Posts by Mary Hillis

Fall 2024: Highlights from the Team

November 13, 2024  |  in News  |  by Georgina Fooks, Joseph McAlhany, Julie Shi, Mary Hillis, Michelle Chan Schmidt, Sauvryn Linn, and Thuy Dinh

Looking to dip your toe in the new Fall edition but don’t know where to start? Check out these recommendations from our team!

The Fall Asymptote was a particularly special issue not least because of the focus on the ‘outsider’; many pieces resonated with the topic of alienation. In turn, the featured writers and translators—including many Asymptote colleagues—responded with sensitivity and care to questions of inclusion, liminality, and bordering. The most vital piece in the issue for me was colleague and editor-at-large for Palestine Carol Khoury’s translation of Bothayna Al-Essa’s The Gazan I Relate to. The translator’s note makes clear the stakes of translating even the title, and throughout the piece questions the limits of gestures of solidarity, especially when it is only the randomness of fate that means we are born in different nations, bounded by different borders, on one side, or the other. Al-Essa insists on the vitality of empathy but also the limits of solidarity; it is a piece that I am proud to see in the latest issue and I hope it spurs others to remember, reflect, and act.

He Wun-Jin’s short story “Guide Us, Chicken Booty!” (tr. Catherine Xinxin Yu) was a favourite, in its thoughtful exploration of grief for a trans sibling and the best way to remember them. As the title indicates, Yu translates with humour, but also with nuance, crafting a sensitive and moving text throughout.

Poet Ennio Moltedo (tr. Marguerite Feitlowitz) reflecting on the legacy of Chile’s neoliberal democracy in New Things was particularly potent, with a sharp critique of the limits of memory culture that feels even more potent since the failed attempt to reform the country’s  dictatorship-era constitution. Feitlowitz’s translator’s note demonstrates the thoughtfulness that is palpable throughout the translation.

It is always a joy to read Alton Melvar M Dapanas’s translations of Stefani J Alvarez (The Autobiography of the Other Lady Gaga is a favourite of mine from the archive) and Dear Sol continues with the question of life writing, reflecting on migration and loved ones left behind. The multilingual touches of Filipino and German paint an evocative picture.

From the Outsiders Special Feature‚ which seems to have set the tone for the issue more broadly‚ Odette Casamayor-Cisneros’s essay Home of the Maroon Women was a powerful read. Translated with skill and precision by Anna Kushner, the photos within the essay created a sense of history, of listening to and witnessing the Black women who have gone before. The voices of her family are braided with those of vital Black feminists: Audre Lorde; Maryse Condé’s grandmother,Victoire Élodie Quidal; Angelamaria Dávila; Victoria Santa Cruz. Casamayor-Cisneros reflects movingly on the journeys—both internal and external—that led her to the present moment, to the decision to stop running. Throughout, embodiment is key: “When Black women commit to fully living within and for our bodies, we become ourselves. We render our humanity too eloquent to be stifled, as we find the inner peace freeing from the external expectations that define us solely by our actions and roles for others.”

—Georgina Fooks, Director of Outreach

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What’s New in Translation: June 2024

June 10, 2024  |  in New in Translation, Reviews  |  by Christina Chatzitheodorou and Mary Hillis

New publications from France and Japan!

Exciting destinations are in your future with these selections from some of the most delightful new publications in world literature. Futaro Yamada takes us back to nineteenth century Japan with a scintillating mystery of imperial intrigue and murderous plots; and Eric Hazan takes us along the streets and districts of a Paris as seen by one of its most vital figures: Honoré de Balzac. Read on to find out more, and bonne journée!

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The Meiji Guillotine Murders by Futaro Yamada, translated from the Japanese by Bryan Karetnyk, Pushkin Vertigo, 2024

Review by Mary Hillis, Educational Arm Assistant

A driverless rickshaw, a bizarre sighting through binoculars, a corpse holding its own head—these are a just few of the perplexing scenarios that Chief Inspectors Toshiyoshi Kawaji and Keishirō Kazuki investigate in The Meiji Guillotine Murders by Futaro Yamada (pen name of Seiya Yamada).

