Language: Chinese

Our Summer 2020 Issue Is Here!

Discover Yang Lian, Frédéric Beigbeder, Rachel Blau DuPlessis, and a "Vignettes" Special Feature alongside new work from 31 countries

Asymptote’s Summer 2020 Edition, “This Strange Stillness,” confronts our troubled moment head-on, and yet displays the world’s creative wealth and resilience. Discover timely poetry on the pandemic by Misty School cofounder Yang Lian, a shout-out to George Floyd and #BlackLivesMatter in Gonçalo M. Tavares’s “Plague Diary,” and new translations of Pessoa’s eternal heteronym Alberto Caeiro in a knockout issue spanning 31 countries and 23 languages.

Everything seems to stop or slow down during a pandemic, even as the mind rushes ahead. In our exclusive interview, Frédéric Beigbeder talks candidly about the unexpected thrills of lockdown, his desire for immortality, and the xenophobia of English readers. Koko Hubara knows xenophobia all too well: she writes to her white-skinned daughter as a “Brown” Jewish woman in ethnically homogenous Finland trying to live in difference. This fear of standing out turns into an urgent question of survival in Tomáš Forró’s heart-thumping first-hand account from the frontlines of the War in Donbass, or in Balam Rodrigo’s heartbreaking evocations of the existential plight facing Central American migrants.

In the weird calm we may yearn for adventure, like acclaimed Cuban writer—and friend of Hemingway—Enrique Serpa’s narrator, who turns from fishing to smuggling in his novel Contraband, introduced to English readers for the first time. American artist Rachel Blau DuPlessis’s verbo-visual collage is adventurous also: grocery lists and metro tickets collide with piercing, crystalline aphorisms. Translator Fortunato Salazar, for his part, shatters and reconstructs Sophocles through distinctly modern eyes; there, we slip between ancient Greece and our own present. When, in truth, are we?

Whenever and wherever we are, we can all spread the news of Asymptote’s latest wonders on Facebook or Twitter, where we will be plugging every single article in a 48-hour tweetathon. If you’re out and about, brave reader, feel free to distribute this magnificent flyer of the issue in real life. We live in interesting times—and that surely makes for interesting reading. Enjoy, with many thanks from us at Asymptote!

Read the issue

Weekly Updates from the Front Lines of World Literature

The latest literary developments from Taiwan, the US, and Japan!

The disparities of COVID-19’s grip over us is becoming gradually more apparent as certain countries celebrate recovery, while others continue to shelter in place. In Taiwan and Japan, processions are resuming after the interruption, with film festivals and award announcements taking over headlines, while in the US the situation remains somehow at once unpredictable and static. In Taiwan, reportage literature seeks to reset old injustices; in Japan, the prestigious Akutagawa Prize reveals its nominees; and in the US, a beloved literary event is put off for another year. Read our editors’ dispatches from the ground here!

Vivian Szu-Chin Chih, Editor-at-Large, reporting for Taiwan

The 2020 United Daily News Literary Prize has been awarded to the Malaysia-born Sinophone novelist, Chang Kuei-hsing (張貴興), who has been living in Taiwan for the last four decades. The prestigious award went to the author’s latest novel, 野豬渡河 (Wild Boar Crosses the River) which depicts his hometown in Malaysia, Sarawak—a city occupied by the Japanese in the 1940s. Asymptote has previously featured Chang’s “Siren Song” (translated by Anna Gustafson) in our Winter 2016 issue.

The Taiwanese author notable for his reportage literature, Lan Bozhou (藍博洲), will soon have new book published by Taipei’s INK Publishing in July: 尋找二二八失蹤的宋斐如 (Searching for the Missing Song Feiru in the February 28 Incident ). Consistent with Lan’s previous focus on giving a voice to the victims of Taiwan’s White Terror (1947-1987), this new work again inquires into the difficult question of the whereabouts of Song Feiru, a Taiwanese intellectual and founder of a newspaper criticizing the government in the 1940s. The namesake of the book was kidnapped by the Kuomintang and went missing after the outbreak of the infamous February 28 Incident in 1947.

