Editor's Note

Looking for “the figure in the carpet”? Find it in “A Primal Design,” Asymptote’s Spring 2020 edition, featuring new work from 30 countries and 24 languages. Our stunning roster includes Oscar winner Volker Schlöndorff—who adapted The Tin Drum for the silver screen, Tove Jansson of Moominland fame, and writers in exile Tsering Woeser and Phan Nhiên Hạo. Anton Chekhov’s Cherry Orchard graces our drama section alongside hidden gems from the late translation theorist Henri Meschonnic, while a pair of sonic-visual projects explore the “post-medium condition.” Finally, to help you conquer fear and confinement, seek answers to the grand questions in this issue’s Galician Poetry Feature!

Answers may not always be apparent, as in Pakistani author Mirza Athar Baig’s titular “Junkshop,” in which the narrator muses on the heroic destinies of objects, known and unknown. Yet when great beasts roamed the land, there were not yet such stories: Italian writer Matteo Meschiari’s “Red Ivory” plumbs those primeval depths. Critic Robin Munby finds mystery in another animal, the bee, “a palimpsest, overlaid with meaning” throughout Hamid Ismailov’s novel from the Uzbek, Of Strangers and Bees. Elsewhere, Jennifer Manoukian discusses the “New Novel” according to Armenian author Zareh Vorpouni, whose similarly honeycombed narratives ask whether testimony also contains an element of fictionalizing construction. Stories and their meanings are inevitably multiple, like origins.

Perhaps these origins can be accessed via deeper awareness of our surroundings, through turning inward and becoming one’s own subject in Abd al-Qāder Bīdel of Delhi’s “realm of rich sufficiency.” Then, listening to the stones, as Galician poet Eva Veiga recommends, one might “decipher / what the water says, / what time says.” These Galician poets maneuver in an oracular gravity informed by a kind of animism, as though everything might speak, in Chus Pato’s words, “like petals on a corolla / speech too radiates from the signs.” Ismael Ramos sees just such a sign in his mother rubbing a peach against her leg: the gesture, purely poetic, is “devoid of function,” yet somehow expressive, pregnant with meaning.

This poetic gesture quintessentially relies on pattern, like multimedia artist Simona Năstac’s animated raindrops or tears, or Pedro Lemebel’s “ornamented, baroque” chronicles, “so inflected with the micro-dialects as to seem to exist nowhere else in the world.” Nano Shabtai’s The Anchorman’s Son also reflects an interest in iterative patterning, except via internal rhyme, brilliantly imported in Mitch Ginsburg’s translation. Meanwhile, Auschwitz survivor Edith Bruck hammers home the anaphoric decrees of fate: “To be born by chance / To be born a woman / To be born poor / To be born Jewish…” only to conclude with pathos: “It’s too much / For a single life.” You’ll never hear the complaint “Too much!” here at the magazine; we rejoice in surfeit, and in the rich palette of guest artist Ishibashi Chiharu.

Asymptote, which has been practising social distancing forever, continues to champion translation in troubled times, including in our new weekly column In This Together: Writers From Around the World Respond to the COVID-19 Outbreak. In Fiona Bell’s vision of translation, the translator is a diva: without the opera’s vocal interpreter, there is no access to any original. Thus each work has its diva, but without her audience, the diva cannot exist. Consider expressing your appreciation for these great performances by making a one-time donation of any amount, or by signing up as a sustaining member from as little as $5 a month. You can also support Asymptote by subscribing to our monthly Book Club, now open to the entire world. Follow every rising star by signing up for our newsletter, and be the first to get apprised of our soon-to-be-announced translation contest by following us on Facebook and Twitter. As always, we are proud to be your man behind the curtain bringing you the best in world literature from across the globe. Thank you for cheering us on.

