I’m thrilled to share that plans for 2025 are already well under way. First, in lieu of Brave New World Literature, our recurring Special Feature will henceforth publish outsider-themed submissions. Our first wildcard Special Feature of 2025, on the other hand, is organized in memory of postmodernist author Robert Coover (also a former mentor), and will be dedicated to new forms—texts that push the envelope of what literature can be; as with the first Special Feature, we invite manuscripts either written originally in English or translated into English. The deadline to submit work to this wildcard Feature is December 1st, whereas, per our guidelines, submissions to all regular categories are accepted throughout the year. To stay abreast of future calls for submissions, subscribe to our newsletter, follow us on FacebookX, Threads, our two Instagram feeds, and in our daily blog. If you are looking to get involved behind the scenes, apply to our final recruitment drive of the year (deadline: October 28th)—we’re especially on the lookout for editors-at-large, assistant editors, copy editors, and social media managers. Racking your brain for the perfect gift this holiday season? Consider sending your loved one the gift that never stops giving: an Asymptote Book Club subscription—in fact, we’ll even include a personalized note for your recipient if you would like one with the first book! Finally, as a magazine that does not receive ongoing institutional support because of said outsider status even with respect to the country in which the magazine is incorporated—as elaborated in my Fall 2022 issue’s Editor’s NoteAsymptote counts on readers to sustain its mission more than most. If you think this “global literary miracle” (according to Dubravka Ugrešić) deserves to continue, please take a few minutes to sign up as a sustaining or masthead member, whether today or on #GivingTuesday (which falls this year on December 3rd). We can’t wait to see what 2025 brings!

—Lee Yew Leong, Editor-in-Chief



Editorial Team for Issue October 2024

Editor-in-Chief: Lee Yew Leong (Thailand/Singapore)

Assistant Managing Editors: Ella Dailey (France/USA), Hilary Ilkay (Canada), Daljinder Johal (UK), Janet Phillips (UK/Australia), Kathryn Raver (France/USA), and Alex Tan (USA/Singapore)

Section Editors:
Lee Yew Leong (Thailand/Singapore)
Caridad Svich (USA/UK)
Ian Ross Singleton (USA)
Heather Green (USA)
Danielle Pieratti (USA)
Sherilyn Nicolette Hellberg (Denmark/USA)

Senior Assistant Editors: Chiara Gilberti (Germany/Italy) and Michelle Chan Schmidt (Ireland)

Assistant Editors: Marguerite Alley (USA), Sam Bowden (USA), Terézia Klasová (Czech Republic), Sophie Grace Lellman (USA), Willem Marx (Italy/USA), Catherine Xin Xin Yu (Canada/Italy), Tiffany Troy (USA), Vuslat Demirkoparan (USA), Junyi Zhou (USA), and Lin Chia-Wei (Taiwan) 

Assistant Interview Editors: Sebastián Sánchez-Schilling and Sarah Gear

Contributing Editors: Ellen Elias-Bursac (USA), Aamer Hussein (UK), Sim Yee Chiang (Singapore), Dylan Suher (USA), and Adrian West (USA)

Art Director: Lee Yew Leong (Thailand/Singapore)

Editor-at-large, Bulgaria: Andriana Hamas
Editor-at-large, Croatia: Kristina Gadze
Editor-at-large, Greece: Christina Chatzitheodorou
Editors-at-large, Guatemala: José García Escobar, Rubén Lopéz, and Miranda Mazariegos
Editor-at-large, Hong Kong: Charlie Ng Chak-Kwan
Editor-at-large, Kenya: Wambua Muindi
Editor-at-large, North Macedonia: Sofija Popovska
Editors-at-large, Mexico: René Esaú Sánchez and Alan Mendoza Sosa
Editor-at-large, Palestine: Carol Khoury
Editor-at-large, Philippines: Alton Melvar M. Dapanas
Editor-at-large, Romania and Moldova: MARGENTO
Editor-at-Large, Spain: Marina García Pardavilla
Editor-at-large, Uzbekistan: Filip Noubel
Editor-at-large, Vietnamese Diaspora: Thuy Dinh


Masthead for Issue October 2024

Fiction, Brave New World Literature Feature, and Interview: Lee Yew Leong
Poetry: Danielle Pieratti
Nonfiction: Ian Ross Singleton
Drama: Caridad Svich
Visual: Heather Green
Criticism: Sherilyn Nicolette Hellberg
Outsiders Special Feature: Lee Yew Leong
Illustrations and Cover: Anastassia Tretiakova

Assistant Managing Editor (supervising issue production): Janet Phillips

Assistant Managing Editor (supervising Assistant Editors): Alex Tan

Assistant Managing Editors (supervising Editors-at-Large): Daljinder Johal and Kathryn Raver

