Language: Macedonian

What’s New with the Crew? (Aug 2023)

Find out what our staff members have been up to when we’re not editing your favorite literary journal!

Editor-at-Large for Palestine Carol Khoury will be the guest editor of a special issue of the Jerusalem Quarterly, titled “Write-Minded: Jerusalem in Literature”; check out her call for submissions here or email her for further details.

Newsletter Editor Cody Siler published an essay in the Los Angeles Review of Books about  the impact of the American suspense writer Patricia Highsmith’s diaries on her critical reputation.

Chris Tanasescu aka MARGENTO, Editor-at-Large for Romania & Moldova, chaired in June the 5th edition of #GraphPoem at Digital Humanities Summer Institute, a “data commoning” hyper-platform performance involving hundreds of participants and watched by thousands of viewers online.

Nonfiction Editor Ian Ross Singleton translated four poems by Marina Eskina for Barzakh.

M.L. Martin has a new translation of the pre-10 c. Anglo-Saxon queer, feminist poet in the latest issue of Cordite.

Assistant Editor Megan Sungyoon‘s translation of The Cheapest France in Town by Korean poet Seo Jung Hak is scheduled to be published by World Poetry Books in October 2023.

Blog Editor Meghan Racklin’s essay on sore throats as illness and as metaphor was published in Full Stop and her review of The Light Room by Kate Zambreno was featured in The Brooklyn Rail.

Assistant Editor (Fiction) Michelle Chan Schmidt published a review of Owlish by Dorothy Tse, translated from the Chinese by Natascha Bruce, in Cha: An Asian Literary Journal.

Editor-at-Large for North Macedonia Sofija Popovska‘s Macedonian translation of the novella Im Kopf von Bruno Schulz by Maxim Biller was published in July by Makedonika Litera Press; additionally, “Thaumatropes”, a poetry collection she co-authored with Jonah Howell also appeared in July, published by Newcomer Press.

Copy Editor Urooj recently had two poems published in Gulmohur Quarterly‘s Issue 10, released in June 2023. They were also invited to share their poems at the Bangalore Poetry Festival, in Bangalore, India as one of four young, emerging poets in a panel called “Poems in Progress.”

*****

Interested in joining us behind the scenes? We’re still finalizing our mid-year recruitment drive—hurry and apply if you’d like to help power the world’s literature! 

Weekly Dispatches From the Frontlines of World Literature

Dispatches from Romania, Sweden, and North Macedonia!

In this week’s dispatches, our editors report on the continual remembrance of iconic poets, interdisciplinary festivals, and writing that draws attention to the climate crisis. Read on to find out more!

Sofija Popovska, Editor-at-Large, reporting from North Macedonia

Sixty years after the tragic passing of Danica Ručigaj, iconic poet and pioneer of écriture féminine in North Macedonia, an anniversary edition containing the entirety of her oeuvre was published this month. The collection, entitled Srebreni nokjni igri i zarobenici na vetrot (Silver Nighttime Games and Prisoners of the Wind) was prepared by two prominent publicists and journalists working at Radio Skopje, Sveto Stamenov and Iskra Cholovikj, who have dedicated over two decades to researching Ručigaj’s reception and sustaining the vivacity of her legacy.

Ručigaj (1934–1963), sometimes referred to as the Sylvia Plath of North Macedonia for the unabashed vulnerability of her writing, studied ancient Greek, Latin, and Southern Slavic literature, and also worked for the Cultural Ministry of North Macedonia. She passed away at the age of twenty-nine in the 1963 Skopje earthquake—a devastating event that resulted in numerous casualties and left the entire city in ruins. Two poems famously discovered in the ruins of Ručigaj’s home—“Circles” and “Untitled”—will be featured in the anthology, along with essays about her work by prominent scholars and a complete bibliography of publications containing Ručigaj’s writing.

