Posts by Ruwa Alhayek

How the World Appears in States of Language: On A Thousand Thoughts in Flight by Maria Gabriela Llansol

September 2, 2024  |  in Reviews  |  by Ruwa Alhayek

Llansol is a generous and poetic writer, sensual in her descriptions and intensely attuned to the metaphysical and the otherworldly. . .

A Thousand Thoughts in Flight by Maria Gabriela Llansol, translated from the Portuguese by Audrey Young, Deep Vellum, 2024

A Thousand Thoughts in Flight, the diaries of Portuguese writer Maria Gabriela Llansol, is divided into three sections: “Finita”, “A Falcon in My Wrist”, and “Inquiry into the Four Confidences”. Comprised of three books from the seventies that Llansol left behind when she passed away in 2008, these volumes were the only ones to be published in Portuguese during the writer’s life, and are also the first of her non-fiction writings to appear in English, thanks to the work of translator Audrey Young. In his introduction, the critic João Barrento describes these private texts as “osmotic diaries: their genesis, their development, and their final form are inseparable from Llansol’s other books, which always accompany them and are interwoven with them”. This is true not only in the conceptual but also the literal sense; the first diary begins the day she finishes The Book of Communities—the first volume in her acclaimed trilogy Geography of Rebels—and ends the day she finishes The Remaining Life, the second volume, in 1977. The second diary picks up when she is finishing In the House of July and August, the final volume, and beginning to write her second trilogy, while also providing glimpses at the author brainstorming her duology, Lisbonleipzig.

Llansol is a generous and poetic writer, sensual in her descriptions and intensely attuned to the metaphysical and the otherworldly, coalescing history, philosophy, and physical experience; these qualities are boldly apparent in her fiction, but appear with an experimental and kinetic mode in these diaries. A common thread across the volumes is silence: everything that remains in the journal is a “draft”, consisting of left-out pieces and vacant spaces for contemplation, and this attention and appreciation reserved for emptiness becomes integral to the diaries’ form. Silence manifests in the common use of gaps in the text, indicated in certain places by a horizontal line (________), and more compellingly in other places as unannounced fragments of poetry. And in between these fragments is life. She moves all around Belgium, from Louvain to Jodoigne and finally to Herbais, where she and her husband Augusto Joaquim run an experimental school as part of a cooperative—which also makes and sells furniture and food. There, Llansol cultivates her own garden, which provides a bouquet of scenes and observations for her diaries, and immerses herself in music. Still, she never pauses in her pursuit of literature, of writing and reading about theology, philosophy, the lives of poets and mystics. It is only in the final diary that she moves back to Portugal’s Sintra, sometime in 1983, remaining there until her death. READ MORE…

The Intricacies of Human Experience: Natasha Lehrer on Translating On the Isle of Antioch

January 25, 2024  |  in Book Club, Interviews  |  by Ruwa Alhayek

There's a collective responsibility in engaging with these stories, reflecting on our own roles, and finding meaning in the midst of uncertainty.

On the Isle of Antioch is lauded Lebanese-French author Amin Maalouf’s philosophically rich take on the end-of-days novel. Told through the journals of Alexander, an artist living out his days on an island he shares with only one other person, this solitary existence is suddenly upended by a total communications blackout and power failure, followed by growing threats of global nuclear warfare. Through this narrative that builds on our contemporary forebodings, Maalouf weaves in the grand resonances of history and delicate moments of human connection to gather the touchpoints between consciousness and civilization, reality and belief. Skillfully taken into English by award-winning translator Natasha Lehrer, this modern myth was our final Book Club selection for 2023, and in the interview below, we speak to Lehrer about On the Isle of Antioch’s massive range, the novelist’s role, and the importance of ambiguity.

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.  

Ruwa Alhayek (RA): On the Isle of Antioch resonates strongly with contemporary events like the COVID pandemic or current geopolitical tensions; it’s intriguing how the novel captures such fears, then deviates from initial impressions. Did ongoing events have an impact on your process of translation?

Natasha Lehrer (NL): The narrative absolutely echoes real-world concerns like the Ukrainian invasion and geopolitical tensions between the U.S., Iran, Armenia, and Azerbaijan. Sardar Sardarov initially appears as a Central Asian warlord, a nod to figures from the former Soviet Union. The theme of missing nuclear warheads also aligns with post-Soviet anxieties, cleverly naming and then subverting those fears.

