Posts by Rachel Stanyon

What’s New in Translation: November 2024

November 11, 2024  |  in Reviews  |  by Eva Dunsky, Jonathon Atkinson, Rachel Stanyon, and Xiao Yue Shan

Discover new work from Denmark, Mexico, Palestine, Spain, Argentina, Japan, France, and Taiwan!

In this month’s review of newly released titles, we’re looking at works from Denmark, Mexico, Palestine, Spain, Argentina, Japan, France, and Taiwan. From a haunting volume of ecopoetics to the first book in an acclaimed metaphysical septology, from powerful anticolonial verses to a meditation on the art of translating, read on for some of the best work being released now in English!

Balle CALCULATION vol1 rgb

On the Calculation of Volume (Book I) by Solvej Balle, translated from the Danish by Barbara J. Haveland, New Directions, 2024

Review by Rachel Stanyon

After an unremarkable day spent on a business trip in Paris, Tara Selter is enjoying breakfast in her hotel when it strikes her that it is yesterday again. In the first book of Solvej Balle’s seven-part On The Calculation of Volume, Tara’s eighteenth of November begins repeating itself.

What possibilities exist upon the dawning of an old day? Are there wrongs to right, missed opportunities to seize, risks to take or temper? Balle’s heroine does not seem to perceive any such problems or desires; she likes her fairly routine job as an antiquarian book dealer, and works alongside her husband, Thomas, whom she loves. She does not seem to want for nor regret anything, and has blind faith in Thomas, who believes her when she tells him about her repeating days (at least the first umpteen times).

So why has her time “fallen apart”, and what can be gleaned from observing this procession of almost identical days—slowly, meticulously, rhythmically—through the diary Tara keeps? (In this version of eternal return, some of Tara’s physical imprints on the world remain indelible.) Book I details a year (the first of many?) spent haunting the all-too familiar patterns of her husband, all the while lost in loneliness and musing on the volume of her existence. Is she an all-consuming “beast, a pest” or a “tiny monster in an immense space”? READ MORE…

Where the Change Comes From: Saskia Vogel on Translating Balsam Karam

February 22, 2024  |  in Book Club, Interviews  |  by Rachel Stanyon

Here are the losses. Just listen this time. That directness is so wonderful.

In The Singularity, Swedish author Balsam Karam instills a startling and deeply profound gravity within the devastating fractures of life—mothers who lose children, migrants who lose countries, and the emotional maelstroms stirring at the precipice of disappearance. With an extraordinary style that exemplifies how poetics can search and unveil the most secret aspects of grief and longing, Karam’s fluid, genre-blurring prose is at once dreamlike and harrowingly vivid, with the remarkable sensitivity of translator Saskia Vogel carrying this richness through to the English translation. We were proud to select this novel as our January Book Club selection, and in this following interview, Vogel speaks to us about how Karam’s writing works to destabilize and shift majority presumptions, as well as how literature can echo, verify, and perhaps change the way we live.

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. 

Rachel Stanyon (RS): How did you come to Balsam Karam’s work?

Saskia Vogel (SV): I first encountered Balsam’s work through Sara Abdollahi, one of my favorite literary critics in Sweden—she’s full of integrity, and really cares about literature and its transformative potential. She had done a podcast with Balsam, and their conversation really struck me, especially Balsam’s extraordinary representation of solidarity. This is exemplified in her first novel, Event Horizon, which, as I understand, is connected to The Singularity like a kind of diptych; they’re of the same world, and written with the same sorts of strategies—for example, a lot of the details of place, location, and identity are unstated. I find this aesthetic really compelling.

Balsam assumes that she’s writing into Sweden and a majority white culture, and she doesn’t want to give people an easy out where they can say, “I’ve been to Beirut. It’s not exactly like that.” She instead strips away detail and, in The Singularity, focuses on loss and the effects of war on individuals, as well as on migration and racism.

Another extraordinary feature of her prose is that the white gaze is decentered, which works to shift how the presumed audience reads and perceives some of the most pressing and potent human experiences of our time. She moves us away from the particularities of politics, and tries to make us understand what it feels like to be in a certain position. In that way, she really encourages and facilitates a deep growth and compassion—if you’re open to it, I guess. READ MORE…

Announcing Our January Book Club Selection: The Singularity by Balsam Karam

January 31, 2024  |  in Book Club, Reviews  |  by Rachel Stanyon

Karam stretches the limits of conventional narrative writing. . . the result is a work of true formal experimentation without . . . artifice.