Although the global situation of COVID-19 has been rapidly evolving with uncertainty, Taiwan has luckily arrived at a relatively safe status, and many local activities are resuming this summer as a result. The island-wide screenings of Xin Qi’s (辛奇, 1924-2010) films from mid-July to late-November, and the Golden Horse Classic Film Festival (with the theme of the beloved Italian director, Federico Fellini) from late-July to mid-August, are among the events leading this trend of recovery in Taipei. Xin Qi was one of the few prolific and prominent Taiwanese-language film directors in the 1960s, whose five cross-genre cinematic works have been digitally restored by the Taiwan Film and Audiovisual Institute, and will be screened around Taiwan’s theatres, both new and old, during the festival. As for the Golden Horse Classic Film Festival, it is a part of the global tribute to Fellini’s 100th birthday anniversary (“Fellini 100”), and will broadcast twenty-four of the director’s films, most of which are 4K versions, freshly restored.  READ MORE…

Weekly Updates from the Front Lines of World Literature

Bringing the latest in literary news from China, Hong Kong, and Vietnam!

Literature has the fortunate habit of making itself known via a variety of media. This week, our editors from around the world introduce a thrilling TV adaptation from one of China’s most promising authors, the protests in Hong Kong making its way through its censored literatures, and a Vietnamese classic that has been underserved by its celebrated translation.

Charlie Ng, Editor-at-Large, reporting from Hong Kong:

This week, Hong Kong is stricken by Beijing’s passing of the sweeping new national security law for the city. The law was unanimously passed on June 30 by the Standing Committee of the National People’s Congress, bypassing Hong Kong’s Legislative Council and without consulting the citizens. Details were not even revealed until 11 p.m. on the same day, to be put into effect on July 1. The details of the national security law indicate that the new law has broad offences, can override Hong Kong law, allows trials to be closed to the public, and requires the establishment of a National Security Office in Hong Kong directly controlled by Beijing, among other key points. The priority given to the new law can possibly erode Hong Kong’s judicial independence and be in conflict with Hong Kong’s common law tradition.
Fear towards the establishment of the new national security law has been spreading since the passing of the proposal in late May during the National People’s Congress.

Critics expect that the law will adversely influence Hong Kong’s freedom of expression and citizens’ rights to oppose decisions or policies determined by the government or China. Under such an intense political climate, quite a number of political works have been recently published, striving to defend free speech and publication, including Sociology professor Dr. Chan Kin Man’s Letters from the Prison, as he was sentenced to sixteen months imprisonment for his participation in the Umbrella Movement; and media professional Ryan Lau’s That Night in Yuen Long, which is a work of documentary literature on the 2019 Yuen Long attack.

Meanwhile, regardless of the continued threat of COVID-19, the Hong Kong Trade Development Council decided that the Hong Kong Book Fair would be held as scheduled from July 15 to July 21, under the theme of, “Inspirational and Motivational Reading”. However, with the implement of the new national security law, the publication sector is concerned about the displaying of politically sensitive books at the Book Fair being potentially prosecuted. Some publishers have already suspended the production of some books related to the anti-extradition movement and have given up displaying books related to the 1989 Tiananmen Square protests. Although the actual impact on Hong Kong’s freedom of speech is yet to be fully revealed, tangible effects of fear induced self-censorship are pervasive. READ MORE…

On Hunter School: Indigenous Stories from Taiwan

The Chinese language sings an altogether different tune in the mouths and hands of indigenous Taiwanese storytellers.

Hunter School by Sakinu Ahronglong, translated from the Chinese by Darryl Sterk, Honford Star, 2020

“I’m dumb,” I told an editor to whom I had shown an essay. “I haven’t read much, and the things I write nobody reads. I can’t write essays like other people.”

“Sakinu, why would you want to be like anyone else?” she said. “Everything in you is literature, things other people don’t have and can’t imitate. Sakinu, let everyone know all the things you keep hidden, let your life story, and Paiwan history, come flowing out of your pen.”

