Book Club

Inside the Mind That Falls Apart: Aron Aji and Selin Gökçesu on Lojman

September 21, 2023  |  in Book Club, Interviews  |  by Xiao Yue Shan

"Words by themselves don’t do much in literature; we encounter them inside syntax."

Our August Book Club selection, Ebru Ojen’s Lojman, is a vivid and absorbing novel that traces the depths and illusions of psychic agony, pulled along by a singular, poetic style. Within these flowing, absorbing pages of emotional surges, however, is a representation of how imposed orders and hierarchies can rob the individual of humanity. In this following interview, translators Aron Aji and Selin Gökçesu speak to us on the process of working with this language its rawness and its darkness, the narrative’s subtle political symbols, how it moves on from the Turkey’s social realist movement and its sociolinguistic history.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title. 

Xiao Yue Shan (XYS): Lojman is a book that unleashes its narrative and its characters on us. There are so many uncontrollable elements in it, but what reigns it in is the prose, which is so precise and lyrical. I’m wondering what it was like reading this book in the original Turkish—if there was that similar effect, and if there were stylistic elements you were seeking specifically to preserve in translation.

Selin Gökçesu (SG): Lojman is very immersive, beautiful, and lyrical and Turkish too. I don’t keep up with contemporary Turkish literature as much as I would like to, but within what I’ve seen come out, this book is very in its lyricism—but also its topic and voice. Part of the unruliness of the narrative can perhaps be attributed to the Turkish editing style, which is definitely more open than in the American publishing industry; different voices will enter and come out barely edited—which has its drawbacks. The final translation, after Aron put the final touches on it, is a lot more polished in English then it’s in Turkish, but it still has the spirit of the original.

But I will say that Lojman’s forcefulness and gushing and uncontrolled quality, the very untamed writing—some of that is a product of how open the Turkish publication system is. They’ll allow people in, and they’ll publish things with very little editing or external control. So you get these really raw, powerful stories in different voices. Turkish contemporary literature is maybe less middle-class than American literature, so the class boundaries of allowing different voices in is a little bit more flexible, resulting in such unique products. I’m so glad we came together and caught Lojman amidst so many books being published in Turkey. It’s really serendipitous that this landed where it did.

Aron Aji (AA): I agree with everything Selin said about Ebru’s voice and writing style. To add to that, I was in Istanbul with Ebru this summer—she just finished her new novel. It’s being edited, and hopefully will be coming out in the next couple of months. It’s an entirely different novel. The form is entirely different, the language is incredibly elevated, but there was something very, very similar to the way she built the main character. I asked her to tell me what she was trying to do, and she mentioned how people always talk about the author as the witness of a character’s life and an author as the witness of her time. Then she said, “I want to put the reader in a position of witness, and the way I can do that is by pushing the reader as far into the mindset of the main character as possible.”

As you know, the characters in Lojman are very damaged, to say the least; your review also shows how that damage becomes pervasive. Ebru really is a writer that doesn’t want to stand in the way of the reader, so she writes with this incredible euphoria. There is another Turkish author, Aslı Erdoğan (also published by City Lights), who writes with euphoria, but it’s a lot more controlled, oddly enough. What we have in Ebru is really the rawest possible witnessing of a mind falling apart.

So by choosing to do this as a co-translation, we actually mixed two voices and two consciousnesses into the process—the splitting of voices. I should also say that Elaine of City Lights was incredible in her later editing. And the more voices and consciousnesses we incorporated, the more we were able to crystallize the language, but also retain its rawness. READ MORE…

Announcing Our August Book Club Selection: Lojman by Ebru Ojen

August 31, 2023  |  in Book Club, Reviews  |  by Xiao Yue Shan

Ojen writes along the pulse, and everything she describes is powered by the thrashing motions of something holding on to life.

Lojman is a book that shows its teeth. In powerful, unflinching prose of malevolence and confinement, Ebru Ojen depicts the family unit as a condition in which the most abject of cruelties and annihilations are imagined, resulting in an unparalleled portrait of madness and oblivion. By pushing her characters to mental precipices, the author points us toward the emotional peaks of human existence, drawing blood in an open display of intense, battered aliveness.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title. 