Ručigaj’s poetry, informed by her academic background and nonconformist, taboo-defying artistic attitude, occupies a prominent position in Macedonian literary history. Her refusal to comply with patriarchal norms continues to retain its relevance, as anti-equality sentiments are rising amidst the public. In one of her best-known poems, “No, Do Not Speak to Me” (“Ne, Ne Zboruvaj Mi”), a feminine voice laments the death of a bird who lived “within eyes that have now dried up”, simultaneously noting that its death might be a relief to some: “Come hither, do not fear / Those eyes no longer shine / And so, come hither.” As the poem progresses, we begin to realize that the owner of the eyes is the feminine speaker herself; without the bird—their inner songsmith—they no longer pose a threat to the Other that the poem is directed to. This poem remains an accurate image of gender relations in Macedonian society, where equality is still considered a threat to the “sanctity of the family”. READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest from North Macedonia, China, and Spain!

In this week of news in world literature, we hear from our Editors-at-Large on recent literary awards, revolutionary bookstores, and book fairs around the globe! From North Macedonia’s Novel of the Year to prizes for works across genres and languages in Spain, read on to learn more!

Sofija Popovska, Editor-at-Large, reporting from North Macedonia 

At the end of May, the 24th “Novel of the Year” award, given by the Slavko Janevski foundation, was presented to the author Vlada Urošević for his novel “Вистината но не многу веројатна историја за семејството Пустополски за куќата покрај Вардар и за четирите прстени” (The true, yet not very likely tale of the Pustopolski family, of the house by Vardar river, and the four rings). 

Urošević (b. October 17, 1934), who received the most prestigious Macedonian poetry award earlier this spring, is a writer, poet, and essayist. His oeuvre includes a wide array of literary genres—prose, poetry, essays, travelogs, literary and art criticism, and translations. His work as a full-time professor of comparative literature at the University of St Cyril and Methodius in Skopje is present not only in his lyrical oeuvre—his novel, too, blends different cultures together to create a thrilling, artful narrative.

READ MORE…

Weekly Dispatches From the Front Lines of World Literature

Literary news from North Macedonia and the United States!

In this week of literary news, we hear from our editors-at-large reporting from North Macedonia and the United States! From the recent poetry collection of a prominant North Macedonian poet to a dazzling few days of multilingual poetry and revelry, read on to learn more!

Sofija Popovska, Editor-at-Large, reporting from North Macedonia

In the last days of April, a new poetry collection by the prominent poet Katica Kulavkova, Na Vrv Na Jazikot (On the Tip of the Tongue), was published by Ars Lamina Press. The collection leans into an interrogation of the concepts of home and identity in the current day, a question that, in the Macedonian cultural context, is fraught with challenges and debates.

Katica Kulavkova (born December 21, 1951), whose work was featured in the Winter 2020 issue of Asymptote, is a poet, writer, and academic. She is a member of the Macedonian Academy of Sciences and Arts, the European Academy of Sciences and Arts, and a professor of theory and methodology of literature, hermeneutics, and creative writing. Her writing is deeply rooted in the interplay of the personal and collective; Kulavkova’s lyrical voice is informed by the negotiations between various aspects of being, as Macedonian, woman, mother, academic, artist, activist . . .

READ MORE…

Weekly Dispatches From the Front Lines of World Literature

Literary news from Poland, Kenya, and North Macedonia!

In this week of updates on world literature, our Editors-at-Large bring news on an upcoming film adaptation of Władysław Reymont’s The Peasants, a monthly calendar highlighting African writers and literatures, and the most recent winner of the esteemed Golden Wreath in North Macedonia! From Asymptote contributors’ recent accolades to a brief look into Vlada Urošević’s poetry, read on to learn more!

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

A film version of the modern Polish classic, The Peasants by Nobel-prize winning author Władysław Reymont, will hopefully hit the screens later this year, following a lengthy delay caused by COVID and the war in Ukraine. Those familiar with the Gdańsk-based filmmakers Dorota Kobiela and Hugh Welchman will know that this won’t be your run-of-the-mill costume drama; the film uses the same painstaking hand-painted technique that the team pioneered in their earlier acclaimed short film Loving Vincent. Originally scheduled for release in 2022, the production of The Peasants came to a standstill, as twenty-three of the artists working on the film were Ukrainian and based in a studio in Kyiv. Interestingly, it is the film that we have to thank for the new English edition of The Peasants; since the existing translation published in 1924 was rather outdated, Welchman commissioned Anna Zaranko, winner of the 2020 Found in Translation Prize, to translate a couple of chapters for him and subsequently managed to persuade Penguin Classics to publish the complete novel, which is nearly 1000 pages long. 