But personally, translation is more of an intellectual exercise for me. I focus on achieving the right tone and voice for characters, especially when translating philosophical dialogues. For instance, translating an American character from French back into English is quite interesting, and Maalouf’s characters often speak in a philosophical manner rather than realistic dialogue. Reading the novel again after a year, I’m struck by the atmosphere of dread, fear, and eroticism. It’s exciting to realize that it works well, even though I wasn’t consciously conjuring specific atmospheres during translation. It’s more about accurately conveying Maalouf’s ideas. READ MORE…

Announcing our December Book Club Selection: On the Isle of Antioch by Amin Maalouf

December 29, 2023  |  in Book Club, Reviews  |  by Ruwa Alhayek

[Maalouf] offers us a human way to experience cataclysm without masking the confusion and desperation that takes hold. . .

For our final title of 2023, we are proud to present the latest novel by acclaimed French-Lebanese writer Amin Maalouf, whose extraordinary work weaves fantasy and history with a powerful reckoning of contemporary issues. In On the Isle of Antioch, Maalouf turns to dystopian narrative to explore the frailties and failures of human empires, drawing a surreal evolution of events that escalate from the very real threat of total global destruction. With a philosophical richness that finds footholds in Maalouf’s elegant, nebulous depictions of desire and connection, the novel is a beautiful, necessary rumination on what survival means on the precipices of so much devastation.

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.  

On the Isle of Antioch by Amin Maalouf, translated from the French by Natasha Lehrer, World Editions, 2023

There is something eerie about reading Amin Maalouf’s On The Isle of Antioch during the same days described by its narrator’s journal entries. In four sections, or “notebooks”, that date from November 9 to December 9, Maalouf’s surreal, thrilling novel is told through the experiences of Alexander, an artist and one of two inhabitants on the titular island of Antioch, as he travels in this brief window of time through isolation, doom, communion, and the unexpected orders and disorders of a dying world.

Having inherited the land from his father, who had refused to sell the deed despite financial difficulties, Alexander decides, in the wake of his parents’ death, to change his life. He begins drawing, releasing work under the pseudonym Alec Zander, and moves to Antioch in a reprieve of his childhood fantasies, calling it his “ancestral island.” Believing himself to be the only inhabitant and sole owner, he’s surprised to find, while waiting for his house to be built, that a woman and writer by the name of Ève had long ago purchased the remaining portion of the island that he did not own, and, being “eager for solitude”, she too has made it her home. Ève’s been in a rut, having published one masterpiece—a novel titled The Future Doesn’t Live Here Anymore—before losing her job and retiring to Antioch, where she sleeps all day and is awake all night, trying to work.

What drives these two loners together, after months of avoiding each other’s company, is a sudden blackout. When all the lights and appliances in Alexander’s house turn off, and even the radio plays only an ominous whistling on every station, he goes to see Ève, suddenly overwhelmed by a solitude that now weighs more heavily on him than ever, and feeling “for the first time in twelve years, [that he] slightly regret[s] not living in a town or a village like an ordinary mortal.” Having previously thought of Ève only as a “silent, ghostly, almost nonexistent” presence, it is only after this incident—which turns out to be a full blackout of all communication systems—that Alexander and Ève are able to find themselves in one another’s company. READ MORE…

The Air Itself Becomes Lead: On Mona Kareem’s I Will Not Fold These Maps

August 10, 2023  |  in Reviews  |  by Ruwa Alhayek

Are these scenes, these stanzas, dreams, memories, or prophecies? Or are they metaphors?

I Will Not Fold These Maps by Mona Kareem, translated from the Arabic by Sara Elkamel, Poetry Translation Centre, 2023

In 1986, just one year before the poet Mona Kareem was born, the stateless Arab population of Kuwait, who had been denied citizenship when Kuwait declared its independence in 1961, became categorized as illegal residents. Despite enjoying relatively equal status to Kuwaiti nationals until then, approximately 250,000 people were stripped of their access to free education, housing, and healthcare. Following the Iraqi invasion and the subsequent war of 1991, many of the Bidoon community, including Kareem’s mother’s family, were expelled from their positions or deported outside of Kuwait, accused of collaborating with the enemy. Forced to flee their homes, they became internal refugees when they arrived at Kuwait’s border with Iraq. For Kareem, memories of such scenes from childhood bleed into the present moment, where she is exiled in the US and denied the opportunity to visit the country in which she was born, as well as the members of her family who still reside there. I Will Not Fold These Maps, translated by Sara Elkamel, is a curated collection of poems covering twenty years of Kareem’s poetry, both previously published and new. It is a collection marred by exile, war, and the fraught relationships and ruins they leave in their wake.

Kareem’s poems are replete with unique images—they paint scenes in language that mirror the chaos of memory, the fragmentation of exile, and the mutilation of war. As Elkamel points out in her introduction, it seems that everything in Kareem’s poems has a body—one that bears the brunt of individual and collective traumas. At the same time, the poet is at a loss regarding what to do with her own body, as she tells us in her poem “My Body, My Vehicle” (Jasadī Markabatī). Her vehicle of a body is not one she can park or abandon just anywhere, for

When I go shopping, my wheels shatter
the glossy ceramic floors
and when I go to the beach
she sinks into the sand

small and dark, completed and broke
her windows are an almanac of winds
and her voice falters at rush hour.