Lojman by Ebru Ojen, translated by Aron Aji and Selin Gökçesu, City Lights, 2023

There’s something out there. Such are the familiar words that announce fear’s dramatic incarnations—a sudden violent churning along the horizon, a scream that shears the night-fabric, a figure separating itself from the darkness. The common portrait of horror is aiming its heavy steps towards us, drawing nearer with each quickened breath—a grasp, a suffocation, a descent inevitable as gravity, an opaque force and singular direction. We’ve all been stranded in this lingering vastness, certain of some unbearable thing that approaches, and yet this dreadful knowledge, of what may lie out there, is only an elementary stage in fear’s true theatre. Eventually, one finds a more intolerable, more defiling fact: something that does not pursue, does not invade—something that does not come scratching at our windows, but dwells already in the closest, most secret part of us, capable of everything and knowing nothing of order, nothing of control.

Ebru Ojen’s Lojman is a horror of intimacies. In brutal, visceral treads, it walks that demarcation separating the inside from the outside, revealing all that rages against walls both visible and invisible—the unspeakable violence of the precipice. And while the outside still holds the unknowable chill of our darkest suspicions, in Lojman, it is the inside where monsters are unleashed. The title, transliterated from the Turkish word for lodging, is the first indication of this novel’s form—as tightly fortified as architecture, and as taut and enigmatic as the human body. Through passages of incandescent maleficence and enthralled terror, we are led into the stifling, worldly containers that somehow manage to hold utterly uncontainable things—all that goes on in a house, all that goes on in a mind. We have been made so small in order to live, and that unbearable reality is given, here, for writing to bear. READ MORE…

Translating Multiple Dimensions: Sarah Timmer Harvey on Jente Posthuma’s What I’d Rather Not Think About

August 24, 2023  |  in Book Club, Interviews  |  by Daljinder Johal

Life isn’t one-dimensional; it’s a blend of emotions, absurdity, and different tones. . .

Jente Posthuma’s striking, moving novel, What I’d Rather Not Think About, delves into the aftermath of an unthinkable loss: the death of a twin. In tracing the patchworked life of a narrator who has long thought of herself as one-half, Posthuma explores the complexities of our most intimate relationships with evocative reflection and unexpected humor. This distinct work and our July Book Club selection has been translated beautifully by Sarah Timmer Harvey, resulting in razor-sharp prose that navigates the most intricate aspects of our selfhoods—how we are with one another. In this following interview, Harvey speaks about her discovery of this novel and her translation process, as well as the intricate journey of following this book’s many thought-paths and references. 

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title. 

Daljinder Johal (DJ): I’m curious about your background and your journey into translation. I read that you’re Australian-born but ended up living in the Netherlands, where you began reading and occasionally translating Dutch fiction and poetry. Was there a particular work that played a significant role in sparking this interest?

Sarah Timmer Harvey (STH): Of course. Back then, while learning Dutch, I relocated to the Netherlands at nineteen with the intention of staying for a year. That single year evolved into a fourteen-year stay. During this time, I was working at a university, which eventually led me to translation as a second career. It happened somewhat unexpectedly. I strove to read while learning Dutch, focusing on more accessible books such as Hermann Koch’s The Dinner and even Harry Mulisch’s The Discovery of Heaven—which, while not mainstream, deeply resonated with me.

READ MORE…

Announcing Our July Book Club Selection: What I’d Rather Not Think About by Jente Posthuma

July 27, 2023  |  in Book Club, Reviews  |  by Daljinder Johal

Posthuma develops an affecting novel about grief by embracing its full complexity.

Jente Posthuma’s What I’d Rather Not Think About delves into the closeness of a relationship that many find difficult to understand: the inextricable link between twin siblings. Through a delicately woven tale of memory, shared selfhood, and grief, the author takes us into the mind that struggles to understand a world shattered by loss, when one sibling dies and another is left to reconstitute the fragments. Poetic and surprising, Posthuma shows how even in the most intimate of connections, in another person lies the great unknown.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title. 

What I’d Rather Not Think About by Jente Posthuma. Translated from the Dutch by Sarah Timmer Harvey, Scribe, 2023

In short, poignant vignettes, What I’d Rather Not Think About is Jente Posthuma’s story of twin siblings: a brother who commits suicide, and a sister who is left behind. True to its title, the novel grapples with the narrator’s dark, complicated feelings of loss following the death of her brother, as she ruminates on the intensity of their relationship. In reflections of the siblings’ childhood and youthful dreams, tracing how these dreams changed or were lost on the way to maturity, Posthuma develops an affecting novel about grief by embracing its full complexity.