In 2021, one year after Zaranko won it, the Found In Translation Award went to Ewa Małachowska-Pasek and Megan Thomas for their new English version of Tadeusz Dołęga-Mostowicz’s 1932 satirical novel The Career of Nicodemus Dyzma. They discuss the novel with Daniel Goldfarb in the first episode of his series of Encounters with Polish Literature. Now in its third year, this consistently illuminating series of monthly videos that Goldfarb has been producing for the Polish Institute in New York has clocked up twenty-six episodes so far. In Episode 2, which focuses on Andrzej Sapkowski, Goldfarb is joined by David French, who has translated six out of the fantasy writer’s eight novels in the Witcher series into English, as well as all three parts of his Hussite Trilogy. In the most recent Episode 3, Goldfarb and the scholar and translator Benjamin Paloff introduce Leopold Tyrmand, author of one of the great Warsaw novels and popularizer of jazz in mid-twentieth-century Poland, a transformative figure in Polish culture between the death of Joseph Stalin and the post-Stalin thaw.

There have been nominations and prizes galore for Asymptote contributors: Marta Dziurosz has won the First Translation Prize of the UK Society of Authors 2022 for her ‘truly astounding translation’ from the Polish of Marcin Wicha’s Things I didn’t Throw Out, sharing the prize with editors Željka Marošević and Sophie Missing. Mikołaj Grynberg’s heartbreaking collection of short stories, I’d Like To Say Sorry But There’s No One To Say Sorry To, translated by Sean Gasper Bye, has been named a finalist of the Sami Rohr Prize for Jewish literature (the winner to be announced on September 12). Olga Tokarczuk’s monumental The Books of Jacob in Jennifer Croft’s translation finds itself on the shortlist of the 2023 European Bank for Reconstruction and Development Literary Prize alongside fellow Polish author Maciej Hen and Anna Blasiak, translator of his book According to Her (see interview). 

And finally, if you are a writer or translator with at least one published book, are currently working on a writing project, are interested in learning more about the Polish literary community, and have a connection with any UNESCO City of Literature outside of Poland, don’t miss the opportunity to apply for a two-month literary residency in Kraków (July 1 to August 31, 2023). The deadline for applications is April 23.

READ MORE…

Weekly Dispatches from the Front Lines of World Literature

The latest from Guatemala, Palestine, and Macedonia!

This week, our editors-at-large report on a celebration of a beloved poets, a controversial change to a major literary award, the last chance to see a powerful museum show, and more. Read on to learn more about current events in world literature!

Rubén López, Editor-at-Large, reporting from Guatemala

On January 26, the Ministry of Sports and Culture of Guatemala announced several changes regarding the National Literature Award. The award, given yearly since 1988, honors the exceptional careers of writers like Augusto Monterroso, Rodrigo Rey Rosa, Carmen Matute, Gloria Hernández, Eduardo Halfon, among others. However, the Ministry has now announced that the award will be presented every three years. Christian Calderón, Vice Minister of Culture, said that the decision is part of a “strategy to give an opportunity to develop young writers.” Gloria Hernández, who was granted the award in 2022, expressed criticism of this new policy in a local newspaper. She argues that the Ministry’s motivation for the change is only saving the monetary grant for three years and that this will not benefit local writers. She added that Guatemala should emulate Mexico’s National Literature Award, which grants a lifetime pension so that the creator can devote to writing. In her opinion, this would be more valuable to Guatemalan literature. In the same interview, Gerardo Guinea, who received the award in 2009, said that it is absurd to grant the award every three years and argues that the only effect of this change is to limit the number of laureates.

READ MORE…

Winter 2023: Highlights from the Team

Dip your toe into our milestone Winter 2023 issue with these recommendations from our global team!