With inimitable lyricism and an impeccable sense of balance, Balsam Karam’s The Singularity addresses some of the most complex elements of contemporary social reality. Yet, even as the thrilling narrative is intricately braided with the brutal realities of loss, displacement, motherhood, and migration, the novel’s innovative structure and bold, surprising style elevates it beyond story, revealing an author who is as precise with language as she is with illustrating our mental and physical landscapes. In starting off a new year of Asymptote Book Club, we are proud to announce this work of art as our first selection of 2024.

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 Singularity by Balsam Karam, translated from the Swedish by Saskia Vogel, Feminist Press/Fitzcarraldo, 2024

Meanwhile elsewhere—two women perched on the precipice in a tangential encounter, spun together by forces outside their control, as if in the singularity of a black hole. One woman is about to jump off the edge, bereft after the loss of her teenage daughter; the other will frame this moment as the beginning of the end for the child in her womb. No need for spoiler alerts here: what might feature as the climax in a more conventional narrative is laid bare in The Singularity’s prologue. That it nevertheless remains absorbing to its very end is a testament to the depth of feeling and dexterity with which the Swedish-Kurdish novelist Balsam Karam orchestrates the rest of this novel about grief, loss, migration, and motherhood.

Given this jarring beginning and its atypical (or absent) narrative arc, it is perhaps no wonder that as the rest of this novel unwinds, we are met with multiple displacements in time and perspective, echoing the geographical dislocation of the two central figures—both of whom are refugees—and the all-encompassing, omnipresent nature of the trauma they experience.

Before throwing herself off a tourist-thronged cliff in a bullet-ridden city, the first woman has been searching for The Missing One­: her seventeen-year-old daughter, who never came home from her cleaning job on the corniche a few months earlier. After fleeing from their home, receiving scant help from the relief organization that occasionally visits with a “hello and how are you all then here you go and we’ll be back soon, even if it’s not true,” and finding little sanctuary living in a tumble-down alleyway at the fringes of this unnamed city, the mother seems to experience the disappearance of her daughter as the final loss that makes her lose herself. “What mother doesn’t take her own life after a child disappears?” the first woman asks the universe, or “when a child dies?” the second woman asks her doctor. READ MORE…

Asymptote at the Movies: The Unbearable Lightness of Being

September 13, 2023  |  in Asymptote at the Movies  |  by Ian Ross Singleton, Michelle Chan Schmidt, and Rachel Stanyon

Kaufman’s film strikes me as an example of domestication masquerading as foreignization. . .

When Milan Kundera’s The Unbearable Lightness of Being was published, readers lauded the Czech writer’s delicately choreographed story of individual lives pulsating through social and political forces, and soon, the book was hailed as a classic. Philip Kaufman’s adaptation, written with the acclaimed novelist and screenwriter Jean-Claude Carrière, was released four years later, in 1988—despite the director admitting that he had considered the book’s “elaborate, musical structure” to be “unfilmable.” In this edition of Asymptote at the Movies, our editors take a look at the works of Kundera and Kaufman in a discussion that ranges over domestication, kitsch, and the two artists’ respective treatments of “lightness” and “weight.”

Michelle Chan Schmidt (MCS): Let’s clear the elephant out of the room; Milan Kundera famously disowned the film adaptation of The Unbearable Lightness of Being as “[having] very little to do with the spirit either of the novel or the characters in it.” In other words, Kundera felt that his novel’s “aura,” his authorial intent, was not translated well to Philip Kaufman’s screen. Much has already been said about the differences between the two works, especially in Patrick Cattrysse’s analysis of the adaptation. For one, the film elides the novel’s heterodiegetic narrative voice, instead inserting three expository intertitles at the film’s opening. It then never uses intertitles again. As such, the film’s narrative movement takes place at a distance, never immersing itself in its characters’ interior moral or emotional discontinuities. For me, this perspective erases a significant part of what makes reading The Unbearable Lightness of Being such a scintillating pleasure. The novel reads like a mirror, a commentary on the kitsch and contradictions inherent in human nature; the film reads like, well, a screen, projecting an image of kitsch without penetrating it.

The film’s chronological order also undermines that omnipresent, digressive, ironic voice, which swerves between focalizations and temporal frames to reveal the mind behind the speaker. I visualize it as a white expanse of space in which Kundera’s narrator, leaning forward on the edge of a stool behind a control panel, holds forth on the dialectics of “einmal ist keinmal.” In my view, the film opts for what we might analogize as a domesticating approach; it mechanically “reproduces” Kundera’s Czech novel in the traditional codes and modes of a Hollywood production, complete with primarily Western European actors. Kaufman’s direction untethers his film from the burdens of voice, nonlinearity, and metaphor, resigning the narrator’s ponderings on eternal return to a few hasty lines of dialogue. What does the novel’s aura, and its reproduction in the film, mean to you both? Is the film a product of lightness or of weight?