Assistant Managing Editor (overseeing blog production): Hilary Ilkay

Assistant Managing Editor (HR): Ella Dailey

Chief Executive Assistant: Rachel Farmer

Senior Executive Assistants: Julie Shi and Chinmay Rastogi

Executive Assistants: Meenakshi Ajit, Haeri Lee, and Charlotte Chadwick

Blog Editors: Xiao Yue Shan, Bella Creel, and Meghan Racklin

Art Director: Lee Yew Leong

Guest Artist Liaison: Berny Tan

Senior Copy Editors: Jennifer Busch, Mia Manns, Rachel Stanyon, and Maggie Wang

Copy Editors: Sophie Eliza Benbelaid, Sauvryn Linn, Joseph Mcalhany, Willem Marx, Jenna Nelson Patton, Matilde Ribeiro, Mia Ruf, Ellen Sprague, Iona Tait, Josh Todarello, and Urooj

Technical Manager: József Szabó

Director of Outreach: Georgina Fooks

Podcast Editor: Vincent Hostak

English Social Media: Ruwa Alhayek, Carissa Coane, Livia Djelani, and Hannah Landau

French Social Media: Filip Noubel

Spanish Social Media: Sergio Serrano

Graphic Designer: Michael Laungjessadakun

Senior Digital Editor: Matthew Redman

Digital Editors: Julia Maria and Savitri Asokan

Marketing Manager: Kate Lofthouse

Director, Educational Arm: Sarah Nasar

Educational Arm Assistants: Mary Hillis, Marissa Lydon, Anna Rumsby, Devi Sastry, and Sonakshi Srivastava

Book Club Manager: Carol Khoury

Business Developer: Emily Zhou

Asymptote would like to acknowledge the support of Phuong Anh, Katy Derbyshire, Kevin Kunstadt, Minju Kwak, Josefina Massot, Samuel Miller, Jason Tougaw, and Randi Ward.

For their generous donations this past quarter, our heartfelt thanks go too to Chenxin Jiang, Claire Hegarty, Daniel Hahn, Elena Barcia, Ferran Pericas Cladera, Geoffrey Howes, Harry Leeds, Il Park, Jane Kirby, Jeffrey Boyle, Katarzyna Bartoszynska, Lynn O'Neal, Marjolijn de Jager, Mark Cohen, Martin Ingebrigtsen, Monty Reid, Pavlos Stavropoulos, Theresa Henderson, Thomas Carroll, Thuy Dinh, and Velina Manolova.

We would also like to welcome Roberta Newman who joined us as a sustaining member this past quarter.

Back

Fiction

Natascha Wodin, The River and the Sea

Translated from the German by Mandy Wight

Very gradually, with the waters of the Danube, my mother is returning to her old world.

Eleni Yannatou, from Mr. Penelope

Translated from the Greek by Natasha Remoundou-Howley

Since I was a young girl, I knew I’d share the same fate with books: I’d be left on the shelf.

Cung Tích Biền, New Year’s Eve

Translated from the Vietnamese by Nguyễn Hoàng Nam

A ten-year-old girl had no way of apprehending what life, like a deep pan filled with burning oil, had in store for her.

Ornela Vorpsi, from Offworld

Translated from the Italian by Antonella Lettieri

Calm your soul, Tamar. It is promised. Everything has been here since forever, and everything will be like this forever.

He Wun-Jin, Guide Us, Chicken Booty!

Translated from the Chinese by Catherine Xinxin Yu

I’ve been wondering whether I should find Meh a bride or a groom.

Poetry

Katrina Haddad, from Collages

Translated from the Ukrainian by Roman Turovsky

it happened a long time ago, a thing of beauty.

Leanne Ellul, from The Blue Room Inventory

Translated from the Maltese by Albert Gatt

The only way we are exalted
will be as weight on these blue sheets.
And the bundled smell of you pierces me through.

Thórdís Helgadóttir, Three Poems

Translated from the Icelandic by Larissa Kyzer and Meg Matich

If false bottoms hide
Poison or treasure, what does a false surface hide?

Ennio Moltedo, from New Things

Translated from the Spanish by Marguerite Feitlowitz

The earth, offering itself as a witness, displays the vines and flowers of the crime.

Grzegorz Kwiatkowski, from Without an Orchestra

Translated from the Polish by Peter Constantine

it was extremely difficult
not to see the connection between shooting and killing
but we managed

Jacobo Glantz, from Steps in the Mountains

Translated from the Yiddish by Mordecai Martin

No longer wandering through velvet grass
In Ukraine’s Spring valleys
Home, I lost you long ago already
So who am I complaining about?

Maria-Mercè Marçal, from The Sister, the Stranger

Translated from the Catalan by Núria Alishio-Caballero

I know it’s you and I know it’s not you,
the blood that I suck from this wound.