The story begins in Japan after the Boshin War, in which the several domains fought against the Tokugawa Shogunate to restore imperial rule. During the Meiji period, strides to modernize the country continued, resulting in tumultuous changes to the economy, politics, and society. As officers of the Imperial Prosecuting Office, Kawaji and Kazuki are concerned with these developments, especially the role of justice within the new government. Both men are dedicated to their convictions, and early in the novel, Kazuki contends:

Corruption is, after all, the muddying of the distinction between the public and the private, between right and wrong. That’s why the public lost faith in the shogunate. Truly, it’s a good thing that it fell. And yet, the newly formed government is already showing signs of corruption. You ought to know this better than anyone. Otherwise, what was the point of our revolution? Or will there be another, and then another? Would it not be absurd to go on repeating it for all eternity? The government doesn’t exist merely to protect the people. Its aim must be the embodiment of justice.

One way Yamada renders this transformation and the accompanying influx of imported ideas and innovations is through the characters. Kawaji is based off of a real-life figure, the eponymous man who traveled as part of the Iwakura Mission to study systems in Western countries, and who is recognized as the founder of the modern police force in Japan. Kazuki, meanwhile, is a fictional character who returns to Japan from France to introduce the guillotine, and as the book’s title suggests, its chilling presence looms over the novel. There is a great deal of curiosity surrounding the new execution device, and when it is demonstrated at the prison, he addresses the doomed inmate:

“You are to be put to death, but in this enlightened age you shall be beheaded in the French fashion,” Kazuki boomed, as he clutched the hanging rope. “At least you shall have the honour of being the first in Japan to be subject to an experiment of this kind.”

In addition to Kawaji and Kazuki, another recurring character is Esmeralda Sanson, a French woman with an interesting family background. She is in the country working on translation projects; nevertheless, local residents are surprised to hear her speaking Japanese or singing ancient kagura songs. Often dressed as a shrine maiden, her features are captivating and give her an aura of mystique.

To Kawaji, her wide blue eyes seemed like a pair of mysterious jewels. Though he had seen them before, he could not help feeling mystified that such a beautiful creature could exist upon this earth.

After the introductory chapters, Kawaji and Kazuki investigate a confounding series of murders which juxtapose the old and the new: “A Strange Incident at the Tsukiji Hotel”; “From America with Love”; “The Hanged Man at the Eitai Bridge”; “Eyes and Legs”; and “The Corpse that Cradled its own Head.” Each begins with an excerpt from their reports filed with the Imperial Prosecuting Office, and finishes with a dramatic appearance by Esmeralda. These five baffling cases drive the narrative forward until they are ultimately connected and resolved in the final chapter. READ MORE…

Spring 2023: Highlights from the Team

May 1, 2023  |  in News  |  by Anna Rumsby, Heather Green, Mary Hillis, Megan Sungyoon, Michelle Chan Schmidt, and Sofija Popovska

Don’t know where to begin with our latest issue? Here are some personal recommendations from our amazing staff!

I read the Spring 2023 edition of Asymptote as the NBA playoffs began in the United States, and Damantas Sabonis (son of legendary Lithuanian player Arvydas Sabonis) and the Sacramento Kings faced the defending-champion Golden State Warriors in a first-round matchup. I was immediately drawn to the nonfiction piece “Liberating Joy” (tr. Delija Valiukenas) which centers the 2003 European Basketball Championships and the collective joy that the Lithuanian team, Žalgiris, inspired in their fans all over the country. Author Julius Sasnauskas, also a priest and monk, approaches the topic from his unique perspective, incorporating Catholic doctrine into his narrative which intertwines sports, culture, and national identity.

 —Mary Hillis, Educational Arm Assistant

Alaa Abu Asad’s interview with J Carrier, for the very nature of its form, felt at times reductive of his rich investigations into the everyday, but the poetry in Asad’s visual pieces aptly captures the sentiment of (un)belonging.