Ian Ross Singleton (IRS): I’ll start by answering your last question; I think the film is more of a weight, while the novel’s aura is, on the other hand, one of lightness. I agree with you that we can put aside a more superficial discussion of the differences between the film and novel—a friend of mine said that no film can ever reproduce a novel well, and I have to admit that any exception I can come up with is rare. It is interesting, nonetheless, to discuss, as you do, the quality of the transmutation (in the sense of Roman Jakobson’s idea of intersemiotic translation—that of verbal signs by means of a nonverbal sign system) of the novel into film. READ MORE…

Any Single Thing: On Dorothee Elmiger’s Out of the Sugar Factory

August 2, 2023  |  in Reviews  |  by Rachel Stanyon

Instead, “love” seems to be closely associated with research; with storytelling and the (im)possibility of comprehensive communication.

Out of the Sugar Factory by Dorothee Elmiger, translated from the German by Megan Ewing, Two Lines Press, 2023

How do you write about a book that is itself concerned with what it is about; that covers a vast array of seemingly disparate but fundamentally deeply interconnected topics in a fragmentary, multi-genre, looping montage; that is both tentative and unashamedly demanding; that is hyper-meta yet written in language that is refreshingly unselfconscious; that is so preoccupied with form and origins that it defiantly eludes attempts at endings? What can you say a book that has already said so much about itself?

You could say that, fundamentally, Out of the Sugar Factory is about exactly what its title suggests: sugar and production. In thinking and trying to write about this book, though, such a statement seems entirely insufficient—for this text, with tales spanning from the 16th century to the present day, is equally about love, desire, slavery, capitalism, the art of writing, artifice, self-representation, subjection, the Haitian revolution, religion, anorexia and mania—and utterly exhaustive, since all these parenthetical topics are ultimately also symbolised by sugar and its production. In this kaleidoscope of ever separating and reconnecting topics, full of “objects [that seem] to enter into new relationships, new constellations with each other”, Dorothee Elmiger—or rather, the narrator she pens—is perhaps suggesting that any single thing, if examined both broadly and closely enough, can lead us to everything else (are we singing along with Lauryn Hill that ‘Everything is everything’?); or perhaps she is suggesting that, haunted as the early twenty-first century is by the spectre of colonialism and its aftermath, we are saturated in sugar (some things are more omnipresent than others). Then again, maybe she is implying both or neither of these things, or even that the search for a metanarrative is futile: as Elmiger writes, “I thought I had to somehow gather everything together . . . but now things are imposing themselves on me virtually—I see signs and connections everywhere, as if I had found a theory of everything, which is of course utter nonsense.” READ MORE…

What’s New in Translation: June 2023

June 12, 2023  |  in New in Translation, Reviews  |  by Rachel Stanyon, Samantha Siefert, and Xiao Yue Shan

New work from Shumona Sinha, Dorothy Tse, and Berta Dávila!

In this month’s selection of the best in translated literature, our editors present a selection of texts that range from the intimate, to the surreal, to the furious. From Galicia, a mother writes a poetic rumination of abortion and post-partum depression. From Hong Kong, a love story unfolds between two unlikely characters as the city clamours in protest. From France, an interpreter gives a searing account of the immigration system and its many failures, in the aftermath of her own violent act.

the dear ones

The Dear Ones by Berta Dávila, translated from the Galician by Jacob Rogers, 3Times Rebel Press, 2023

Review by Samantha Siefert, Marketing Manager

Five years after becoming a mother, a woman chooses to have an abortion. This uneasy duality forms the premise of Galician author Berta Dávila’s intimate, probing exploration of motherhood in her memoir, The Dear Ones, now available in an excellent English translation by Jacob Rogers. “It takes nine months for a child to form in the womb and be born, but no one knows how long it takes for a mother to do the same,” Dávila muses, never pretending to know or even seek a precise answer to the unstated question, instead dedicating this short but intense novel to articulating plainly the spaces between the themes of motherhood—the ones discussed openly, and the ones that are not.

READ MORE…

Writing Against Tradition: A Conversation with Stênio Gardel and Bruna Dantas Lobato

February 23, 2023  |  in Book Club, Interviews  |  by Rachel Stanyon

I’d like to think that when people read my book and looked at that environment, they could perhaps question their own privileges and prejudices.

In his debut novel, The Words That Remain, Stênio Gardel’s draws out the sublime transformations that language enables. Written in the vivid mind of Raimundo, an illiterate, gay man from rural Brazil, the novel depicts the after-effects of violence, the burden of shame, the pain of unrequited love—and movingly, how learning how to read and write in his old age has transformed all these experiences. We were proud to present this one-of-a-kind novel as our January Book Club selection, and in this following interview, Gardel and his translator, Bruna Dantas Lobato, talks to us about underrepresentation of Brazil’s northeastern region, queer literature, and combating prejudices with writing. 