READ MORE…

Ethical Extremes: On Sayaka Murata’s Life Ceremony

July 25, 2022  |  in Reviews  |  by Ruwa Alhayek

Over and over again, throughout these stories, we are confronted with the question of consumption, literal and figurative.

Life Ceremony by Sayaka Murata, translated from the Japanese by Ginny Tapley Takemori, Grove Atlantic/Granta, 2022

From Sayaka Murata, the award-winning author of Convenience Store Woman and Earthlings, comes Life Ceremony, a debut compilation of her short stories. The collection is unsettling, paved with the disturbances of odd people and new customs nestled amidst familiar words and routines;. Instead of burials, human bodies are recycled—a beloved father-in-law’s skin might be used as a bride’s veil, a person’s hair for a cardigan, human bones for chair legs. Instead of funerals, there are life ceremonies, where mourners dress in “skimpy clothing” to partake in eating the body of the deceased before going off in pairs for “insemination.”  One woman is convinced that she has been reborn into an ordinary family in contemporary Japan, when in her previous (real) life, she was a warrior with supernatural powers from the magical city of Dundilas. Another woman falls in love with her curtain and feels betrayed when she walks in to find her boyfriend (who somehow has confused it for her) wrapped in its folds on her bed.

Sayaka Murata is a master of delivery, and in Ginny Takemori’s translation, it becomes clear that the way to convey these odd stories in all their philosophical force is to do it deadpan, matter-of-factly, and sometimes, coldly. But—there are breaks, moments that aren’t so much characterized by their coldness but by their sincerity, their characters’ confusion, and their loss. When Naoki, who is ethically opposed to using furniture or clothes made of human corpses, faces his late father’s dying wish to have his skin used in his son’s wedding, he is thrown off balance and says vacantly: “I can’t. . . I don’t. . . I really don’t know what to think anymore. Until this morning, I was confident about how to use words like barbaric and moved, but now it all feels so groundless.” We are made to sympathize with him even amidst bombardments of oppositional, universal ideas, derived from a new ethics that says discarding any part of a human is wasteful—one that asks: how is using human hair any different from using another animal’s?

In “Life Ceremony,” Maho can’t bring herself to partake in the ceremonial eating of the dead following an instance, thirty years ago, when she was bullied for suggesting the very thing that everyone does so casually now. She says to her friend Yamamoto, who also doesn’t eat human meat: “It’s just that thirty years ago, a completely different sense of values was the norm, and I just can’t keep up with the changes. I kind of feel betrayed by the world.” I too felt betrayed by the world in Murata’s novel, suddenly becoming painfully aware of how fast change comes via contemporary mediums—how many of our habits and values are dictated by global capital, and how much effort it takes to resist, even if only for the reprieve of a few moments to think and form opinions. How lonely it is both to belong to a world like this, and to be an outlier. READ MORE…

Writer and Translator E.J. Koh Explores the Bridged and Braided Histories of Language

August 23, 2021  |  in Interviews  |  by Ruwa Alhayek

If my mother’s letters could sleep, my translations would be their dreams.

E.J. Koh’s memoir, The Magical Language of Others, was published in January 2020, but I read it in lockdown a few months later. Since March, I have read or listened to this book at least four times, each time encountering something else that makes me come back to it. Koh’s memoir is a coming-of-age story framed by translations of the letters her mother sent her from Korea, where she and Koh’s dad relocated for work. It tells the heartfelt story of a young Korean-American woman who comes to poetry and translation, to Japanese, and to a deeper understanding of her own languages, English and Korean. And she weaves into this story, with palpable sincerity and magnanimity, the stories of generations of women before her who survived the Japanese occupation, the Jeju massacre, and one abandonment after another. In this interview, she talks about avoiding seamlessness and translating war, wounding, and the seemingly impossible.

Ruwa Alhayek (RA): Has translation allowed you to inhabit your mother’s letters in a different way? 

E.J. Koh (EJK): Translating my mother’s letters for me is inseparable from experiencing the vast distance between us in my youth—from the US to South Korea, between English and Korean—and the violence of when that distance suddenly collided to a close. I am living my way back toward the pain of being separated and reunited again. I am holding two strings at the same time. One is the mother who delivered her child. The other is the child who can deliver her mother. That is why I say if my mother’s letters could sleep, my translations would be their dreams.

RA: If you were to issue a new translation of these letters, how do you think they might change? 