Resonating very much with Hannah Arendt’s quote “it wasn’t the German language that went crazy,” Yevgenia Belorusets’s interview with Eugene Ostashevsky begins with her love of the Russian language. It’s only right that “no language can be mobilized against the tremendous violence offered by war […],” and this renders many writers and artists hopeless especially in times of insurmountable physical and linguistic violence. Yet it is still, somehow, language that rebuilds one’s voice and keeps one conscious. Ostashevsky’s question is also very apt in this regard when he argues “the idea that any language can’t express the full range of human relations and emotions is false.” Belorusets’s answer, “maybe it’s easier for us to think that it is the language that is under threat,” is at once the most poignant critique of and piercingly emotional charge against the “easier” indictment of language.

—Megan Sungyoon, Assistant Editor (Poetry)

A highlight of our animal-themed Special Feature, Yolanda González’s “Song of the Whale-road”(tr. Robin Munby) is so dense and weighty in meaning that I feel the reader cannot but be transformed; the original piece, as well as the translation, so deftly compresses eons of whale-years and experience into an exceptionally moving and eloquent and elegant piece. I particularly love the ambiguity of the pronouns—it takes a few readings to wrap your mind around the narrative voices and personages, which further adds to the ‘darkness’ of the piece and the impression of coming out into the ‘light’ of mental clarity with each read.

 —Michelle Chan Schmidt, Assistant Editor (Fiction)

“Let it Go” by Mariana Berenice Bredow Vargas, has an urgent, propulsive rhythm in Forrest Gander’s translation, and, in the stunning audio version by the author, feels almost like a hymn, each mesmerizing, sweeping me into the vision of the poem. After reading the dazzling Present Tense Machine by Gunnhild Øyehaug (trans. Kari Dickson), I was thrilled to see “But Out There—Out There—,” a nonfiction piece by Øyehaug, this time in Francesca M. Nichols’s translation, and this essay is similarly, satisfyingly interior, funny, inviting, and surprising, although it is itself focused on the quality of “incompleteness,” which, for Øyehaug, makes writing a novel so difficult. The excerpt from Wu Ming-Yi’s Cloudland, translated by Catherine Xinxin Yu, is concerned with a relationship between text and life, which is similar to the relationship between dreams and experience. This delicate story of a man, following the traces of his late wife’s short story about cloud leopards, into a mountain forest, where he uploads mapping data and images into a cloud of a different sort, was one of the most memorable pieces in the issue, and I’ll certainly be keeping an eye out for the English publication of the novel. I’ve been intrigued by what I’ve heard of Mircea Cărtărescu’s Solenoid, but even if I hadn’t, Alex Lanz’s review would have been well worth the read for Lanz’s kaleidoscopic descriptions and grapplings with the book’s allusions and form, and with Cărtărescu’s “Bucharest, that ‘open-air museum’ of melancholia.”

 —Heather Green, Visual Editor

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Weekly Dispatches From the Front Lines of World Literature

March 25, 2022  |  in Dispatches, News, Weekly Roundup  |  by José García Escobar, Mary Hillis, and Nestor Gomez

Translation competitions, new publications, and poetry readings from Japan, Guatemala, and El Salvador!

This week, our editors from around the globe report on a translation competition and an event to support Ukraine in Japan, the publication of a harrowing new memoir from Guatemala, and a celebration of women poets in El Salvador. Read on to find out more!

Mary Hillis, Educational Arm Assistant, reporting from Japan

Give Artists a Voice was held on March 15 at the Goethe-Institut in Tokyo and live-streamed on social media. Organized by EUNIC Japan and E.U. member cultural institutions and cultural departments in Japan, artists expressed their support of Ukraine through music, film, poetry, dance, and talks. Joining from Kharkiv, contemporary artist Olia Fedorova read text in Ukrainian documenting life during the war. Poet Marie Iljašenko read “Five poems from collection St. Outdoor” in Czech and Yoko Tawada read “Auszeit von Menschheit” (“Timeout from Humanity”) in German. Michal Hvorecký, author of the novel Troll (published in Slovak in 2017), delivered a message on disinformation and literary translation as a vehicle for deeper understanding.