Translation specializes in the improbable, bringing faraway stories to unlikely audiences. The English-language translation of Hunter School (superbly crafted by veteran translator Darryl Sterk) goes further than most in this regard, because although Hunter School was originally written in Chinese, the author has no Chinese heritage, and his people have until recently had no voice in the world of Chinese-language literature, despite being part of the Chinese world; his name is Sakinu Ahronglong, and he is an indigenous man of the Paiwan ethnicity.

Like all of Taiwan’s many indigenous ethnicities, the Paiwan are an Austronesian people more closely related to the Maori of New Zealand than to the Han Chinese who now compose the majority of Taiwan’s population. Though their voices have been marginalized, they remain inheritors of living wisdom, passed from mouth to ear for millennia. Now, Sakinu’s stories have made the quantum leap, first from fireside storytelling to Chinese text, then finally into English, and they are here to show us a new way to relate to our planet and to people who have lived closest to nature for the longest time. This book is a fighter. It had to be. It has fought its way tooth-and-claw through the brambles of oppression—cultural cleansing, intolerant Christians, economic exploitation, etc. etc.—and against all the odds, here it is.

Hunter School begins with the author, Sakinu Ahronglong, in school. Flying squirrel school. Getting to class isn’t a simple commute. Luckily, young Sakinu has a guide in the form of his father, a consummate hunter who holds deep compassion for the animals he meets on his forays, and who teaches Sakinu many things, like the names of the bigwigs in local monkey society. The early chapters are short, leading readers on a tour of Sakinu’s mountain forest childhood and his wilderness education. As the book progresses and Sakinu’s world expands, the chapters stay short. They weave a sequence of life stories, crossing and re-crossing the frontier between a wild ancestral homeland and modern life in a globalized, post-industrial country. In the wilderness, we get to know a world that, for all its wildness, is still very much lived-in (and has been for thousands of years before the Han Chinese arrived in Taiwan in the sixteenth century). These stories show us a new way of imagining the wild realms of mountain and forest, which many of us are only acquainted with (and fond of) from various ventures into the “backcountry.” Of course, it’s only the “backcountry” if you don’t live there. In these pages, we see how people like Sakinu’s grandfather used to live entirely civilized lives in the wild before the time when much of the world’s nature was cordoned off from human society, emptied of most of its indigenous residents, and divided up into national parks, commercial forestries, and mines. READ MORE…

In This Together: Writers From Around the World Respond to the COVID-19 Outbreak

You see she has ginger and scallions stuck in her teeth, but still, you think how elegant and beautiful she is.

In this week’s edition of In This Together, a curated column bringing you literature in response to the COVID-19 pandemic, Asymptote is proud to present a short story by the Hong Kong writer, Wong Yi. Below, translator Jennifer Feeley discusses Wong’s work:

This story is part of Wong Yi’s ongoing fiction series Ways to Love in a Crowded City, which captures how ordinary Hong Kong residents compress and contort their love lives in the face of various constraints. Aside from the title story, the short pieces that make up this series have been published in her online columns for the Hong Kong periodicals Ming Pao Weekly and Fleurs des lettres, with a famous painting inspiring each story.

When Wong Yi began this series in March 2019, she was initially interested in exploring how physical space and work culture impact Hongkongers’ romantic lives, but as protests escalated throughout the city later that year, she began writing stories capturing people’s changing behavior and attitudes, highlighting their feelings of anxiety, fear, and anger. Wong Yi explains, “It was my way of coping with a very challenging period of time, and keeping record of the unimaginable things that were happening. Unusual circumstances and political events had become another category of constraints on people’s lives and love.”