EJK: I am in love with and feel deeply grateful for the work of translators. I’d be honored to see her letters translated again, by different translators. What occurs to me is how I leaned away from seamlessness, translation as if written in the historically dominant English, and hoped to let Korean remain—against erasure—choosing instead words with sound, syntax, and rhythm to keep pace with my mother’s voice running circles inside me. But I feel there is no one way, and the assumption of one is the failure to see what can be different and what can be changed.

RA: I was really inspired by the scene of your morning ritual in Japan where you sit in the coffee shop with the hanging vines from dawn until your classes start, memorizing ten pages from your pocket dictionary every day—is there something about that type of immersion that resembles the process of translation for you?

EJK: When I lived in Japan, I starved myself. I wouldn’t eat a proper meal until I could order in Japanese without error. My eating disorder entered my language, and discipline became a place where I could intellectualize my self-harm. I learned the language quickly but with shame and guilt—not opposites to but the very sources of pride. I used language to isolate myself. I say, Languages, as they open you up, can also allow you to close. Where before I depended on separation, now I move in the world by way of connection and humanity. READ MORE…

What’s New in Translation: July 2021

July 12, 2021  |  in New in Translation, Reviews  |  by Alyea Canada, Barbara Halla, Ruwa Alhayek, Suhasini Patni, and Thuy Dinh

New texts from Italy, Brazil, Korea, Morocco, and Spain!

In this month’s selection of excellent literature in translation, there’s something for everyone. From a dreamy and architecturally expressive graphic novel that speaks to fates and futures, to a collection of strange and visceral short stories delineating the network between bodies and their definitions. And if science fiction or unsettling tales aren’t your thing, there’s also the powerful narrative on a prodigal son who returns to navigate the pathos-filled landscape of past tragedies, loneliness, and isolation; the masterfully told history of Catalonia as it plays out through the life of a woman embroiled in the tumult of her time; or a cunning satire of contemporary Morocco that traverses territory of both physical and virtual landscapes. Read on for reviews on each of these remarkable works; hope you enjoy the trip!

celestia

Celestia by Manuele Fior, translated from the Italian by Jamie Richards, Fantagraphics, 2021

Review by Thuy Dinh, Editor-at-Large for the Vietnamese Diaspora

“. . . from above, this island is in the shape of two hands intertwined.”

                                                           —Dr. Vivaldi, from Manuele Fior’s Celestia

Such is how Dr. Vivaldi alludes to Venice—curved strips of land yearning to touch and engulf each other in blue space. Ambitiously realized by Manuele Fior and eloquently translated by Jamie Richards, Celestia—Venice’s oneiric double—is a visual poem and modernist dance in graphic novel form, encompassing diaphanous terrains and gothic undertow, exuberantly tumescent with allusions to literature, art, and architecture.

Born in 1975 in Cesena, Italy, Fior currently lives in Paris, France. Drawing from his studies at Venice’s University of Architecture (Istituto Universitario di Architettura di Venezia, or IUAV), he has, over time, developed a dynamic visual language with narrative elements drawn from both Western and Eastern aesthetic traditions. Several of his acclaimed graphic novels have been translated into English and published by U.S.-based Fantagraphics, and Celestia marks his fifth collaboration with Richards—a scholar and translator of Italian literature.

Deeply influenced by John Ruskin’s The Stones of Venice, Joseph Brodsky’s Watermark, and Pier Paolo Pasolini’s poem “Profezia” (“Prophecy”)—Fior depicts Celestia as a fusion of dualities that exist both in the history of Venice as well as in the fictional universe of his work: Gothic and Renaissance, spiritual and secular, traditional and modern, rational and organic, freedom and oppression, community and exile. While in Fior’s earlier work—such as The Interview—telepathy is depicted as an extraterrestial gift, in Celestia this ability has existed from time immemorial among certain people, possibly as an evolutionary process. When the story opens, the island of Celestia is home to a group of telepathic refugees, who long ago fled from a horrific invasion that had devastated the mainland. One of them, Pierrot—cloaked in his commedia dell’arte persona—now wishes to renounce his telepathic power, which he perceives as a tragic link to his childhood. After delivering vigilante justice to a member of the demonic syndicate that controls the island’s murky depths, Pierrot escapes Celestia with Dora—a seer also burdened by her gift, as well as the oppressive intimacy enforced by her mind-melding circle of elites, led by Dr. Vivaldi.

Beset by this innate ability that has become a form of enslavement, Pierrot and Dora set off—hoping their journey would both resolve the past and guide them toward a new future. The couple’s subsequent arrival on the mainland brings them into contact with an omniscient child, or Child—who embodies both the future of mankind and its messiah. READ MORE…