Earlier in the month, at Bungaku Days Spring 2022, the award winners of the JLPP (Japanese Literature Publishing Project) sixth International Translation Competition were recognized: English grand prize winner Grant Lloyd and Spanish grand prize winner Eduardo López Herrero. Contestants translated two texts, “Namiuchigiwa made” by Maki Kashimada in the fiction category and “Ojigi” by Kuniko Mukōda in the criticism and essay category. The original texts and winning translations can be read on the JLPP website.

Designed to both recognize and provide support for emerging translators of contemporary Japanese literature, the event began with a prerecorded video showcasing comments from the judges and messages from the top three awardees in English and Spanish respectively. Former contest winners Polly Barton and Sam Bett joined this year’s winner, Grant Lloyd, for a symposium on the topic of becoming a translator, moderated by Yoshio Hitomi of Waseda University. They discussed Lloyd’s prize-winning translations and also analyzed the challenges of working with stories, novels, and essays from Japanese, while revisiting steps on their journeys to becoming literary translators. The publishing panel was moderated by Allison Markin Powell and included Anne Meadows (Granta Books), Yuka Igarashi (Graywolf Press), and Tynan Kogane (New Directions), who discussed their points of view on pitching, the acquisition process, and barriers to publishing literature in English translation. The seventh edition of the competition is now in progress and entries are being accepted in English and French.

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Translating Past Into Future: Joshua Lee Solomon and Megumi Tada on Dialect Storytelling in Northeastern Japan

January 5, 2022  |  in Interviews  |  by Mary Hillis

No matter how different the languages are, there are similar emotions.

In their work introducing the rich tradition of oral storytelling in the Tsugaru dialect, Joshua Lee Solomon and Megumi Tada of Hirosaki University are moving beyond traditional geographic and linguistic boundaries. Having translated the unique folklore of northeastern Japan from its local vernacular into English, they’ve also facilitated a workshop combining English language education and studies of the region. In the workshop, students learned to perform the tales under the guidance of master storytellers from the preservation society Wa no mukashi-ko, and eventually performed in English alongside the storytellers performing in dialect. We discussed, via Zoom, the interrelated areas of translation, cultural preservation, and language education. Listening to their retellings of favorite folktales, I experienced firsthand how the emotions of storytelling—nostalgia, laughter, heartache—transcend space and time.

Mary Hillis (MH): Could you give some background information about the local Japanese dialect in Tsugaru?

Joshua Lee Solomon (JS): There is a lingering perception that the Tsugaru dialect is used by uneducated or somehow uncivilized people, and this is connected to a long history of prejudice against the poorer regions in northeastern Japan. The Tsugaru region was historically isolated for a very long time by mountains and its relative distance from the political and economic centers of the country, so it’s a repository of very old Japanese words.

One of my favorite examples of this is the word in the Tsugaru dialect of “udade.” Depending on the age of the person you’re talking to, they might say this word only means something really bad or uncomfortable, whereas young people are more likely to use it meaning cool and good—the same way you use “yabai” in contemporary standard Japanese (like certain expletives in English used in either positive or negative connotations). But actually, I think this word comes from the Manyoshu, which is an ancient collection of poetry. In the text, there’s the word “utate” and that word is an intensifier—meaning “extreme” or “very much.” In this way, there are older Japanese words that are kept in the current language.

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Weekly Dispatches from the Front Lines of World Literature

December 3, 2021  |  in Dispatches, News, Weekly Roundup  |  by Carol Khoury, Laurel Taylor, and Mary Hillis

Workshops, festivals, and plenty of new publications and announcements to celebrate in this week's round of literary news.

The “great moon of December” leads us into the final starts of 2021, though the literary world shows no signs of winding down. Let our editors introduce you to classical poetry reawakened, Arab literature awards, star-studded literary events in Tokyo, the latest from the European Literature Festival, and much more!