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. 

Rachel Stanyon (RS): Firstly, I’d like to congratulate you on this wonderful debut novel. Could you tell us a bit about your paths here?

Stênio Gardel (SG): I started really dedicating myself to writing at the end of 2016. Before then, I’d only had a strong desire, and was storing everything I’d tried to write in computer files or drawers. I had carried this desire for a very long time—since I was twelve or thirteen years old—but never had the courage or the initiative to start, nor the dedication required to become an author. Then, at the end of 2016, I started taking classes with the writer Socorro Acioli, and everything changed from there. I learned a lot from her, and that was where The Words That Remain started.

Bruna Dantas Lobato (BDL): Like Stênio, I was also born and raised in the northeast of Brazil, but when I was about seventeen, I got a scholarship to go to a boarding school in New Hampshire for a while—I had the colonized dreams of speaking French and Latin—and then ended up going to college in New England. I stuck around, went to grad school in New York, and somehow became an immigrant in America.

I’d wanted to be a writer since I was a child, but it was when I found myself as a foreigner for the first time that I realized I was also already a translator; I didn’t really get to choose it. There were so many books I loved that I wanted to share with the people around me in my new life, and I was also continuously writing, so translation—translating Brazilian literature—felt like a way to be my full self again. I was an English major and then a comparative literature major, but it was still very Western, and it felt like I had renounced this huge part of myself. To feel like my full self again, I started translating a bunch in my free time, and took translation classes.

That’s what eventually brought me to Stênio’s work. I was committed to translating books from the northeast of Brazil, which is so underrepresented both in Brazil and abroad, because obviously writing from the big metropolises like São Paulo and Rio always gets a lot more attention. I really wanted to bring the kind of life I knew into the life I live now and into the English language. It’s an honor to translate a book like this one. READ MORE…

Announcing Our January Book Club Selection: The Words That Remain by Stênio Gardel

January 30, 2023  |  in Book Club, Reviews  |  by Rachel Stanyon

The necessity of casting off shame and regret, of rejecting violence instead of our identities, are crucial messages in this book.

In Stênio Gardel’s The Words That Remain, everything hinges on the unfolding of a page. Through the Brazilian author’s vivid prose, a world unfurls between the covers: of unrequited love, of shame and survival, of rurality and history—all of it circulating a letter that its protagonist has never opened. Asymptote is proud to present this incredible debut work as our first Book Club selection of the year, a book that merges its triumphant celebration of language with the pivotal interrogation of marginalization, all along the long journey towards self-acceptance.

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 Words That Remain by Stênio Gardel, translated from the Portuguese by Bruna Dantas Lobato, New Vessel Press, 2023

Much like the relationship that dominates it, The Words that Remain is just long enough to leave an indelible impression—but finishes in a flash. Stênio Gardel’s debut novel packs a literal and figurative punch, its brief pages flecked with contrasts: pleasure and pain, pride and shame, love and violence, peace and regret, strength and submission, what is spoken and what is kept silent. The storytelling moves fast, spanning half a century in its 150-odd pages, but Gardel’s sparse prose never creates a sense of freneticism. Through swirling reflections, the novel moves like a steady whirlwind, conveying inner turmoil and external inaction, punctuated by powerful, sometimes devastating change.

The Words that Remain tells the story of Raimundo Gaudêncio de Freitas, who paints his life as framed by two transformative events: learning to read and write at age seventy-one and falling in love at seventeen. Almost everything between the book’s covers oscillates between these two experiences, the chasm between them held taut by a letter—“half blessed, half cursed, wholly mysterious”—that he has never before been able to read. Penned by his past lover, the letter hangs over his life like a talisman, a burden, and a beacon of hope all in one.

Raimundo is gay. He and his lover, Cicero, are able to embrace their sexuality and one another for two years, but always with the fear of rejection from their families and community persisting in the background. This is rural Brazil in the 60s and 70s, and life is hard. Prevented from going to school by his father at an early age because “writing was for people who don’t need to put food on the table”, Raimundo must instead do backbreaking work to help support his family through floods, poverty, and infant death. While he longs for an education and the freedom to live with Cicero, the harsh realities of working-class life and widespread bigotry are so pervasive as to be almost completely internalised: being together gives them “a good taste, but [one] that left something sour in the back of their minds”, and even when they fantasize about living together, it is only imaginable in a big city—where no one will know they are more than just roommates. Sadly, their fears prove to be well grounded; when their families find out about their relationship, they are forbidden from seeing one another, and Raimundo is beaten mercilessly by his father for days, until he is driven away by his mother. In the long aftermath of this rejection, Raimundo thinks of himself as fated to wandering in a shadowy husk, his sexuality locked away, his life and love suspended in Cicero’s impenetrable letter, completely opaque like Cicero’s own destiny. READ MORE…

What’s New in Translation: September 2022

September 12, 2022  |  in New in Translation, Reviews  |  by Andrea Blatz, Irmak Ertuna Howison, and Rachel Stanyon

We review new releases from Romania, Guatemala, and Turkey!