In early 2020, the pandemic broke out, superseding the protests as the new “unusual circumstance” affecting Hongkongers’ lives, and she ended up writing “Patient” shortly after her friend moved back to Hong Kong from Australia during the height of the outbreak. As the virus spread throughout the world, people began referring to themselves as being in Edward Hopper paintings, prompting Wong Yi to pair her story with Edward Hopper’s Eleven A.M. Whereas being physically together typically is regarded as an act of love, the story demonstrates how during a pandemic, having the patience to stay physically apart becomes a new way to demonstrate one’s love.

Patient

by Wong Yi

(After Edward Hopper, Eleven A.M., 1926)

eleven-am

I’m back in town, you say. It’s good you’re back, she says. But it’s not good, you think. During the past two months, the virus has spread throughout Hong Kong. She and others who’ve been living in the city have moved past the initial frenzy of shock and panic buying, gradually adapting to daily life under the pandemic. They’ve even started letting down their guard, loosening their masks and venturing out on the streets again; you’d been in Australia, listening to her report such things for two months, always taking on the role of comforting her, constantly offering to send her hand sanitizer or a small gift to cheer her up, urging her to stay home as much as possible to avoid infection, and then, in mid-March, not long after White Day, the outbreak in Australia finally began to worry you both. When people all over the world started buying up toilet paper and advocating staying at home to fight the pandemic, your roles were reversed. Have you bought enough food? she asked. Can you buy masks in Australia? she asked. Australia’s customs restrictions are so stringent—I can’t send you any food. Please take good care of yourself, she said. You solemnly promised her, I will. I’ll make it through graduation, and then I’ll come back to Hong Kong and we’ll “sweep street,” hitting up all the good food places. I’m going to eat fried stuffed three treasures, mango pomelo sago, buttered pineapple buns, and rice noodle rolls with sweet sauce, you said. Okay, when the outbreak is over, we’ll go eat, she said. You talked to her over video, virtually hooking pinkies. A few days later, while you were still contemplating whether to be a dutiful daughter and heed your mother’s advice to buy a plane ticket back to Hong Kong, seeking refuge like other overseas students, she said she saw that confirmed cases in Australia were continuing to climb, and she was concerned for your safety, and so that very day, you made up your mind to pack up your belongings and booked a room in a Hong Kong hotel that previously had been used to quarantine university students returning to the city from the mainland. The next day, you cocooned yourself in a windbreaker, gloves, glasses, and a mask and flew back to Hong Kong, every nerve on edge, embarking on your life of fourteen days of hotel self-quarantine.

It’s good you’re back, she says. You feel the same way when you close the hotel door. A few days later, Qantas goes as far as grounding all international flights—if you hadn’t already returned to Hong Kong, you probably would’ve had to swim back. At least now you’re both in the same city. Even if the whole world is caught in the same war-like disaster that’s turned the planet on its head with absolutely no end in sight, at least you’re back, and from now on you can live and die alongside her within the borders of the same city. She makes you promise her you won’t set even half a foot outside the hotel for fourteen days. She’d rather use up a mask shopping for the numerous Hong Kong snacks and soft drinks you told her are your favorites, dropping them off at your hotel and asking the staff to deliver them to your door, tucking inside a few extra goodies to brighten your hotel stay: a card to boost your spirits, hand sanitizer, Japanese sheet masks, and nail polish. When you open the overstuffed plastic grocery bag, you can’t help but sweetly smile and tear up at the same time: Doll pickled vegetable and pork instant rice noodles, Four Seas toasted seaweed, Sze Hing Loong dried seasoned cuttlefish, Vita lemon tea, and Garden Lemon Puff cookies—she’s remembered them all. She says, C’mon, of course I remember! You think your hunch is really spot-on; she must like you too, since she remembers every word you’ve said, and you remember every word she’s said. READ MORE…

Weekly Updates from the Front Lines of World Literature

This week's latest literary news from Poland, Sweden, and China!

This week, our writers bring you the latest news from Poland, Sweden, and China. In Poland, Anna Zaranko’s translation of Kornel Filipowicz was awarded the 2020 Found in Translation Award; in Sweden, an anthology will soon be released of writings on coronavirus, featuring many international writers including Olga Tokarczuk; and in China, bookshops are responding to challenging times by moving to online engagement with their reading community. Read on to find out more! 