Carol Khoury, Editor-at-Large, reporting from Palestine

Once upon a time, the so-called ‘women’s magazines’ of today had a completely different form (though they were never truly intended for women per se). Back in the tenth century, there was a celebrated Shiʻite Muslim Arab court poet, master chef, and polymath called Kushājim; originally from Ramla in Palestine—near contemporary Tel Aviv—Kushājim lived during the turbulent war-ridden period of the Middle and Late Abbasid Caliphates, which led him to move between Jerusalem, Damascus, Baghdad, and Cairo before finally settling in Aleppo. During his lifetime, Kushājim was considered the epitome of excellence in literature, and was highly commended by the literary critics of his time, both for his poetic works and intellectual faculties. His canon “vividly chronicles culinary, social, and intellectual aspects of court life [. . .], detailing numerous native and exotic foodstuffs and recipes; the social etiquettes of sharing wine and food; the various musical instruments used at the time to entertain the caliphs and their guests; the harem with its cross-dressing male and female dancers, concubines, and odalisques; the wide variety of plants and geometric designs found in courtly gardens; indoor pastimes and outdoor sports; the art of gift-giving; and the traits of coveted courtiers and boon companions.” What does this resemble but the contemporary women’s magazine?

Ancient Exchanges, an online journal at the University of Iowa devoted to literary translations of ancient texts, has recently published four gastronomic poems by Kushājim—on asparagus, mushabbak, khushkanaj (both desserts), and pomegranates. Translated from classical Arabic by Salma Harland, the four poems are run bilingually, accompanied with art by ArabLit Quarterly art director Hassân Al Mohtasib.

In her translator’s note (which includes a teaching guide), Harland explains that “although the original poems were written in accordance with the fixed feet and rhyme schemes often used in classical Arabic poetry, I have chosen to prioritize aesthetic grace and readability over meter without completely eliminating musicality.”

One is invited to take a seat at Kushājim’s table, set by Harland, and to take in a feast by a master who “not only details the preparation methods and ingredients needed for certain dishes but also the impact that their elegant presentation has on the banquet guests. Mouths water and eager hands cannot keep their distance”; even “[a] sedulous ascetic would break his fast / and yield before such a repast.” READ MORE…

A Thousand Lives: Staff Reads from Around the World

October 7, 2021  |  in News  |  by Andriana Hamas, Janet Phillips, and Mary Hillis

A selection of staff reads from Asymptote’s Fortnightly Airmail!

When it comes to browsing the shelves and diving head-first into the wonderfully vast world of translated literature, sometimes you just need a little help from your friends. In this case—let us be your friends. Our editors are sharing their favourite reads to make sure that yours is time well spent.

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Readers already familiar with Nina Berberova’s fiction in collections such as Billancourt Tales, The Tattered Cloak and The Ladies from St. Petersburg will find her first novel—translated by Marian Schwartz—a surprising divergence in style from the lightness of touch and sparse but pungent details in her stories about small casts of characters grappling with challenges in their everyday lives. Written in 1928-29, The Last and the First (Pushkin Press, 2021) is a drama on a broader canvas about Russian émigrés in France struggling to decide whether to return to the Soviet Union or to throw all their energies into establishing a meaningful life in France, specifically whether to join Ilya, the messianic central character, toiling on the land in Provence. It is driven by a complex plot in which the true identities and motives of some characters are initially hidden, and stylistically has more in common with novels of the nineteenth century, Dostoevsky being the writer who springs most to mind for the intense and knotted emotional relationships between the main characters, their striving for some kind of salvation, as well as in the vivid and grimy descriptions of the backstreets of Paris.