From its opening passage, Posthuma hints to the darker turn the twins’ story will take; the first memory shared is of the two experimenting with waterboarding as children, after seeing a film about Guantanamo Bay. To this, their mother sighs, accurately guessing that: “this has to be one of your brother’s ideas”. The untraditional game cleverly introduces their relationship, with the brother being more in control of their makeshift experiment, leaving the narrator coughing and spluttering from the experience. She asks her brother: “Why didn’t you help me?”, and only receives a single “sorry” in return. This pattern of behavior continues as adults, such as when the narrator joins her brother in a diving lesson, since “my brother expected me to follow him because that’s what I always did. If I wanted to go in a different direction, he would ignore me and keep walking.” READ MORE…

States of Alienation: Dana Shem-Ur and Yardenne Greenspan on Where I Am

July 19, 2023  |  in Book Club, Interviews  |  by Laurel Taylor

That’s a major part of translation: to make sure that it’s still the original book.

Our June Book Club selection, Dana Shem-Ur’s Where I Am, is a novel that looks intensely at the dissonances of daily life in the aftermath of migrancy, profoundly reaching below the surface of superficial comfort to read the disassociations and discontents that stem from being not quite in-place. Reaching into the mind of an Israeli translator named Reut who has settled in France, Shem-Ur constructs a map of navigations amidst cultural codes, languages, and physical agitations, drawing out the anxiety of belonging. In this interview, we speak to Shem-Ur and translator Yardenne Greenspan about this novel’s simmering frustrations and the new Israeli diaspora, and how they have both used language to reflect the confounding boundaries of our social fabric.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title. 

Laurel Taylor (LT): Dana, I’d like to ask you about what sparked the creation of this novel—particularly as you’re already a translator and scholar. How did Where I Am come about?

Dana Shem-Ur (DS): I come from a family of a female authors. My mom is a poet, and my grandma wrote over thirty books, so I always was involved in this world. In fact, when I was little, I didn’t even read a lot. I just wrote fiction, and even published a small novella of one hundred pages when I was about twelve.

Then I dropped it because I was engaged in studying history, and I channeled my life of writing into other domains. It was only later on, when I was in Paris for three years for my master’s degree in philosophy, that I just came home one summer and wrote the first few pages.

I think what generated this novel was my certainty that I would remain in France, and I would have a life there. I began writing this story about a woman who is twenty years older than me and lives in Paris, but she’s unhappy, and I think part of it was just a reflection of my fears. What will become of me? Will I become Reut?

LT: It’s almost like speculative autofiction?

DS: Yeah. I didn’t even notice it when I wrote it, but it was also inspired by a lot of characters that I met. No character in Where I Am is a real person, but the salon of people at the Jean-Claude household are all inspired by people I met and by these talks and these Parisian intellects, who I always found very fascinating; they are my friends, but throughout the period I lived there, I felt there was a barrier between us. I was always the observer who was looking at this spectacle, not completely present, like Reut. I’m very fascinated by foreign cultures, so it felt like something I needed to write about. READ MORE…

Announcing Our June Book Club Selection: Where I Am by Dana Shem-Ur

June 29, 2023  |  in Book Club, Reviews  |  by Laurel Taylor

Reut senses more and more how even common tongues can quickly become incommensurable walls, especially within the confines of her family.

In our global village, a great many of us have found ourselves in liminal states between cultures, countries, languages, and selves—whether in travel or in daily life. As the world becomes seemingly smaller, however, our internal universes have continued to expand and multiply, as demonstrated in Dana Shem-Ur’s penetrating and incisive novel, Where I Am—our Book Club selection for the month of June. Portraying the conflicts and multitudes of a woman inhabiting the very definition of a cosmopolitan life, Shem-Ur brilliantly encapsulates the alienations that pervade contemporary existence, tracing all the detritus of when an individual collides with place.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.

Where I Am by Dana Shem-Ur, translated from the Hebrew by Yardenne Greenspan, New Vessel, 2023

In the world of literature, the question of one’s own “where” takes on new dimensions. “Where” dances sinuously with class, language, education, climate, religion, politics, and more, each amorphous construct reinforcing and transforming the others, driving back the question of origin into the unknowable. The concept of “where I am” is dictated not only by the objective latitudes and longitudes of geography, but also by the subjective constructs that layer over each other—over “me” and “you.” Reut, the protagonist of Dana Shem-Ur’s Where I Am, translated from the Hebrew by Yardenne Greenspan, embodies this dance even more strongly in her position as a foreign resident and translator, amidst the confusingly cosmopolitan yet prescriptive Paris literary scene.