Julia Sherwood, Editor-at-Large, reporting from Poland

Since she received the Nobel Prize for literature in 1996, Wisława Szymborska’s poetry has been appreciated around the world, while the work of her partner of twenty-three years, the master story teller Kornel Filipowicz (1913-1990) remained largely unknown outside Poland. Fortunately, this has changed with The Memoir of an Anti-hero by Kornel Filipowicz, published by Penguin Modern Classics in 2019 in a translation by Anna Zaranko. On March 31, Zaranko received the 2020 Found in Translation Award in recognition of her “quietly understated yet immensely evocative rendering of Filipowicz’s prose, which The Sunday Times’s David Mills described as ‘provocative, troubling, awkward, a proper classic.’”

On May 27, the winner of the eleventh Ryszard Kapuściński Award for Literary Reportage, awarded by the City of Warsaw, was announced online (the fourteen-minute video of the ceremony has English subtitles). The prize went to Katarzyna Kobylarczyk for Strup. Hiszpania rozdrapuje rany (The Scab. Spain Scratches its Wounds, 2019 Wydawnictwo Czarne), a book about grappling with historical memory. The jury praised it as “a fascinating story that blends the nightmarish and the grotesque, in which reality reveals its metaphorical dimension. It is proof that one can create real literature relying solely on facts.” READ MORE…

Why Living Is Not the Same as Life: Yan Lianke’s Village Memoir

Perhaps the best way to describe Yan’s writing is that of brutal honesty.

Three Brothers by Yan Lianke, translated from the Chinese by Carlos Rojas, Grove Press, 2020

One of the most translated contemporary Chinese authors, Yan Lianke, has become quite the celebrity: he is featured in interviews in global media, invited to international literary festivals, and quoted on the coronavirus pandemic. Yet, despite this fame and international image, he remains fiercely loyal to his roots—the Chinese village where backbreaking hardship was the common lot until the 1990s. As he admits in his latest book to be translated into English: “I grew up in a household full of poverty and warmth.”

In this piece of non-fiction called 我与父辈 (first published in China in 2009) and rendered as Three Brothers in English through Carlos Rojas’ faithful and vivid translation, Yan pays tribute to the generation of his father, who survived an era of famine, political upheavals, social discrimination, and self-reliance in the 1960s and ’70s. By remaining faithful to their rock-solid values of decency, sacrifice, and stoic acceptance of life’s unfairness, this generation was able to provide better lives for their children. Yan, who belongs to the bridge generation, still remembers his early life of “吃苦” (chi ku, or literally, “eating bitterness”), whilst he has also directly experienced the benefits of China’s economic and social reforms that started in the 1980s but affected life in villages much later, around the late 1990s.

The book, which is subtitled Memories of My Family, describes the lives of three men: Yan’s father, Yan’s father’s second brother (called Second Uncle), and his cousin (called Fourth Uncle). All of them share similar characteristics: they are illiterate, extremely hard-working, and they all die as a result of the physical abuse that their bodies experienced in order to meet their most important obligations towards their families.

Perhaps the best way to describe Yan’s writing is that of brutal honesty. In this world of harsh masculinity—there are very few mentions of women in the book—life consists of the most important stations in life: giving birth, building houses, feeding and marrying off one’s many children (this was before China’s one-child policy started being implemented in 1979), providing education for the happy few, and ensuring a decent funeral. This is all accomplished through a philosophy that Yan describes as the difference between living in the village and in the city:

“ ‘Living’ suggests a process of enduring day after day, with each day being the same, and implies a kind of monotony, boredom, hopelessness, and idleness. ‘Life,’ on the other hand, conveys a sense of richness, of progress and the future. It has color and vitality and calls to mind the act of walking down a broad road illuminated by bright lights.”

READ MORE…

Weekly Dispatches from the Front Lines of World Literature

This week’s latest news from Sweden, France, United States, and Tibet!