In these brilliant feats of literature, three writers drive the vehicle of language through time and space to learn profound, painful, and complex truths about history and our inheritance of it. From Romania, Zsolt Láng braids imagination and reality to paint multitudinous portraits of the individual and society. From Turkey, Defne Suman tracks a family through present hauntings into the dark, deceptive recesses of the national past. From Guatemala, Eduardo Halfon opens up the question of a name as it is passed down through generations, delving into the chasm between who we are and what we are called. Read on to find out more. Also, for the first time since the magazine’s inception, we have included affiliate links to books under review. Please take note that we may receive a small commission for purchases made through these links, which will go toward supporting our mission of advocating for greater inclusiveness in world literature. Other ways include joining our Book Club or becoming a sustaining member. 

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The Birth of Emma K. by Zsolt Láng, translated from the Hungarian by Owen Good and Ottilie Mulzet, Seagull Books, 2022 

Review by Rachel Stanyon, Senior Copy Editor

What a swirling, kaleidoscopic reading experience. Zsolt Láng’s The Birth of Emma K. is a cracker of a book—albeit one that forces readers to commit to intricate twists and turns, before arriving at meaning within its refracted reflections on modern life.

Láng—a Hungarian writer from Transylvania, Romania—presents a plethora of perspectives in these twelve short stories, but unites them through a shared narrative style that constantly questions and blurs one’s sense of reality, while never quite descending into fantasy. The stories themselves are often equivocal, with endings that invite conjecture or remain opaque, and the plotlines that lead to these often ambiguous conclusions are full of hypotheticals, the language replete with conditionals and revisions, making every situation feel provisional and emphasising the contingent nature of the world.

The characters, meanwhile, are often driven by love, lust, hatred, or other forces of reproduction, but often also seem adrift, questioning their existence. This is evident from the very opening of the collection, which sees God observing and vacillating over the degree to which he should—and is able to—intervene in the lives of his creations. This version of God is not only not omnipotent, he has a heightened, anxiety-inducing awareness of the potentially negative consequences of his actions, and prays to another higher being that gave him his “not-quite-absolute power.” In the collection’s arch postmodernist style, which seems to use this initial framing by a semi-powerful God to parallel the figure of the author, scenarios are constantly retracted and resketched, and we are often told what is not happening, rather than what is:

That our Lord was sitting or standing about on the side of Gellért hill, at the top of Számadó street near the Sióvölgyi family’s villa, would be an exaggeration. Our Lord doesn’t tend to sit or stand about, he floats. But just so we aren’t constantly searching for words and forever refining what we come up with, let’s postulate that we’re not talking about the Father or the Holy Ghost, we’re talking about the Son, and then we can confidently say that there stood the Son of God…

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The Work of Feminism: On Elena Medel’s The Wonders

June 2, 2022  |  in Reviews  |  by Rachel Stanyon

Alicia and María constantly think about the other women missing from their lives.

What makes us who we are, what shapes and defines us? Is it the country that we come from or the language we speak? Is it our sex or sexual orientation? The generation or political system into which we were born? Is it our job, the class we belong to, or the education that we are privileged with or denied? Is it our family, and, if so, as one character from Elena Medel’s The Wonders puts it, “What if genes determine your character, not just your eye colour or the shape of your mouth?” And in all this, how much is pre-ordained, what role is there for choice and free will?

Medel’s debut novel,  translated from the Spanish by Lizzie Davis and Thomas Bunstead, does not presume to offer a single, clear-cut answer to these questions, but one thing is obvious right from the start through the Philip Larkin quotation she has chosen as an epigraph: “Clearly money has something to do with life.” Weaving together the stories of three generations of women from a single family over the course of half a century, from the ’50s to the death of Franco in 1975 to the 2018 Spanish Women’s Strike, the novel seems to suggest that gender clearly has something to do with it, too.