READ MORE…

A Pointed Atemporality: Mui Poopoksakul on Translating Saneh Sangsuk’s Venom

June 22, 2023  |  in Book Club, Interviews  |  by Barbara Halla

He's very aware of the rhythm and musicality of this text . . . he said it should take something like an hour and thirty-seven minutes to read.

In our May Book Club selection, a young boy struggles with a snake in the fictional village of Praeknamdang, in a tense battle between beauty and cruelty. In poetic language that is nostalgic for the world it describes without romanticizing it, Saneh Sangsuk creates a complex and captivating world. In this fable-like story there are no simple morals, in keeping with Sangsuk’s resistance to efforts to depict a sanitized view of Thailand and to the idea that the purpose of literature is to create a path to social change. In this interview with translator Mui Poopoksakul, we discuss the role of nature in the text, translating meticulous prose, and the politics of literary criticism.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.   

Barbara Halla (BH): How did you get into translation, especially given your law background?

Mui Poopoksakul (MP): I actually studied comparative literature as an undergrad, and then in my early twenties, like a lot of people who study the humanities, I felt a little bit like, “Oh, I need to get a ‘real job.’” I went to law school, and I worked at a law firm for about five years, and I liked that job just fine, but it just wasn’t what I wanted to do for the rest of my life. 

So, I started thinking, What should I be doing? What do I want to do with myself? I had always wanted to do something in the literary field but didn’t quite have the courage, and I realized that not a lot of Thai literature been translated. I thought, If I can just get one book out, that would be really amazing. So, I went back to grad school. I did an MA in Cultural Translation at the American University of Paris, and The Sad Part Was was my thesis from that program. Because I had done it as my thesis, I felt like I was translating it for something. I wasn’t just producing a sample that might go nowhere.

The whole field was all new to me, so I didn’t know how anything worked. I didn’t even know how many pages a translation sample should be. But then I ended up not having to worry about that because I did the book as my thesis.

BH: You mentioned even just one book, but did you have any authors in mind? Was Saneh Sangsuk one of those authors in your ideal roster?

MP: I wouldn’t say I had a roster, but I did have one author in mind and that was Prabda Yoon, and that really helped me get started, because I wasn’t getting into the field thinking, “I want to translate.” My thought was, “I want to translate this book.” I think that helped me a lot, having a more concrete goal. 

READ MORE…

Announcing Our May Book Club Selection: Venom by Saneh Sangsuk

May 31, 2023  |  in Book Club, Reviews  |  by Barbara Halla

For every moment of beauty, there is the shadow of cruelty hanging in the background.

A story about the dissolving borders between human and animal, life and death, love and cruelty, Venom by Saneh Sangsuk is a kind of philosophical fairy tale, with both danger and beauty always lurking at its edges. Told through shifting perspectives in poetic prose, this slim novel is densly packed with ideas and energy, providing a thrilling introduction to Sangsuk’s work for English-language readers.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.

Venom by Saneh Sangsuk, translated from the Thai by Mui Poopoksakul, Peirene Press, 2023

The world is full of poetry; the world is full of cruelty—this is not a contradiction. As I read Saneh Sangsuk’s deceptively slim novel Venom, I was reminded of Laura Gilpin’s “Two-Headed Calf.” At barely nine lines, Gilpin’s poem also has depth that reaches far beyond its brevity. The first stanza begins with a warning (that the idyllic pastoral will soon be disrupted), while the final stanza establishes a heart-wrenching and melancholic portrait of a recently-born, two-headed calf revelling in the light of the moon, “the wind on the grass,” and the warmth of its mother. The beauty of Gilpin’s poem lies in the way it holds two worlds in its lines, but also in how it makes possible for a cruel tomorrow to never arrive. In a sense, by returning to this poem, we are returning to a moment in another world where a two-headed calf—this “freak of nature”—is frozen in an eternal evening of joy and love.