—Lee Yew Leong, Editor-in-Chief



Editorial Team for Issue April 2020

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

Assistant Managing Editors: Daljinder Johal (UK/India) and Josefina Massot (Argentina)
Section Editors:
Lee Yew Leong (Taiwan/Singapore)
Garrett Phelps (USA)
Varun Nayar (India)
Caridad Svich (USA/UK)
Ah-reum Han (USA/South Korea)
Sam Carter (USA)
Eva Heisler (USA)
Henry Ace Knight (USA)

Editor of Special Feature on Galician Poetry: Lee Yew Leong (Taiwan/Singapore)
Assistant Editor of Special Feature on Galician Poetry: Jacob Rogers (USA) 

Assistant Editors: Edwin Alanís-García (USA), Alyea Canada (USA), (Canada), Whitney DeVos (Mexico/USA), Helena Fornells (UK), Barbara Halla (France), Marina Martino (UK), Maya Nguen (USA), Erik Noonan (USA), Andreea Scridon (UK/Romania), Lindsay Semel (Portugal/USA), P. T. Smith (USA), Jay G. Ying (UK), and Lin Chia-wei (Taiwan)

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

Translation Tuesdays Editor: Edwin Alanís-García (USA)

Art Director: Lee Yew Leong (Taiwan/Singapore)

Assistant Director, Educational Arm: Barbara Thimm (USA/Germany)

Editors-at-large, Argentina: Allison Braden and Sarah Moses
Editor-at-large, Brazil: Daniel Persia
Editor-at-large, El Salvador: Nestor Gomez
Editor-at-large, Guatemala: José García
Editors-at-large, Hong Kong: Jacqueline Leung and Charlie Ng Chak-Kwan
Editor-at-large, Iran: Poupeh Missaghi
Editors-at-large, Mexico: Andrew Adair and Paul Worley
Editor-at-large, Morocco: Hodna Nuernberg
Editor-at-large, Peru: Paloma Reaño
Editor-at-large, Romania and Moldova: MARGENTO
Editor-at-large, Slovakia: Julia Sherwood
Editor-at-large, Taiwan: Vivian Chih
Editor-at-large, Tibet: Shelly Bhoil
Editor-at-large, Uzbekistan: Filip Noubel
Editor-at-large, Vietnam: Quyen Nguyen


Masthead for Issue April 2020

Fiction: Lee Yew Leong
Poetry: Garrett Phelps
Nonfiction: Varun Nayar
Drama: Caridad Svich
Criticism: Sam Carter
WoW: Ah-reum Han
Special Feature on Galician Poetry: Lee Yew Leong with assistance from Jacob Rogers
Visual: Eva Heisler
Interviews: Henry Ace Knight
Illustrations and Cover: Ishibashi Chiharu

Assistant Managing Editor (supervising Assistant Editors): Josefina Massot 

Assistant Managing Editor (supervising Editors-at-Large): Daljinder Johal

Communications Director: Samuel Kahler

Director of Outreach: Alessandro Mondelli

Chief Executive Assistant: Samuel Miller

Senior Executive Assistant: Bernice Seow

Executive Assistant: Austyn Wohlers

Blog Editor: Xiao Yue Shan

Assistant Blog Editors: Rachel Allen and Sarah Moore

Newsletter Editor: Rita Horanyi

Guest Artist Liaison: Berny Tan

Chief Copy Editor: Steven Teref

Senior Copy Editors: Devarati Chakrabarti and Angela Glindemann

Copy Editors: Anna Aresi, Andrea Blatz, Bella Bosworth, Choo Suet Fun, Rose Green, Sophie Hoffman, and Clayton McKee

Technical Manager: József Szabó

English Social Media: Scarlett Castillo, Georgina Fooks, Rita Horanyi, Nina Livelo, and Sarah Panfil

Spanish Social Media: Sergio Serrano

French Social Media: Filip Noubel 

Chinese Social Media: Jiaoyang Li and Jessica Wang

Graphic Designer: Anna Wang

Communications Managers: Alexander Dickow and Georgina Fooks

Assistant Director, Educational Arm: Barbara Thimm

Educational Arm Assistants: Kasia Bartoszyńska, Lucchini Clémence, Mary Hillis, Kent Kosack, Clare Spaulding, and Ian Thompson

Asymptote would like to acknowledge the support especially of:

  



as well as their respective representatives Rosario Álvarez and Valentín García Gómez, without whom the Galician Poetry Feature could not have happened. We are also grateful for the additional support from Editorial Galaxia's Francisco Castro.