I found, as I sat down to read this issue, that what I was hungry for was urgency, vitality, wit and I found pieces that gave me what I was looking for. “There’s No Cure for the Dead” by Nazli Karabiyikoglu (tr. Ralph Hubbell) weaves a breathtakingly complex tapestry, rife with competing rhythms and energies. Selim Özdoğan’s “Seven Difficulties and One Ever-Narrowing Path” (tr. Katy Derbyshire) brought exactly the acerbic, incisive voice I needed. The Alfred Döblin story “The Woman Who Walked In Her Sleep” (tr. Joachim Redner) was filled with great verbs, gestures, colors, sounds, taking the reader on a dizzying trajectory, a plummet, really, from the character swanning about Berlin, showing off his colorful fashion ensemble, to a murderous rag doll come to life. Menke Katz’s poems with their structural challenges around diminishing or growing numbers of syllables and the love of Yiddish had me re-reading them and admiring the translation. And Aco Šopov’s deep, painful poems (tr. Rawley Grau and Christina E. Kramer) after the devastation of the 1963 Skopje earthquake show how despair communicates across decades and has much to say to us about loss and survival now, sixty years later.

—Ellen Elias-Bursac, Contributing Editor

This issue I was particularly blown away by the quality of the interviews published. The César Aira interview conducted by Michal Zechariah is truthfully hilarious, and the line of questioning really allows his trademark wit and absurdism to shine through. I found Geetanjali Shree’s interview with Rose Bialer to be incredibly generous and thoughtful, fascinating and sharp. In both cases, I thought a really strong sense of their writing came through thanks to the interviewers. The visual section brought together two incredible artists—I’m researching the interplay of poetic text and space at the moment, so Lynn Xu’s thinking (teased out by Laura Copelin) really spoke to me, and I appreciated the climate focus of Bahia Shehab’s work, and her interview with Heather Green. Last but certainly not least, I loved Jared Joseph’s review of Johannes Göransson’s Summer. As a researcher, Göransson’s thinking on poetry translation has been incredibly insightful, and I enjoyed the same insights applied to his work, really engaging in depth with poetry as a genre and mode of being. As a bonus, I thought the criticism section was pleasantly varied in terms of geographies and genres!

—Georgina Fooks, Director of Outreach

All the fiction pieces in this issue are truly marvelous, as if they’re in conversation with one another! For example, Kim Cho Yeop’s “Laura” (tr. Sukyoung Sukie Kim) and Dalih Sembiring’s “Floccinaucinihilipilificatius” (tr. Avram Maurits) can be seen as companion pieces, as both stories deal with corporeal limitations and spiritual transcendence. Laura’s sci-fi context, on various conditions related to body dysmorphia, eloquently evokes the plight of non-binary and transgender groups, while Floccinaucinihilipilificatius represents a metaphorical lotus—its trajectory from pain and putrefaction toward the light of maternal love. There’s a sense of metaphysical wonder to both stories—even though one is inspired by science and the other by magical realism. READ MORE…

Weekly Dispatches From the Front Lines of World Literature

Literary news from Macedonia, Palestine, and China!

This week, our editors report on controversial novels from the Macedonian, testaments from Palestine, and a pop-star-turned-writer from China. From a subversive eroticism to details on the lives of migrant workers, these writers are defying standarisations to illuminate the truth of their realities. Read on to find out more!

Sofija Popovska, Editor-at-Large, reporting from Macedonia

The last days of 2022 saw a controversial sensation return to the Macedonian literary scene; the publishing house Mi-An released an anniversary edition of Jovan Pavlovski’s provocative novel, Sok od Prostata (Prostate Juice).

As an author of almost fifty works, a member of the Macedonian Writers’ Association and PEN Center Macedonia, an editor of the prominent Macedonian newspaper Nova Makedonija, and the editor and publisher of the first Macedonian encyclopedia, Pavlovski (born in 1937 in Tetovo) has contributed a diverse body of work to Macedonian culture. Reaching beyond its confines, his work has been translated into more than twenty languages. Politically dissident and candidly sexual, Sok od Prostata, originally published in 1991, is one of Pavlovski’s best known oeuvres, and has received the title of Most Read Book in Serbia.