I found in Venom the same sensations, the same negotiation between poetic beauty and cruelty. The former comes quickly and easily, as the book opens with a little boy contemplating a mesmerizing sunset in the Thai countryside: “Over the horizon to the west, the clouds of summer, met from behind by sunlight, glowed strange and lustrous and beautiful.” Additionally, the first thing we learn about this boy is that he was granted the privilege of naming his family’s eight oxen, and he had been eager to fulfil this task with care and artistic flare. He calls the animals by names like “Field, Bank, Jungle and Mountain—Toong, Tah, Pah and Khao,” and “Ngeun and Tong, Silver and Gold,” or “Pet, Ploy, Ngeun and Tong.” These group of names speak to him with prosodic logic: some rhyme, and others provide a chance for alliteration. All in all, they belong to a group of words that “sounded like [they] could be poetry,” a phrase that Sangsuk repeats twice. This act of naming, the author suggests, is an act of writerly creation. While the world is not inherently poetic, some people are more prone to make poetry from its elements. READ MORE…

A Weird Alchemy of Taste and Determination: Speaking with Taylor Bradley of Honford Star

May 25, 2023  |  in Book Club, Interviews  |  by Laurel Taylor

That’s what is cool about Specters—it tries to explore how government censorship affects the world of art.

South Korean author Hwang Yeo Jung’s scintillating, multi-layered novel, The Specters of Algeria, was our Book Club selection for the month of April; in a narrative that holds fictions inside facts, facts inside fictions, Hwang brilliantly builds and unravels with the double-speak and intimate language of life under authoritarian governance. This invigorating book has come to us by way of the East Asia-centric publisher Honford Star, a small press that has continued to undertake the vital and thrilling work of bringing groundbreaking writers to English-language audiences. In this following interview, Laurel Taylor speaks with the co-founder of Honford Star, Taylor Bradley, about their process from obtaining rights to publication, their mission and goals, and why The Specters of Algeria is such a special title.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.  

Laurel Taylor (LT): It’s been six years since Honford Star’s founding. What led you and your co-founder Anthony Bird to form this new publishing house?

Taylor Bradley (TB): Anthony and I had known each other since 2008, when we were both English teachers at the same school in Korea. Fast forward to 2015, my wife and I were on our honeymoon in London, where we met up with Anthony and his wife for a pint at this 300-year-old pub called the Chesire Cheese. Charles Dickens was a regular there, and perhaps feeling the inspiration of the Ghost of Literature Past, Anthony and I talked about how nice it would be to have a publishing company. I continued on my honeymoon and didn’t think about the conversation again until a few months later, when Anthony messaged saying he wants to publish the classic Korean author Kim Dong-in and asked me if I want in. I said yes.

Our purpose for starting a new publishing company was to bring a broader range of East Asian stories into English. At the time, we felt the types of books being published were from an extremely narrow band. For example, there hadn’t been much, if any, Korean sci-fi translated into English. We hoped to bring things from areas like classic literature, sci-fi, and queer fiction into English. Fortunately, I think that the translated field has changed a lot in the past eight years, thanks to the efforts of indie and university presses.

LT: You and Anthony were both already working in the publishing sphere prior to Honford Star’s founding, but I’m wondering if there been any unexpected challenges along the way? Unexpected rewards?

TB: We did have experience with printing and publishing, but we had never been in charge of doing an entire book. So finding good translators, editors, artists, printers, distributor, publicists, and sales team has been a journey of trial and error. We’ve been fortunate that our network has really grown into strong group of collaborators, and we have a great printer in Korea that can make the most gorgeous books. Our sales team are a group of wizards, and the distributor is very reliable.   READ MORE…

Announcing Our April Book Club Selection: The Specters of Algeria by Hwang Yeo Jung

April 27, 2023  |  in Book Club, Reviews  |  by Laurel Taylor

Fact and fiction are irrelevant.

Amidst the mysterious, intricate narrative of The Specters of Algeria, there is another elusive, shrouded text: the only play that Karl Marx had ever written. This absurdist work, which gives the novel its name, goes on to inflict immense violence onto a circle of close friends, initiated by the hotheaded crackdowns of a censorious regime. In her generation-spanning, multi-threaded debut, Hwan Yeo Jung spins a fascinating inquest into authorship, aesthetics, authoritarianism, and how such things resonate into our intimate relationships. As the arrival of an exciting new voice in Korean writing, we are thrilled to introduce this fascinating inquest into political and human nature as our Book Club selection of April.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.  