—Janet Phillips, Assistant Managing Editor (Issue Production)

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A tale of two lives, that of a poetess living in the USA and of a Yazidi who saves the women of Sinjar, unfolds through a series of phone calls and a single face-to-face visit. In her pensive The Beekeeper of Sinjar (New Directions, 2018), masterfully translated from the Arabic by Max Weiss, the Iraqi-born Dunya Mikhail recalls her conversations with Abdullah, an ordinary man turned local hero, who has chosen to devote his days and nights to rescuing the innocent girls kidnapped by the militant group Daesh. Simultaneously a meditation on absurdity and a truthful account of real-life experiences, the book offers its readers a path to understanding the shifting values of a region long tormented by its past. The unimaginable loss and heartbreak that pour from every page are curiously accompanied by an almost inhuman ability to forgive, while the deceptively simple descriptions of misery bring home the scale of the disaster. Despite the traumatic events, however, the locals have managed to retain their purity and, what is more, to find time for the poetry of existence. As we all should.

—Andriana Hamas, Editor-at-Large for Bulgaria READ MORE…

A Thousand Lives: Staff Reads from Around the World

August 11, 2021  |  in News  |  by Carol Khoury, Eva Wissting, Kent Kosack, and Mary Hillis

Here to help you diversify your bookshelf, a selection of staff reads from Asymptote’s Fortnightly Airmail

If, as the adage goes, readers experience a thousand lives before they die, then readers of translated literature experience a thousand cultures without ever leaving their armchair. Set in Canada, India, Finland, Italy, and Jordan, here is a selection of international reads recommended by our staff for the newsletter. Get ready to be transported!

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The year is 1506. The great artist Michelangelo is furious at his stingy patron the Pope, “the bellicose pontiff who had thrown him out like a beggar.” But as one door closes, another opens in the form of an invitation from the Sultan of Constantinople to come to his city and design a bridge to cross the Golden Horn. Tell Them of Battles, Kings & Elephants, written by Mathias Énard and translated by Charlotte Mandell, is a feat of richly-imagined historical fiction that tells the tale of this sculptor’s journey. Michelangelo is abstemious and driven, consumed by his art and ego. But he soon succumbs to the charms of cosmopolitan Constantinople, its sounds and smells, its poets and performers. Yet dark forces conspire to thwart the artist from completing his designs. Intrigue. Assassins. Daggers in the night. Will Michelangelo complete his bridge and join cultures and continents? What will be the legacy of his journey? You’ll have to read it to find out.

—Kent Kosack, Director of Educational Arm

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Kjell Westö’s novel The Wednesday Club, translated from the Swedish by Neil Smith, takes us to Helsinki in 1938–ten years after the Finnish Civil War. The Second World War has not yet started, but Hitler and his policies are already a recurring discussion topic far beyond Nazi Germany. Lawyer and recent divorcee Claes Thune wants to keep the gentleman’s club with his three friends amicable but not only the world around them but also the past keeps intruding. As some of the friends start drifting apart, Thune finds a friend in his new secretary Matilda Wiik. But why is she so secretive about her background? Westö is one of the most highly praised Swedish-language writers in Finland. Although he writes poetry and short stories as well, it’s with his novels set in twentieth century Helsinki that he has truly established himself as a writer. Readers of the engaging and intriguing The Wednesday Club understand why.

—Eva Wissting, Editor-at-Large for Sweden

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Smita sends her daughter to the village school in Badlapur for the first time, an action that sets a daring journey in motion. Guila works in her family’s wig workshop, the House of Lanfredi in Palermo, but soon receives news that changes the course of their business forever. In Montreal, a successful lawyer, mother of two, and woman who has it all, Sarah’s priorities are about to shift dramatically. Laetitia Colombani’s The Braid, published by Picador in 2019, interlaces the stories of Smita, Guila, and Sarah—each on the precipice of change. Cinematic in scope and expertly translated from French by Louise Rogers Lalaurie, it is ideal for binge reading. Set in the present day, the alternating perspectives flow seamlessly and are further linked through a poem. Colombani creates a deeply personal tale of women building new paths upon generations of faith, culture, and tradition, while revealing unexpected ways in which our modern lives intersect.