Telling the story of a young man desperate for love, Sok od Prostata is described by Mi-An as “not only an erotic novel, but also a deep lyrical story about loneliness and culture shock, passion and love…” Despite its lyricism, rebellion and irreverence remain at the core of the work: “(Sok od Prostata) strives to break through elitist, hardened attitudes about the decent/indecent, and to deconstruct the hypocrisy of ‘high literature’”. READ MORE…

Weekly Dispatches From the Front Lines of World Literature

The latest from Palestine, Sweden, and Macedonia!

In this batch of literary dispatches from around the world at Asymptote, we cover literary conferences, recent publications, and rankings of writers in translation! From a gathering dedicated to the late iconic Palestinian poet Mahmoud Darwish, a new Disney+ series revolving around the life of a boy in Scandinavia, and a collection of contemporary women’s poetry in Macedonia, read on to learn more!

Carol Khoury, Editor-at-Large for Palestine and the Palestinians, reporting from Palestine

Last weekend, the A. M. Qattan Foundation and its partners revived the memory of the late iconic Palestinian poet Mahmoud Darwish with more fervor than anyone has done since his death and burial in 2008. In collaboration with Chaire Mahmoud Darwich, Bozar, and Mahmoud Darwish Foundation, a three-day conference titled “Mahmoud Darwish: The Narrative of the Past and the Present,” was held in Ramallah and on Zoom, with twenty speakers discussing nearly as many topics related to the poet’s works and life. 

It was indeed a very interactive conference, as many of the speakers and a majority of the audience knew Darwish personally. With lots of biographical anecdotes shared by panellists and attendants alike, Darwish’s designation as iconic was undoubtedly attested. It felt as if every single person knew every single detail of Darwish’s works and life. I wondered how long Darwish’s ‘response’ would have been if he were to attend the conference! He probably would have needed another three days to dot the i’s and cross the t’s! But, that wouldn’t have been too troublesome for Darwish; the relationship between him and his audience had always been one of tension. People loved him, his poems, and particularly his orations and readings. But it was such an overwhelming and imposing love that he himself had to write in 1969, “Save Us from this Cruel Love!

READ MORE…

Tales of Contagion: A Comparative Reading of Goran Stefanovski’s Divo Meso

[T]he image of Western Europe as a cataclysmic pathogen becomes a motif, repeated unto the ages of ages.

The Macedonian playwright Goran Stefanovski, working against the background of ex-Yugoslavia, has long used the microcosm of the theatre to address shifting politics, disintegrating identities, and violence in both physical and spiritual levels. His most well-known work, which encapsulates this lifelong address, is perhaps Divo Meso, an intimate family drama that speaks to the overarching condition of the Macedonian nation, as it is subsumed by invasive forces. In this following essay, Sofija Popovska discusses how the play’s oft-overlooked pathogenic themes dialogue with other texts and narratives from across history, and how, seen along these lines, it speaks universally to the private tragedy of loss, as hidden within the greater global narrative of cultural collisions.

The horseman on the white horse was clad in a showy and barbarous attire. . . While his horse continued galloping, he was bending his bow in order to spread pestilence abroad. At his back swung the brass quiver filled with poisoned arrows, containing the germs of all diseases.

—Vicente Blasco Ibáñez, The Four Horsemen of the Apocalypse

In Scene VIII of Goran Stefanovski’s 1979 theatrical piece, Divo Meso, a destitute Macedonian household is paid a visit by a German investor, who offers to buy their house in order to have it remodeled into a showroom. Upon his arrival, Maria, the mother of the family, plunges into reverie, ruminating about a mythical condition she’s certain she’s plagued by: the eponymous divo meso. It is, we are told, an “old wives’ tale”—flesh which forms around a hair inside the throat, and grows until its victim asphyxiates. Despite its superstitious roots, Maria’s fear sublimates the intuition of a condition more cataclysmic and widespread: the body of Macedonian society, weakened by discord and poverty, being infiltrated by foreign interests as if by a pathogen. Transformed into an eschatological growth, the will of their German visitor continues its indomitable conquest throughout the play, leading the family to a coda marked by desolation, surrender, and powerless rage.