The Specters of Algeria by Hwang Yeo Jung, tr. from the Korean by Yewon Jung, Honford Star, 2023

In her theorizing of anti-neocolonial translation, Don Mee Choi has described the experience of speaking as a twin—in the context of a Korea divided by colonial powers in twain, existing inside a language that has been colonized and recolonized by invasion and annexation, Choi describes the act of translation from between two nations that have never technically stopped being at war. This twinning across history is an idea that came to me again and again as I read The Specters of Algeria by Hwang Yeo Jung, translated by Yewon Jung. Hwang Yeo Jung’s first novel, released in Korean in 2017, takes an incredibly cerebral dive into the minds of two childhood friends who do not quite understand the circumstances of their own upbringing. In seeking answers to the dissolutions of their families and friendships, Yul and Jing (who are also Eunjo and Hyeonga, and maybe also Yeonghee and Cheosul, and maybe also Lily and Marx) sink deep into the fog of memory and a historical era, whose sins are often swept under the rug.

This labyrinthine novel bears rereading, as moments that were baffling on first readthrough settle into clarity when revisited. In the first chapter, for instance, we learn that Yul’s father, Han Jiseop, is terrified of books and paper, burning every scrap he discovers in Yul’s secret keepsake box of Jing’s letters. As a child, Yul does not understand her father’s fear. It is only later in life that Yul learns her father was once a playwright who, along with the rest of his theatre troop (including Jing’s parents), was arrested for producing “seditious materials” about communism. The resulting violence against Jiseop and his fellows ripped their friendships, and in some cases even their minds, apart. When Yul comes upon Jing’s mother Baek Soi on Jeju Island, Soi’s mind has crumbled completely, able to remember only her son and nothing else. But inside her backpack is the titular play that caused them all so much anguish—The Specters of Algeria.

This play resurfaces in Soi’s broken mind, haunting her with memories of times before the break, and pointing to one of the key concepts of this novel—the importance of naming. In her mind’s eye, Soi travels back to recitations at gatherings when Yul was a child:

“What on earth does it mean for someone to feel something about something?” Jing’s mom asked.

“Do you want to be human?” my dad asked in return.

“Tell me a secret,” she said.

“A secret about what?”

“About anything.”

“Find a contradiction.”

“If I do, will you give me a name?”

“Why do you need a name?”

“Because I need courage.”

“Then I will.”

“What is my name?”

“Hammonia.”

“And who are you?”

“Who am I?”

“Fred.”

READ MORE…

Great Material for a Novel: Lucy Jones on Translating Brigitte Reimann

April 19, 2023  |  in Book Club, Interviews  |  by Samantha Siefert

The translation is always another chance to improve a piece of writing stylistically, ‎to make it really sing.

In our March Book Club selection, the sharp and passionate voice of German writer Brigitte Reimann paints a tender portrait of post-war Berlin, when the Wall has yet to go up, but lines have already been drawn, and devotions already divided. In an unflinching autofiction that finally sees an English debut after being long-adored in its original language, Reimann uses the materials from her own life to elucidate the deep ruptures carved into family by politics, the bright, early idealism of socialism in East Germany, and the hope that people hold to amidst the most tumultuous times. In this interview with the translator of Siblings, Lucy Jones, we discuss the storied history of Siblings, the political context necessary to this text, and the meeting-place between art and idealism.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.    

Samantha Siefert (SS): Lucy, Thank you so much for being ‎here to talk with us about Siblings. Can you tell us a little bit more about the road that led you to translation?

Lucy Jones (LJ): It’s probably not a very conventional one. I ‎graduated in German and in German language and literature, and then I actually didn’t do ‎anything with it for a while; I became a photographer. I did photography for about twelve years, and then I ‎came back to translation just after my daughter was born. This is when I went back to the roots of what I started out doing at ‎university.‎

I started by pairing up with a good friend who translates in the other direction; together, we’re Transfiction. She translates from English to German, and I translate ‎from German to English, and we’ve been going since about 2008.‎

SS: You’re known for being a huge ‎advocate for Brigitte Reimann’s work. Can you tell us a little bit about your background with her work in ‎particular, how you came to advocate for her, and eventually translate her?

LJ: Translators often do work as literary scouts or something in-between, and I came across Reimann ‎because I was in a seminar for translators in Berlin. There is quite a good infrastructure here, and ‎in that seminar we were visiting different publishing houses. During one visit, I was given a pile of her work, and it was ‎really warmly recommended to me. When I started reading, I realized—especially when I came ‎across her fiction—that it could have been written now as an historical novel. You didn’t have that ‎kind of patina from, you know, a novel from the past. It was more modern, as though it just happened to be set in the past. I found that really striking. READ MORE…

Announcing Our March Book Club Selection: Siblings by Brigitte Reimann

March 30, 2023  |  in Book Club, Reviews  |  by Samantha Siefert

Siblings transports us to post-war Berlin, when the lines were still being drawn around the nascent socialist dream.