For their generous donations, our heartfelt thanks go too to Yvonne Koh, Chris Tanasescu, Anna Aresi, Daniel Hahn, Gina Caputo, Jeffrey Boyle, Justin Briggs, Katarzyna Bartoszynska, Lara Norgaard, Mallory Truckenmiller, Marilya Veteto, Mark Cohen, Martin Ingebrigtsen, Mary Olivanti, Matthew Mazowita, Michaela Jones, Monty Reid, Nancy Relaford, Ruth Diver, Siobhan Mei, Velina Manolova, and Xiangxiu Meng.

We welcome new supporters and members of the Asymptote family Deewang Bhamidipati, Hilda Castillo, Philip Feinsilver, Cobina Gillitt, Christina E. Kramer, and Phan Nhiên Hạo.

Back

Fiction

Mirza Athar Baig, Junkshop

Translated from the Urdu by Haider Shahbaz

Irshad does not know about the human world linked to this beautiful Portuguese bottle.

Lidija Dimkovska, from Grandma Non-Oui

Translated from the Macedonian by Christina E. Kramer

“Bury me wherever you want, but not with other dead people.”

Nano Shabtai, from The Book of Men

Translated from the Hebrew by Mitch Ginsburg

alas, I was from a class of poor artists and he was of the TV news brass

Fumiki Takahashi, A Great Song You’ve Never Heard Before

Translated from the Japanese by Toshiya Kamei

It’d been a long time since he had expressed joy.

Tareq Imam, Through Sightless Eyes

Translated from the Arabic by Katherine Van de Vate

Flames blaze from his deadened eyes and dancing butterflies slip from his closed, narrow lips, beneath a maze of wrinkles.

Matteo Meschiari, Red Ivory

Translated from the Italian by Enrico Cioni

No one knows what the elephants are, but their suffering and death were real, even though they no longer exist.

Poetry

Zuzanna Ginczanka, from About Centaurs

Translated from the Polish by Alex Braslavsky

This is a secret abracadabra

Phan Nhiên Hạo, from Paper Bells

Translated from the Vietnamese by Hai-Dang Phan

I saw a beetle trying to flip itself over its legs
tiny pines waving at the sky

Gelsys García Lorenzo, Four Poems

Translated from the Spanish by Maria Grau Perejoan and Loretta Collins Klobah

The dictator as a wind-clock or a steam piano.

Seo Jung Hak, from The Cheapest France in Town

Translated from the Korean by Megan Sungyoon

Branches make sounds. You become, a tree.

Henri Meschonnic, Four Poems

Translated from the French by Don Boes and Gabriella Bedetti

in every eye where you are
I do not know where I am

Mina Decu, from Detachment

Translated from the Romanian by Anca Roncea and Raj Chakrapani

he lit a cigarette with the most natural strangeness

Natalia Toledo, from Deche Bitoope

Translated from the Zapotec and Spanish by Clare Sullivan and Irma Pineda

We are the ashen tracing that elucidates the earth.

Edith Bruck, from Versi Vissuti

Translated from the Italian by Jeanne Bonner

It’s too much
For a single life

Julia Gjika, from Memories Pretend to Sleep

Translated from the Albanian by Ani Gjika

This is a quiet house, a hundred years old.