—Mary Hillis, Educational Arm Assistant READ MORE…

To Learn the Wider World: The Summer 2021 Educator’s Guide

August 2, 2021  |  in Asymptote for Educators  |  by Anna Rumsby, Katarzyna Bartoszyńska, Kent Kosack, and Mary Hillis

Stories set in other places and cultures, written in different languages, widen the world; I try to bring that feeling into the classroom.

Since its inception in 2016, the Educational Arm has developed instructional materials to accompany select pieces from the nonfiction, fiction, poetry, drama, and visual sections of each issue of Asymptote. Now with twenty Educator’s Guides in our archive, and over one hundred lesson plans based on translations from over fifty different languages, teachers can truly experience the world with their students. We encourage educators to explore the myriad of ways Asymptote content can be adapted and used in their curriculums; most lessons can be readily applied in literature courses at the high school or university level, but are also flexible enough to be adapted for a variety of humanities classes such as English, creative writing, cultural studies, and modern languages. They can also be easily applied to engage lifelong learners at community centers or arts organizations.

The Summer 2021 Educator’s Guide features lesson plans based on a diverse array of texts from the latest issue of Asymptote, including nonfiction translated from Czech and Spanish, poetry from Brazil and Iceland, and visual art inspired by China and the U.S. In these lessons, students are invited to observe urban life through the lens of psychogeography; explore the multifaceted relationship between art, memory, and cultural identity; research poets and critically examine the concept of literary canon; and delve into the translation process while reflecting on their own experiences reading works in translation. We hope that the Educator’s Guide will serve as a springboard for the use of world literature in your own classroom.

In this following roundtable, four members of the Educational Arm—representing a variety of teaching contexts—sit down for a discussion about the Educator’s Guide. Anna Rumsby (English language teaching, U.K./Germany), Mary Hillis (English language teaching, Japan), Kent Kosack (creative writing, U.S.), and Kasia Bartoszynska (literature, U.S.) discuss their favorite lessons from previous Educator’s Guides—why they chose the pieces in question, how they adapted them, with additional discourse on teaching through the pandemic and the importance of reading world literature.

Mary Hillis (MH): How does translated literature fit into your teaching practice? Have you taught any lessons from the Educator’s Guide, or do you have any favorite lessons from previous guides?

Anna Rumsby (AR): I teach English to German speakers; most of my lessons revolve around the German school system, and therefore involve rather more pedestrian areas such as grammar and traditional style essays. As a relatively new addition to the Education Arm, I was deeply impressed and invigorated by the creative freedoms we enjoy in producing the incredibly unique material at hand, working from some incredibly talented authors and translators. It definitely highlighted what had sometimes been lacking for me in my other work. I suppose that, in a way, working on the Educator’s Guide means I can design lessons which I would love to teach, rather than those I teach day to day.

In the Fall 2020 Educator’s Guide, I was particularly struck by the lesson plan called “Writing About What is Lost,” on “Living Trees and Dying Trees” by Itō Hiromi, translated by Jon L. Pitt. I am a great lover of both folklore and the botanical world; my MA dissertation involves a lot of Black Forest folklore, and my partner is a gardener, so the exercise on the importance and meaning of trees in Japanese culture really struck me. It reminded me of strolling through botanical gardens in the pre-COVID age, being told the Latin names and significance of all the trees I pointed at. I love how the lesson plan uses Itō Hiromi’s work as a springboard for further research, which in turn explores specific topics in more depth.

Kent Kosack (KK): I’m glad you mentioned “Writing about What is Lost.” It’s a great example of what teaching world literature and literary translation can do—letting the students explore a different place, a culture or sensibility, and using it to learn more about the wider world. By the end of the lesson, they’re making connections to their own lives and—in this case—reflecting on what’s been lost. It’s difficult work, but especially during this pandemic, necessary and potentially cathartic.  READ MORE…

Beyond Human Subjectivity: An Interview with Jon Pitt

December 2, 2020  |  in Interviews  |  by Mary Hillis

There’s a kind of alchemy in the act of translation, especially with writers like Itō who explore the in-between spaces of cultures and language.