In a time of deepening divisions, when the bipartisan nature of contemporary politics feels increasingly intimate and personal, Brigitte Reimann’s lauded autobiographical novel, Siblings, hits close to home. In a vivid and passionate depiction of a family torn apart in the division of 1960s Germany, Reimann writes with profound emotion about the brutal lines drawn by ideology, the inner turmoil of living under orthodoxy, and still—the bright ideals of socialism’s promises. As our Book Club selection for March, Siblings is a bold assertion of unities and divisions from one of East Germany’s best writers—a boundless voice speaking to the limits of individual perspective. 

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.    

Siblings by Brigitte Reimann, translated from the German by Lucy Jones, Transit Books, 2023

Much of translated literature focuses on fresh, contemporary voices, but projects that arrive after a long simmer hold the special promise of an enduring story, one that has earned its place in the cultural conversation; the work of Brigitte Reimann triumphantly takes this route towards English-language readers. Prolific and storied in the German sphere—where her work has never gone out of print, Reimann is a cornerstone writer of social realism and the German Democratic Republic. Born in 1933, she wrote prolifically from a young age, racking up literary awards from her school days until her untimely death from cancer in 1973, with her 1976 posthumous novel going on to become a bestseller and new, uncensored versions of her work continuing to attract new readerships. Siblings, winner of the 1965 Heinrich Mann Prize, is her first novel to be translated into English, following the 2019 publication of her diaries under the title I Have No Regrets—both translated by her persistent advocate, Lucy Jones.

Siblings transports us to post-war Berlin, when the lines were still being drawn around the nascent socialist dream. Formulated as an impassioned political debate, the novel follows young artist Elisabeth Arendt’s pro-socialist bent in a familial battle of virtues—East versus West—with her titular siblings. Her older brother, Konrad, has already defected. A former member of the Hitler Youth and an “elbow-man” who is used to getting his way, Konrad’s fate is of little consequence to Elisabeth: “I had nothing else to do than come to terms with the idea that I’d lost my brother (and lost meant permanently, for ever); a brother who was alive and well, sitting at a table with a white tablecloth a few streets from where I was, who would fly back to Hamburg the following morning, build tankers, save up for a Mercedes, sleep with his beautiful wife, go to the cinema, and carry on with his life.” Instead, her passion is directed towards her other brother, Uli, closer to her in both age and ideology, who has announced that he too will defect the following day: “I can’t stay here, I can’t breathe . . . I feel like a prisoner trapped behind bars, just stupidity and bureaucracy everywhere.” Set in 1960 before the construction of the Berlin Wall in 1961, defecting was not the daring escape it later became: at the time, when a person could simply walk from one side of the city to the other, weight of this journey fell firmly on moralistic grounds.

Elisabeth spares no conviction in arguing for the socialist dream. She is young and idealistic and works as a painter, charged with documenting the spirit of the factory worker through art. She herself lives and works at the factory, as was customary through a program known as the “Bitterfelder Weg,” designed to foster relationships between artists and workers and foment equality. The program’s ambition offers some of the most compelling writing in the novel, as Elisabeth shares her own revelation that the “production plant like any other, barren, flat land, milling with a few thousand workers building chimneys, halls and roofs, functional buildings made of glass or cold, dead concrete” may indeed be worth loving and fighting for.  READ MORE…

Translating at the Limits of Language: Lisa Dillman on Yuri Herrera

March 23, 2023  |  in Book Club, Interviews  |  by Georgina Fooks

[Herrera's] writing is for everyone on an individual level, regardless of education, regardless of language, regardless of national histories.

In Ten Planets, our February Book Club selection, the acclaimed Yuri Herrera made his short fiction debut in the Anglophone, featuring a myriad of worlds and inventions as seen through the author’s signature wit, playfulness, and fierce intelligence. Through the inspired language of his longtime translator, Lisa Dillman, Herrera elucidates the workings of humanity through a series of sci-fi miniatures, engaging with the philosophical queries of contemporary existence as only the writer can—through imagination. In this following interview, Georgina Fooks speaks with Dillman about the narrative-political, how she navigated Herrera’s neologisms and idiosyncratic style, and how such writing continues to push limits.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.   

Georgina Fooks (GF): Could you tell us about your relationship with the Spanish language and what brought you to translating it?