As the novel opens, Alicia (the third generation in the family), finding herself without “so much as a used tissue,” feels uncomfortable from the sense of material limbo. Even at the age of thirteen, she understands that “money tempers [mediocrity], helps to conceal it.” Although she defines her life through money, or the lack thereof, her experience has also been shaped by another great absence that is inextricably linked to financial ruin: that of her father, who feigned the life of a successful businessman while getting increasingly into debt and committed suicide after a bungled attempt at life insurance fraud. From thereon out, Alicia is denied the expensive school and new apartment she’d expected and must move back to the suburbs of Córdoba, eventually moving to Madrid and a mundane life of insecure work and an unsatisfying relationship of convenience punctuated by anonymous casual sex with men who she can approach cynically as “safe bets.”

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Announcing Our May Book Club Selection: Mister N by Najwa Barakat

May 30, 2022  |  in Book Club, Reviews  |  by Rachel Stanyon

A poetic and intricate labyrinth of a book that subtly explores trauma, mental illness, language, and the art of writing.

Dissipating the border between fiction and reality, Najwa Barakat’s Mister N is as much a traversal through the cartography of Beirut as it is one wandering the avenues of the mind. We are proud to present this the Lebanese author’s most recent release as our Book Club selection for the month of May, a singular and genre-defying look into where histories, memories, narratives, and psychologies coincide.

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 USD15 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.

Mister N by Najwa Barakat, translated from the Arabic by Luke Leafgren, And Other Stories, 2022

Najwa Barakat’s Mister N, translated by Luke Leafgren, is a poetic and intricate labyrinth of a book that subtly explores trauma, mental illness, language, and the art of writing. Traveling through the streets and modern history of Beirut, Barakat’s psychological metafiction still manages to maintain a tone both light and entertaining, enthralling the reader in its twists and turns and propelling them through its pages.

As the novel opens, our protagonist, the titular Mr. N, is writing a story about Lazarus, who has just been awoken from death. As the book progresses, however, we discover that the main narrative being written by Mr. N actually concerns his attempts to resurrect his authorial self by unpicking and then piecing together fragments of his memories, following a period of writer’s block that has lasted fifteen years. The novel regularly shifts in time, mood, and even self-referentially in its narrative point of view, but it quickly becomes clear that everything we are shown is through Mr. N’s very subjective lens. As his behaviour becomes more erratic, the reader must decide how much what he writes can be trusted and whether they should suspend their disbelief to the point where it would be possible for a character from one of his novels to appear in flesh and blood.

Much of the power and pleasure in Mister N is in its meditations on language and the act of writing, as well as the poetry within its pages. The novel is full of rich metaphor and simile, and Najwa Barakat’s study of cinema is evident in the detailed and evocative scenes she paints: the garden beneath his hotel window with its “three beautiful sisters clothed in green leaves”, which later, in the cover of pitch black night, becomes the stage for a macabre performance by his neighbours; the dirty and overcrowded streets of the refugee and migrant-filled districts where Mr. N “navigated high, dilapidated buildings, haphazardly placed, pushing against one another, tottering together, like man-made cumulus clouds locked in combat as they floated along with scents of decay from the slaughterhouses and the mountains of trash”. The potent combination of Mr. N’s poetic imagination and his illness allows the narration to glide seamlessly from the serious to the slight in the span of a sentence and then back again, reflecting a state of trauma in which the relative significance of things can be inverted, and a numbness to death and loss that can put the trivial on equal footing with the terrible. Midway through witnessing his neighbour’s suicide, for example, he becomes distracted by a mosquito and begins meditating on the best ways to get rid of it. On the one hand, such shifts and tangents contribute to the novel’s grim humour; on the other, as the novel progresses, and Mr. N grows less confident in his fiction of a comfortable hotel life and increasingly paranoid and delusional, they also reflect his inability to piece together a coherent narrative that might reveal the supposed truth of his life’s history. As he explains to one of his psychologists, “the malady lies in my fatal recalling of every detail and my brain’s refusal to take in the full picture. So here I am, not grasping realities except through successive glimpses of the horizon, momentary flashes that reveal disparate, disjointed things, before putting them back together again.”

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Intelligentsia Under Dictatorship: Karen McNeil and Miled Faiza on The Italian

November 25, 2021  |  in Book Club, Interviews  |  by Rachel Stanyon

The story [of The Italian] is beautiful; it’s the story of my generation, that I myself witnessed when I was a student.

Shukri Mabkhout’s The Italian, an epic tale of romance and revolution in the tumult of 1980s and 1990s Tunisia, won the prestigious International Prize for Arabic Fiction in 2015, making it the first Tunisian novel to achieve this accolade. As our Book Club selection for the month of October, Mabkhout’s wide-ranging novel gives an intricate look into the inner workings of young idealism under dictatorship, with all the brilliance and hardship that comes with hope. In the following interview, Rachel Stanyon spoke live to the translators of The Italian, Karen McNeil and Miled Faiza, on their working process, the representation of women in a literary scene dominated by men, and working towards a greater representation of Tunisian literature in the Arab world.