This week, our writers bring you news from Sweden, where readers have been mourning the loss of two esteemed writers, Per Olov Enquist and Maj Sjöwall; the United States and Europe, where writers and artists have been collaborating for online exhibitions; and Tibet, where the Festival of Tibet has organized an unprecedented “Poets Speak from Their Caves” online event. Read on to find out more! 

Eva Wissting, Editor-at-Large, reporting from Sweden

Recently, Sweden lost two of its most prominent writers. On April 25, writer and journalist Per Olov Enquist, also known as P. O. Enquist, died at the age of eighty-five. He first became known to readers outside of Sweden with the novel The Legionnaires (in English translation by Alan Blair) which was awarded the Nordic Prize in 1969. In fact, many of his over twenty novels were awarded, including The Royal Physician’s Visit (translated by Tiina Nunnally), for which he received The August Prize in 1999, the most prestigious literary prize in Sweden. Enquist was also a literary critic, an essayist, a screenwriter, as well as a playwright. Several of his plays premiered on The Royal Dramatic Theatre and were directed by Ingmar Bergman. Furthermore, Enquist translated Friedrich Schiller’s play Mary Stuart and Henrik Ibsen’s Rosmersholm. READ MORE…

Weekly Dispatches from the Front Lines of World Literature

Despite setbacks and delays, literature around the world is still going strong.

This week, our writers bring you the latest literary news from Brazil, Central America, and Hong Kong. In Brazil, literary communities are still going strong via online events and livestreams; in Central America, journalists and writers have been reaching audiences through online videos; and in Hong Kong, universities have been putting lecture series online for the public. Read on to find out more!

Daniel Persia, Editor-at-Large, reporting from Brazil

In the midst of rising political tensions, presidential disregard for the ongoing pandemic, and increased social distancing measures at the local and state levels, writers and readers have come together to help shape a new virtual literary landscape in Brazil. Over the past few weeks, with travel restricted and residents urged to stay in their homes, I’ve tuned in via Facebook Live, Instagram Live, Youtube, Google Hangouts, Zoom, and more to engage with authors from across the country. With some livestreams reaching two thousand-plus users in a single session, one thing remains clear: the Brazilian literary community continues strong, with readers now more than ever searching for opportunities to engage in dialogue and debate. To stay connected, you can follow writers and publishers on social media; subscribe to email newsletters; and check out how your local bookstore might be engaged with virtual encounters! READ MORE…

Weekly Dispatches from the Front Lines of World Literature

This week's literary news from Mexico, Argentina, and China!

With much of the world now weeks into lockdown, our writers bring you news of its continued impact upon both the publishing and bookselling industries, as well as on writers’ own responses. In Mexico, authors such as Olivia Teroba and Jazmina Barrera have continued to engage with audiences; in Argentina, bookshops have been embracing solidarity to overcome the current challenges; and in China, the lifting of the lockdown in Wuhan has brought fresh poetry broadcasts and publications along with it. Read on to find out more! 

Andrew Adair, Editor-at-Large, reporting from Mexico

Here in Mexico City, the lockdown has been largely optional, with much frustration over President López Obrador’s casual, relaxed approach before a global pandemic. Until a few weeks ago, there was no lockdown whatsoever, which left people to follow their own moral code when it came to deciding what to stop doing and when. Now, restrictions are in place and movement in the city has calmed down, though with such lackadaisical direction, many still continue to gather. Of course, many more have no choice but to work, as Mexico is the second-most impoverished country in Latin America (Brazil being the first) and many live, not week-to-week, but day-to-day.

And so, with that, we’ve moved online with the rest of the world, shifting many literary conversations to all manner of digital platforms: Zoom, Instagram, YouTube Live—surely you know the drill by now.

One particularly busy author is Olivia Teroba, a newcomer whose first publication of feminist-edged essays, Un lugar seguro (A Safe Place) arrived last year from Paraíso Perdido. Teroba has given workshops and talks through various institutions and bookstores, most notably her Zoom videoconference “New Genealogies” with Casa Tomada, an independent cultural space which has done an impressive job of moving online.