Though indicated by the title, the element of illness in Divo Meso hasn’t been explored much, relegated to the background in favor of discussing the loss of tradition. Regardless, the pathogen metaphor is especially apt at describing imperialist intervention into cultures; rather than cultivating a mutualistic or commensalistic relationship between two consenting cultures, it introduces a drastically one-sided power dynamic, to the profit of one and the undoing of another. However, before we delve further into the specificities of Divo Meso, I would like to invite you to consider two episodes, one historical and one literary, that tell stories of cultural contagion. These will help unravel the pathogen-host relationship in its cultural, imperialist context, and illuminate individual processes that comprise it—such as the transformation of identity into a collision site of imposed, internalized, and inherent traits. Rather than the reductive (albeit also valid) reading of Divo Meso as a tragedy of familial and national scope, a simultaneous reading of the following tragic—and in many ways analogous—texts will allow for a richer understanding of the theatrical piece, one that includes transcultural motifs.

On June 23, 1763, trader and land speculator William Trent recorded in his diary that two Native American diplomats had arrived at Fort Pitt in order to persuade the British to abandon the location. After negotiations failed, the British offered the Delaware emissaries a parting gift. “Out of our regard to them we gave them two Blankets and a Handkerchief out of the Small Pox Hospital. I hope it will have the desired effect,” wrote Trent. It remains unknown whether this instance of biological warfare succeeded, though the Native American population around Fort Pitt was “struck hard” by smallpox in the spring and summer of 1763. This wasn’t the first, nor last tale of contamination to be found in the imperialist trajectories of Western Europeans. Engraved upon traditions, echoing through languages, and rising scar-like from the surface of collective memory, the image of Western Europe as a cataclysmic pathogen becomes a motif, repeated unto the ages of ages. READ MORE…

Weekly Dispatches From the Front Lines of World Literature

The latest in literary news from Macedonia, India, and the Czech Republic!

This week, our editors from around the world are reporting on trailblazing new releases, award winners, and literary festivals! From the return of the Dhaka Literature Festival after two years on hiatus to Czech comic artists at the International Comic Art Festival, read on to learn more!

Areeb Ahmad, Editor-at-Large, reporting from India

Initially announced in July, more information has emerged regarding the Armory Square Prize for South Asian Literature in Translation in a feature published by World Without Borders. The prize, sponsored by Armory Square Ventures with a jury of acclaimed translation specialists from around the world, aims to “recognize an outstanding translator of South Asian Literature into English.” The winning work will be published by Open Letter Books while excerpts from finalists will appear in WWB. The founders of the prize intend to highlight literatures that are “all but invisible outside South Asia” in the global English-speaking sphere, joining the JCB Prize for Literature in promoting translated Indian literatures both at home and abroad.

The acclaimed Naga writer, Temsula Ao, passed away on October 9 at the age of seventy-six. In her obituary, Chitra Ahanthem explores her legacy and bibliography, highlighting Ao’s focus on the Naga community and her resistance to the homogenizing impulse to club writing from all the Northeast Indian states into a singular literature, which would dismiss the differences across communities and tribes both within and beyond each state. Meanwhile, the 2022-23 cohort of the National Centre for Writing’s Emerging Translator Mentorships was recently announced. Among its recipients, Vaibhav Sharma was awarded the Saroj Lal Mentorship in Hindi and will be mentored by the International Booker Prize winner, Daisy Rockwell.

READ MORE…

Section Editors’ Highlights: Summer 2020

From Misty poetry to texts both visual and conceptual, our latest issue is bright with offerings.

As testament both to our times and to Asymptote’s ongoing commitment to accentuating the richness and value of global literature, our Summer 2020 issue is replete with texts that vary in their gifts but are unified in their resonance. To help you navigate this selection, our section editors are here with their top picks.