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 USD15 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. 

Rachel Stanyon (RS): I’ve read in an interview on Arablit.org that your translation strategy involves Miled first doing a quite literal pass, and Karen then revising the draft for idioms, flow, etc. Did your translation of The Italian also involve a dialogue with the author, Shukri Mabkhout?

Karen McNeil (KM): Yes, it did, and that was really Miled’s role throughout the project. During both the translation and revision, we contacted Shukri a lot. There were sometimes words that we had no idea about! Miled was killing himself looking for this one word in every dictionary imaginable, and it turned out it was just this particular word that Shukri’s family uses, and probably no one else in Tunisia does. There are always these little idiosyncrasies. All the translations I’ve done have been in circumstances where we could work with the author—I almost can’t imagine it otherwise; there are just so many difficulties that require follow-up questions.

Miled Faiza (MF): Shukri was very supportive, which was really nice. I don’t think there are many passages that are difficult in the novel; we just wanted to be as accurate as possible—even with small things, such as recipes. I am from the central east of the country, and he’s from the north, the capital. Tunisia is a very small and culturally homogenous country, but there are a few small things that Shukri probably grew up with: what they cooked at home, or the clothes they wore, or things that are very specific to Tunis, the capital. He was very helpful with my queries about those specific questions.

I was able to find the word Karen mentioned in an Arabic dictionary; Lisan al-Arab, one of the oldest and largest dictionaries in the world, has an entire passage on it. But the meaning didn’t work in the context, so it was driving me crazy. I sent him a message, and he told me: “Oh, I’m sorry, that is a French word that my father used to say.” So it was a word very specific to his family, and he just threw it in there.

RS: The language of The Italian tends to be quite descriptive, and involves a lot of very detailed information on things like philosophy, Tunisian cuisine, or the process of publishing a newspaper. Miled, I’m particularly interested in how you, as a poet, found translating what I found sometimes to be quite dry, academic passages. Did these aspects of the translation pose any problems for either of you, and, in general, what were the biggest challenges for you in translating this novel?

MF: Our great friend, Addie Leak, edited this book and worked with us very closely—it’s really important to always mention her because she is amazing. I asked her: “How did you find the novel? What do you feel about the section on the political history of Tunisia?” She told me she loved it, which was a little surprising. Certain sections, especially those with a lot of details about the union and the different branches of Tunisian student activists, I found dry—and maybe it would have been possible to just summarise and get rid of a lot of it. But that’s my point of view as a Tunisian. I was more interested in the story of Abdel Nasser and Zeina, with the background of everything going on in Tunisia. I thought the very small details—of every congress and every meeting, important dates from Tunisian history—were not that interesting; they were a little bit dry for me.

KM: I think the parts when Abdel Nasser is at university, and especially the philosophical points, are actually even drier in Arabic. It was very challenging to make that flow in English, because it’s very much like a lecture or a philosophy textbook. It was difficult to render that in English without doing harm to the integrity of the original. Even though it was painful while I was doing it, though, with a little perspective I think I can appreciate why it goes on for so long. In the structure of the novel, that activism was Abdel Nasser’s whole life, but once he graduates from university, one realises that all the things the university students are doing, thinking that they’re changing the country—none of it really matters. I think it captures Abdel Nasser’s viewpoint of it being very important. READ MORE…

Announcing Our October Book Club Selection: The Italian by Shukri Mabkhout

November 1, 2021  |  in Book Club, Reviews  |  by Rachel Stanyon

The novel lends itself to debates on more universal themes such as power, corruption, the idealism of youth, gender equality, and abuse.

In his seminal work on colonialism and subjugation, The Wretched of the Earth, Frantz Fanon asks: “how do we get from the atmosphere of violence to setting violence in motion?” Shukri Mabkhout liberates this idea into story gracefully in his debut novel, The Italian. Delineating the fermenting revolutions in late twentieth century Tunisia through the scope of one young man, Mabkhout paints a vivid reproduction of the oppressive conflicts between nationalism and religion, love and lust, ideology and action. We are proud to present this vivid text, and its detailed contours of individual life in the wider contexts of country, as our Book Club selection for the month of October.