On April 24, la UNAM (National Autonomous University of Mexico) celebrated International Book Day with a series of rousing talks from a wide range of authors as part of their new program #CulturaUNAMenCasa. Topics included, appropriately, “Reading poetry in digital environments,” “Books that save our lives,” and “Feminine Verse in Latin America”—a talk between Claudia Masin and Mexico City-based poet/translator Robin Myers. READ MORE…

In This Together: Writers From Around the World Respond to the COVID-19 Outbreak

A week ago, I couldn’t have imagined this feeling, passing the Spring Festival in Wuhan locked-down like this.

For this week’s edition of In This Together, we present a non-fiction text from the prolific Wuhan-based writer, Fei Wo Si Cun 匪我思存 (psudonym of Ai Jingjing 艾晶晶), who has been publishing a series of texts, collected under the title The Wuhan Battle Diaries, since the first day of the city’s lockdown. Xiao Yue Shan, the translator of this text, explains the significance of these diaries:

The news in China came at the end of the lunar year; a particularly ill-fated time, as the holiday season piques the highest rate of travel both within and outside of the country. We did not know then what we know now—how quickly the virus would spread, how drastic its impact would be on our daily lives, and how, in a brief few weeks, the whole world would come to experience the same fear, trepidation, uncertainty, and weariness that the people of Wuhan awoke to in the thick of its winter.

Fei Wo Si Cun is an incredibly popular writer; her works, largely tales of love and desire, have made her a household name and launched her into screenwriting as well as media production. When the lockdown was first announced, her’s was one of the first voices sounding in response, and it has since persisted in its accounts. Her intimate, informal language charted the city’s tragedies—sometimes pragmatically, sometimes despairingly, yet always indelible with the sense of survival, and interwoven with a sense of intimate locality.

There are cities that become synonymous with their devastation—Wuhan, which had previously occupied a low tier in the global consciousness, will likely be bound to the COVID-19 pandemic for the enduring future. Yet, in Fei’s tender depictions of the city, we become privy to its actualities; there is a redemptive grace that even the most devastated places may persist as a home, as somewhere precious. Many of us around the world are finding ourselves suddenly estranged from our localities, which have been cleared of their familiarities and comforts, but it is my wish, in translating this, that a Wuhan woman’s love for her city may remind us of what we cherished of these places, of what we wish now to save.

Awaiting Spring Under Quarantine

by Fei Wo Si Cun 匪我思存

These days, I’ve been staying up late. Yesterday, at around two in the morning, when suddenly news came online that Wuhan would halt all forms of public transportation—subways, airports, train stations, and any other method of leaving the city—my chest thudded. First arrived the knowledge that these measures indicated the severity of this epidemic, then came the disbelief, that I would actually witness a lockdown like this in my lifetime. READ MORE…

Our Spring 2020 Issue Has Landed!

Feat. Anton Chekhov, Tsering Woeser, Phan Nhiên Hạo, Chus Pato and Alba Cid in our Galician Feature amid new work from 30 countries

Explore the grand scheme of things in Asymptote’s Spring 2020 edition “A Primal Design,” featuring poetry by Zuzanna Ginczanka and Phan Nhiên Hạo, drama from the great Anton Chekhov, Joshua Craze’s review of António Lobo Antunes’ latest fiction, and Fiona Bell’s essay on the “diva mode” of translation. Our Special Feature this season showcases Galician poetry, headlined by Chus Pato. The vivid colors of guest artist Ishibashi Chiharu set the tone for exciting new work from 30 countries and 24 languages, while Ain Bailey’s sonic art provides a fitting soundtrack!