Itō Hiromi is one of the most well-known figures in contemporary Japanese literature, having made her mark with sensational and unabashed poetry, widely ranging essays, and award-winning novellas. In the essay published in our Fall 2020 issue, “Living Trees and Dying Trees,” she brings the reader from California to Kumamoto and back again, observing the changes of her life and nature in tandem—the distinction of which are rendered, at times, indistinguishable.

The most recent edition of the Asymptote Educator’s Guide features a lesson plan for “Living Trees and Dying Trees,” which encourages students to engage with this work in distinguishing intercultural patterns, identifying literary forms, and discussing translation and migration. Educator’s Guides are published alongside each issue of Asymptote, and include teaching ideas for educators who want to bring world literature to their classrooms; each Asymptote piece introduced in the guide is accompanied with contextual information. possible discussion questions, and writing prompts.

Jon Pitt, the translator of “Living Trees and Dying Trees,” is a professor of Japanese Environmental Humanities, and has long studied the intersections between literature and ecology. In the following interview, Asymptote Educational Arm Assistant Mary Hillis speaks with him about the resonances of environmentalism and migration in both Itō’s work and Japanese literature overall, as well as the increasing entwinement between ecology and art in the Anthropocene.

Mary Hillis (MH): I understand that in addition to working on a translation of Itō Hiromi’s Kodama Kusadama (Tree Sprits Grass Spirits), from which “Living Trees and Dying Trees” is excerpted, you are a professor of environmental humanities. How did you initially become interested in the environmental humanities? And how does this field relate specifically to Japanese literature, film, and sound?

Jon Pitt (JP): I became interested in the environmental humanities while I was pursuing my Ph.D. I entered graduate school with the intention of researching representations of city life in Japanese literature, but along the way I discovered that representations of the “natural” were just as compelling and complex. I started thinking about trees and how they appeared in so many of the novels I was reading, wondering what would happen if I took them seriously—as more than mere scenery or background to human action. When reading scientific texts about trees and forests, it struck me how new readings of literature might be possible if put into dialogue with scientific writing. I gradually learned that this kind of interdisciplinary approach was one of the key tenants of the environmental humanities, and that there was a growing number of scholars looking for ways to approach the study of literature or film by decentralizing the human.

Engaging with Japanese literature (or film or sound media) through an environmental lens helps address a paradox that many critics have pointed out over the years: namely that there exists a persistent myth of Japanese culture stemming from a unique, “harmonious,” relationship to the natural world, in spite of serious environmental degradation and resource extraction that stretches back centuries. How can both of these things be true? How have artists helped to promote a certain relationship with nature that may hide darker histories of violence against the natural world? I think the environmental humanities help us better understand these kinds of questions.  READ MORE…

Transporting Poetry Across Borders: On Teaching Ethnographic Poetry in Japan

June 12, 2019  |  in Asymptote for Educators  |  by Mary Hillis

With its multiple writing systems, Japanese seemed to lend itself particularly well to the task of writing multilingual poems.

Educator’s Guides are published alongside each issue of Asymptote and include detailed lesson plans that can be used with students of literature, language, or writing. The Asymptote website has additional audiovisual materials, translator and author bios, and works in the original language, making it a valuable educational resource. The most recent issue of the Educator’s Guide can be found on the Asymptote for Educators page.

This article describes the lesson plan Language in Transit: Understanding Ethnographic Poetry from the Asymptote Summer 2018 Educator’s Guide. The piece, from House to House, consists of two poems, “House to House” and “Barjeel,” both of which were written and translated by Shamma Al Bastaki. These poems are part of her undergraduate senior project based on interviews she conducted with people living in the United Arab Emirates. Although she has translated the poems into English, some words or phrases are transliterated, while others are left untranslated and remain in the original languages. From the translator’s note, we discover more about the role of language in the piece:

. . . it is a project about language: language in translation, language as bearer of meaning and medium for story telling, language as a catalyzer of communion and communication, language as sound and a series of phonetics, and language as physical material, existent for its own sake.

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