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 USD15 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 Italian by Shukri Mabkhout, translated from the Arabic by Miled Faiza and Karen McNeil, Europa Editions, 2021

Shukri Mabkhout’s The Italian, winner of the 2015 International Prize for Arabic Fiction, was first published in the aftermath of the Arab Spring. Perhaps with some suggestion of history repeating itself, it is set during another period of political upheaval in Tunisia—the 1980s and 1990s, which saw a ‘bloodless coup’ led by Ben Ali, the leader who was to be deposed in 2011. Intricate and detailed, heavy with politics, philosophy, food, and sex, the novel is an insight into Tunisian history and society, human relationships, and the often politically motivated and self-interested inner workings of institutional power.

The novel opens with its own violent outbreak and fallen patriarch. At his father’s funeral, the protagonist, Abdel Nasser—nicknamed el-Talyani (the titular Italian) for his Mediterranean good looks—attacks the local imam. The family and wider community are shocked and shamed, but also perplexed; as the narrator, one of el-Talyani’s childhood friends, tells the reader, grief over his father’s death “didn’t fully explain it.” Abdel Nasser’s family members offer various explanations—the “corrupt books” he read as a child, his university classmates, the personal circumstances of his divorce, or the “deep-rooted corruption” of his morals. While the broader community simply consider him the black sheep of the family, none of these explanations seems to satisfy the narrator. Jumping back in time, the novel thus sets out to unpack what might have motivated Abdel Nasser’s outburst, and, along the way, also details much of the political history of Tunisia during these tumultuous decades.

Abdel Nasser has a complex and somewhat distant relationship with his family, and in particular with his brother, Salah Eddine. Salah Eddine left Tunisia as a young man, and is now an “esteemed academic and international finance expert” living in Switzerland—in other words, he is the epitome of cosmopolitanism and institutional economic liberalism. When Salah Eddine leaves Tunisia, Abdel Nasser assumes the throne as the de-facto eldest son—which Mabkhout explains endows a special status and freedom within the Tunisian family. He also takes up residence in his elder brother’s room, which provides him with an intellectual awakening through books and records, and in which he also experiences a sexual awakening: he is groomed by the family’s significantly older neighbour, who—by no means coincidentally—is his brother’s ex-lover. The room eventually also becomes a political hotbed where Abdel Nasser discusses philosophy, politics, and Marxist economics with select classmates, for he is set apart from others not only by his good looks, but also his astute mind and leadership skills. He goes on to study law at university, where he acts as a leader and recruiter in an activist student organization. READ MORE…

An Occupied Literature: On Julián Fuks’s Occupation

September 15, 2021  |  in Reviews  |  by Rachel Stanyon

Fuks has “put something more than pain, something more than misfortune” in his novel, making “something worth writing.”

Occupation by Julián Fuks, translated from the Portuguese by Daniel Hahn, Charco Press, 2021

I’m writing a book about fatherhood without being able to become a father—and probing motherhood as if I didn’t know that I will never learn it. I’m writing a book about death without ever having felt it switch off a body, in a speculation of feelings that one day will seem laughable, when I do encounter the pain. I’m writing a book about the pain of the world, the poverty, exile, despair, rage, tragedy, ludicrousness, a book about this interminable ruin surrounding us, which so often goes unnoticed, but as I write it I am protected by solid walls.

Occupation, Julián Fuks’ latest novel to appear in English translation by Daniel Hahn, is a quiet masterpiece. Touching on family and relationships, birth and death, colonialism, the refugee crisis, political activism, the Holocaust, our (in)ability to identify with one another, and how to find hope in a world of ruin, this novel is sweepingly ambitious in its themes, yet the measured, self-critical voice of the narrator and the calm, understated prose prevents it from veering into sensationalism or sentimentality.

The novel’s chapters alternate between the different preoccupations of our narrator, Sebastián: his father, who is occupying a hospital bed; his wife’s decision to have a child, which will occupy her body and shift the dynamics of their relationship; a group of migrants occupying a dilapidated building, many of whom exiles from lands that have been occupied, now seeking refuge in Brazil, a country with its own history of occupation; and his own attempts to understand what all of this means for his occupation as a writer.

Small jumps in time, along with chapters that begin mid-conversation, can at times create a sense of dislocation, but Fuks weaves the strands together so gently and dexterously that when they coalesce, it does not feel like the technique has been a pretext for creating suspense; rather, it is as though the narrative has been constructed this way so that the narrator might himself work through and better understand the components—as if each narrative thread must be understood on its own to bring the whole into relief. Nevertheless, the technical mastery of this construction should not be downplayed, and throughout the book, the reader will notice explicit motifs along with subtle echoes and patterns in the language. All this adds to a sense that the novel’s threads are both connected and discreet, amplifying the plurality of the voices and experiences which ultimately merge with the voice of the narrator, who “allow[s] them to occupy [him], to occupy [his] writing: an occupied literature.” READ MORE…