Lamis Saidi, from Like a Dwarf Inching Toward Legend

Translated from the Arabic by Hodna Bentali Gharsallah Nuernberg and Koen De Cuyper

he doesn’t know which language that city’s buildings speak

Claudiu Komartin, from Masters of a Dying Art

Translated from the Romanian by Diana Manole

This night plays with you nicely and leaves you in a pool of blood

Abd al-Qāder Bīdel of Delhi, Two Lyric Poems on Meditation

Translated from the Persian by Jane Mikkelson

Where can we haul / the grief / of our lowly / heavy souls?

Criticism

Hamid Ismailov, Of Strangers and Bees

Translated from the Uzbek by Shelly Fairweather-Vega

A review by Robin Munby

Does Sina represent the sublimation of the ego, the Sufi ideal, distilled into its purest form? Or is Sina just a little bee with big ideas?

Tove Jansson, Letters from Tove

Translated from the Swedish by Sarah Death

A review by Jenni Råback

At its best, Letters from Tove is a celebration of the borderline, a reminder of the richness and realness of intermediary loves and lives.

Fernanda Melchor, Hurricane Season

Translated from the Spanish by Sophie Hughes

A review by Barbara Halla

Hurricane Season assaults the reader’s senses, its prose, rendered in Hughes’ magnetic translation, is as putrid as [a] corpse.

António Lobo Antunes, Until Stones Become Lighter Than Water

Translated from the Portuguese by Jeff Love

A review by Joshua Craze

Antunes has created his most radical study of what happens when all that is left to us is language, and that language fails us.

Nonfiction

Fiona Bell, The Diva Mode of Translation

Where there is a diva, after all, there ought to be worshippers.

Volker Schlöndorff, On Literature and Film

Translated from the German by Julie Winter

Are these all just words, or is there really something to it?

Durian Sukegawa, Cycling the Narrow Road to the Deep North: Thoughts, Sights, and Encounters

Translated from the Japanese by Alison Watts

Her silence resounded in my ears like a wordless sorrow.

Tsering Woeser, Tibet Above

Translated from the Chinese by Kamila Hladíková

What an impure Tibetan I am!

Drama

Dhianita Kusuma Pertiwi, Sago Worms

Translated from the Indonesian by Bryan Stubbles

This can be an additional protein for our dinner later, sir.

Anton Chekhov, The Cherry Orchard

Translated from the Russian by Graham Schmidt

We’re starting a new life, Mama!

Special Feature

Jennifer Manoukian on Zareh Vorpouni

Who was this writer who devoted his life to Armenian literature yet never managed to break into its canon?

Brother Anthony on Park Nohae

The fact that I have survived and did not die,
that is my hope.

Tim Benjamin on Pedro Lemebel

“the greatest poet of [his] generation, even though he didn’t write poetry.”

Galician Poetry Feature

Manuel Rivas, Three Poems

Translated from the Galician by Lorna Shaughnessy

In the tongue of Galicia
the creature with most names is the firefly.

Chus Pato, from The Face of the Quartzes

Translated from the Galician by Erín Moure

like petals on a corolla
speech too radiates from the signs

Gonzalo Hermo, Six Poems

Translated from the Galician by Harriet Cook and Patrick Loughnane

Who misses the feel of a flower
when you can touch the texture of a dream?

Eva Veiga, Ten Poems

Translated from the Galician by Jonathan Dunne

Mother,
the ships are leaving and I must go

Luz Pozo Garza, Nine Poems

Translated from the Galician by Kathleen March

Soon the time of total transparency passes
the words that slide over a passage of suns

Alba Cid, from Atlas

Translated from the Galician by Jacob Rogers

if light can propel a spaceship
do you still wonder who’s going to come out on top?

Lara Dopazo Ruibal, from claus and the scorpion

Translated from the Galician by Laura Cesarco Eglin

beyond the meadow and the sea is you
painful amador.

Ismael Ramos, from Firelights

Translated from the Galician by Neil Anderson

My mother drags a peach across her thigh.

Interview

An Interview with Tsering Woeser

History itself is the true “reader”.