The oracle reveals the obscure plan that drives history, and Galicia, as evoked by its poets, shimmers with oracular resonance. “Language endures / Bodies do not,” declares Gonzalo Hermo, and indeed, these verses seem meant for stone inscriptions. Lara Dopazo Ruibal’s work takes a more visceral approach: “the fig tree grows inside me while the scorpion hunts the ants coming out of my eyes.” But everywhere these poets deal in the essential, the “gold in its original depths,” as Alba Cid writes.

The primeval and the primordial abound in highlights like Matteo Meschiari’s dive into prehistory in his powerful fiction, “Red Ivory,” or Auschwitz survivor Edith Bruck’s lyrics, as immediate as they are minimal. Tareq Imam considers the sublime terror of blindness in a Borges-inspired tale, “Through Sightless Eyes”: truly we are as the blind before destiny. History, like that of Tsering Woeser’s immemorial Buddhist Tibet, provides an illusion of clarity in our confusion. Amidst all that disorientation, writes Seo Jung Hak, “Even if I scribble a poem, the absurdity like a fly who doesn’t bother to fly away somewhere is sitting on a chair like an old joke.”

As we sit quarantined in Plato’s cave pondering our collective conundrum, consider casting shadows of your own when you share news of the issue on Facebook or Twitter; as thanks, here’s a free flyer of the issue to print and share with friends!

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Weekly Dispatches from the Front Lines of World Literature

This week’s literary news from Tibet, California, and Brazil!

This week saw huge events to mark International Women’s Day around the world with its theme this year “Let’s all be each for equal.” Our writers are bringing news this week too of celebrations of underrepresented voices who, through their literature, translations, and discussions also strive for equality: a weeklong Instagram Takeover sharing the work of seven Tibetan women; an international symposium of Indigenous writers in San Diego; and two important forthcoming translations of Brazilian voices. Read on to find out more!  

Shelly Bhoil, Editor-at-Large for Tibet, reporting from Brazil

There is a slow but sure arrival of women to the Tibetan literary scene, evident in the takeover of High Peaks Pure Earth’s Instagram by seven Tibetan women, one each day, beginning February 24, the first day of Losar, the Tibetan New Year. 

In the cavalcade of visual stories, Asymptote contributor Chime Lama threw poetry exercises with shapes and games. A peek-a-book at her concrete poetry collection makes one anticipate it! Tenzin Dickie, the editor of Treasury of Lives, brought Tibetan humor and wisdom with snippets from her forthcoming family memoir—“if you don’t control your appetite even your knees are part of your stomach” or “a bucketful of vomit for a handful of food.” 

Beijing-based Tsering Woeser’s resistant rootedness in her inner exile is telling from the Dalai Lama’s photo, banned in China, at her Losar altar. She showed a view from her apartment window, where a blizzard had occasioned her poem “But It Was“. Kaysang shared the view of Dharamsala from her office space, calling it “Exile Home, The Only Home I’ve Ever Known”. She also left a heartfelt note on sustainable gratitude. Gratitude is something always becoming on Tsering Wangmo Dhompa for her late mother, whose photo she carries wherever she goes. In a work in progress, which Tsering shared, the discerning woman resists “the man who was uncertain of being loved” because “At best, he saw me as the best / of the worst number.” READ MORE…

Coming Home to Everywhere: On Sanmao’s Stories of the Sahara

Defamiliarisation leads to an ecstatic shattering of past lives, and she emerges, proudly, in her otherness.

Stories of the Sahara by Sanmao, translated from the Chinese by Mike Fu, Bloomsbury Publishing, 2020

One of the most beloved characters of most Chinese children born after 1940 is the infamous Sanmao (三毛 / Three Hairs), an orphan so impoverished that he could only manage to grow, well, three hairs. Set largely in nationalist Shanghai, the narrative of Sanmao detailed his nomadic wanderings, often involving ignominious miscarriages of justice, teetering hunger, and desperate, one-yuan schemes. Round-headed, ribcage-baring, picking up cigarette butts on the street, Sanmao was adored by children like myself—poor but not destitute, bred with an uncertain yet determined idea of the world’s cruelties, cultivating a helpless, weary sort of empathy for a two-dimensional friend.

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