Lisa Dillman (LD): I’m sort of the poster child for study abroad programs. I was an undergraduate at the University of California, San Diego when I went to Barcelona for a year and fell in love with Spanish, and also with Catalan—with the creativity and the ludic qualities I found in these languages. I don’t want to essentialize and say that Spanish is a particularly ludic language, but I found the possibilities for play really enticing.

Honestly, I think my entrance into translation was just the result of returning from studying abroad and having very stereotypical experiences of talking to friends who had not gone—telling a joke or something, and them not finding it funny. And that was frustrating: why is this funny in Spanish and you don’t think it’s funny in English? That kind of challenge was something I found infuriating to begin with, and then fruitful afterwards to try to deal with.

I then ended up going to the UK to study translation at Middlesex, under Peter Bush. I had been in a Spanish literature doctoral program, but the US is really bad with translation programs and courses. There are more now, but none that I knew of at the time. In the UK and most other countries, translation is a proper field which you can study—so that’s what I did. I moved to the UK, I did my masters there, then spent subsequent years, you know, translating a short story, sending it to a journal by snail mail, waiting for five or six months to get a rejection letter, sending it out again, and eventually, finally I got somewhere.

GF: When did you first encounter Herrera’s work? And what motivated you to translate him? As you’ve translated all of his novels into English so far.

LD: I have. And I’m actually working right now on the one that came after Ten Planets. I had a friend who was asked to translate an excerpt for Symposia Way, which is the literary magazine of City of Asylum in Pittsburgh. The City of Asylum has writers in residence who are in exile from their home countries, and they were doing a series in which they asked the writers and residents to select one writer they thought deserved attention. Horacio Castellanos Moya selected Herrera.

At the time, it was just a short excerpt of  Kingdom Cons, which they published in their magazine, and I was thrilled to do it because it was immediately apparent that Yuri’s style is just so rich and nuanced and does so many different things at the same time. It struck me as incredibly poignant and beautiful, and very different from anything I had read. READ MORE…

Announcing Our February Book Club Selection: Ten Planets by Yuri Herrera

February 27, 2023  |  in Book Club, Reviews  |  by Georgina Fooks

Science fiction is Herrera’s springboard for a ludicrously inventive imagination.

Many are likely to be acquainted with celebrated Mexican writer Yuri Herrera by way of his novels, but in this latest collection of short stories, the author extends his brilliance to a vast array of disciplines and subjects. With elements of politics, philology, science, and storytelling, these tales not only display the talents of a master craftsman of language, but also an endlessly inventive imagination, a sharp humour, and a fascination with how this world—and other worlds—work. As our Book Club selection for the month of February, we are proud to bring to our readers this riveting constellation of ideas and dimensions.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD20 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.  

Ten Planets by Yuri Herrera, translated from the Spanish by Lisa Dillman, Graywolf Press, 2023

One of the simple pleasures of science fiction is the possibility of escapism—into another reality, galaxy, or dimension beyond our reach. In the vibrant imagination of Yuri Herrera, however, abandoning the rules of our world allows for a speculative fiction that unites fantasy with lucid reflections on contemporary culture, experimenting with the bounds of genre to create something uniquely Herreran. The twenty stories that comprise Ten Planets, astutely translated by Lisa Dillman, combine the philosophical musings of Borges with a characteristic humour and warmth, inviting us to explore the twenty-first century and beyond.

From a house that plays tricks on its inhabitants to a bacterium that gains consciousness in an unsuspecting Englishman’s gut, Herrera’s imagination works on scales both large and infinitesimally small. The stories cover distances ranging the interplanetary and the interpersonal while retaining a sense of warmth and wonder at the world, expanding beyond genre conventions with a wry humour that packs a surprising punch. Dillman, in an insightful translator’s note, reflects on her personal reservations towards science fiction until she read the works of Octavia E. Butler, within which she saw how science fiction can shake off the coolness of rationality by turning its attention to very human problems, the ones we experience on a day-to-day basis. Herrera’s work is exemplary of the best of the genre in that sense, joining Butler, Ursula K. Le Guin, and others in his ability to imagine a dazzling array of worlds that each speak to our contemporary anxieties—from technological surveillance in ‘The Objects’ and the absurdity of the terms and conditions tick-box in ‘Warning’, to real stories of alienation and societal marginalisation in ‘The Objects’ (two stories bear the same name—because why not be playful?). READ MORE…