Kornelia Koepsell, from The Harmonica

Translated from the German by Marielle Sutherland and Kornelia Koepsell

They told me she had never been in love,
but I don’t think that’s true.

Prisca Agustoni, from Mutilated World

Translated from the Portuguese by Alice Osti Magalhães and Jenny Marshall Rodger

the news arrives . . .
269 dispersi nel mare di Lampedusa
and burns your retina

Hendri Yulius Wijaya, Two Poems

Translated from the Indonesian by Edward Gunawan

the forbidden fruit you left behind that afternoon

Criticism

Sandya Mary, Maria, Just Maria

Translated from the Malayalam by Jayasree Kalathil

A review by Diya Isha

The cat lady in this novel—who in fact has a strong affinity to dogs—openly indulges in her penchant for an alternative life, even if she doesn’t know what that looks like.

Simone de Beauvoir, Diary of a Philosophy Student

Translated from the French by Barbara Klaw

A review by Hilary Ilkay

Beauvoir can come across as a somewhat imperious figure, but the diaries humanize her, revealing the vulnerability and unfiltered passion of her younger self working through intellectual questions alongside personal challenges.

Olena Stiazhkina, Cecil the Lion Had to Die

Translated from the Ukrainian by Dominique Hoffmann

A review by Lillian Posner

Instead of Cecil, Stiazhkina directs our attention to the lives of regular, albeit fictional Ukrainians, from her hometown of Donetsk, which has been under Russian occupation since 2015.

Joseph Andras, Faraway the Southern Sky

Translated from the French by Simon Leser

A review by James Leveque

Southern Sky strongly echoes the flâneur literature of the 19th and 20th centuries. But what Andras presents is something of an anti-flâneurie, if we juxtapose it to the traditional form.

Nonfiction

Hamoud Saud, On Music, Writing and Solitude

Translated from the Arabic by Zia Ahmed

Music escapes the prison of speech and writing to penetrate the expanse and the heart.

Len Sander, Commands

Translated from the German by Len Sander

You are only allowed one coincidence per script.

ariel rosé, from Ukraine—A Polyphony

Translated from the Polish by Frank L. Vigoda

“To speak is to exist absolutely for the other,” wrote Frantz Fanon.

Stefani J. Alvarez, from Dear Sol

Translated from the Filipino by Alton Melvar M. Dapanas

Tonight, I will settle under a tree along the expanse of Solitudestraße.

Carlos Oriel Wynter Melo, from The Names of the Panama Canal

Translated from the Spanish by Miranda Mazariegos

Geopolitics is a puzzle in which no piece is superfluous.

Drama

Jon Fosse, from Someone Is Going to Come

Translated from the Norwegian by Harry Lane and Adam Seelig

It’s not every day I sell a house and now I’ve got money

Katja Grcić, from How Bodies Fear the Ground

Translated from the Croatian by Andrea Jurjević

We don’t have to talk about what took place. This entire crappy country has heard the story . . . But, we need to talk about how to proceed . .

Brave New World Literature

Bothayna Al-Essa, The Gazan I Relate To

Translated from the Arabic by Carol Khoury

I wanted him, as a Gazan entangled in his fate as a Gazan, to grant me absolution for escaping his fate.

Outsiders

Khalid Lyamlahy, from Venice Requiem

Translated from the French by Ros Schwartz

I write to link [Banjul and Venice], to create a topography . . . of what happened.

Nebojša Lujanović, from Cloud the Color of Skin

Translated from the Croatian by Ena Selimović

The name Enis unmistakably placed him in colorful mosques, harem pants, Ramadan celebrations.

Behzad Karim Khani, from Dog Wolf Jackal

Translated from the German by Fiona Graham

Nima didn’t see himself as dark-skinned. He could have passed for an Italian, Frenchman or Greek, but might well have been Argentinian or Colombian.

Lowry Pressly, Portami

Portami, he said. Take me. Or: Take me with you. Or: Take me away.

Odette Casamayor-Cisneros, Home of the Maroon Women

Translated from the Spanish by Anna Kushner

I am done with running away.

Nava Ebrahimi, The Cousin

Translated from the German by Sebastian Smallshaw

“Force of habit,” I say. “It’s the migrant kid in me.”

Darya Protopopova, from The Calavera

Translated from the Russian by Janet Phillips

Let’s tell Daddy that we want to go home soon. There’s this place called Distant Woods . . . where your mummy was born. There they can’t hurt us. There we’ll be like royalty.

Interview

An Interview with Mikhail Shishkin

Translated from the Russian by Sarah Gear

The war crimes taking place in Ukraine are not happening because soldiers in the Russian army read Tolstoy or Chekhov. On the contrary, free Russian culture has always opposed the criminal [Russian] state.