From Lee Yew Leong, Fiction Editor and “Vignettes” Special Feature Editor:

Less diverse than a typical Asymptote lineup, I’m nevertheless proud of the five pieces I curated for the regular Fiction section: Each one wrestles with despair—even if it’s a different timber of dread than the one we’re currently in. In Italian author Christian Raimo’s “No More Cult of the Dead for Twentieth-Century Italy,” two men, haunted by dreams of dead bodies, set out to find and bury one. It’s an exhilarating tale of redemption set against the backdrop of a financial crisis—rendered in Brian Robert Moore’s tonally perfect translation. Don’t miss Czech novelist Daniela Hodrová’s Puppets (Living Pictures); cotranslators Elena Sokol and Véronique Firkusny took home a 2020 PEN Translates Award for their masterful work. In the hypnotic excerpt that we were lucky to present, the reader is whisked across time via a jump-rope. Featuring translations from the Arabic, Chinese, Macedonian, Portuguese, Russian, and Telugu, our more diverse wildcard Special Feature shines a spotlight on the humble vignette. From conventional shorts to metafictional haikus, there’s truly something for everyone. My favorite is perhaps Marianna Geide’s People and Other Beings. Via translator (and past contributor) Fiona Bell, Geide conjures up bizarre creatures—insects shaped like bird droppings, predators shaped like human ears, uselessly decorative bugs, mushroom people—and examines each of her specimens with the precision of a jeweler.

From Garrett Phelps, Poetry Editor:

“Dead Sea” by Yang Lian feels about as close as a piece of writing can get to its subject. Even more impressive is that he does this in two hundred and seventy words, and that the subject is a country gripped by a modern plague. It’s a vision of hell illustrated with “a dense tessellation of images, often hard for the translator to disentangle, which build and build to powerfully symphonic effect,” in the words of translator Brian Holton. Despite the obscurity, however, it’s oddly tangible and even familiar at times, probably because this same hell has become global.

dead fishies drift with the tide     with no high hopes of escaping underwater
there is no underwater in your world

From Sam Carter, Criticism Editor:

In a review of Dmitri Prigov‘s Soviet Texts, Dan Shurley makes the Russian conceptualist writer’s work come alive by grounding an analysis of his work in broader trends both inside and outside the former Soviet Union. Prigov was, as Shurley explains, “a shape-shifter and a master of appropriating the lofty rhetoric of Soviet authority in whatever form it took,” and Shurley carefully guides us through the many offerings and intricacies of the collection that was published by Ugly Duckling Presse and translated by Simon Schuchat with Ainsley Morse.

Another collection, this time of work from multiple writers, is discussed in Ysabelle Cheung‘s review of That We May Live, which contains seven stories of Chinese speculative fiction that delve into alternate realities not entirely separate from our own. Cheung walks us through examinations of particular concerns that, taken together, allow this anthology to “reference global philosophical quandaries and anxieties.” READ MORE…

Blog Editors’ Highlights: Summer 2020

Oral poetry, plague journals, and surrealist masters: our blog editors are here with their selections from the Summer 2020 issue!

With our Summer 2020 issue, Asymptote has brought together new work from thirty-one countries drawn under “This Strange Stillness,” acknowledging all the fearful, sorrowful, and newly arriving things that are in great need of language. It is a timely collection, though we also hope that it is a lasting one, as the texts of this issue remains full of beauty, grace, craft, as well as a knowledge of these unnerving times. If you are in need of a place to start, let our blog editors be your guide.

In these varying todays that blend into one another, I am thinking of Audre Lorde: “seeking a now that can breed / futures.” With the daily cycles of news, statistics, and corresponding tides of political turbulence, the act of reading is accompanied by the weight of scrutiny into factual truths, and the attempts to form a set of principles out of them. All this in the hope that the formidable now will be rescued into a manageable, comprehensible future. As readers and thinkers, we find ourselves in the position of insisting on the importance that literature has always taken, yet literature that thinks only of its utility is powerless—any potency can only result from a craft that knows equally of its form as it does its function.

In perusal of the Asymptote Summer 2020 issue, I returned to indulging in the pure pleasures of reading—linguistic play, secret collaborations of words, and the mysterious harmony of object, image, sound, and divinity that culminates in the sublimity of poetry. I took a particular joy in the Iranian lickos, an anonymous collection of the indigenous, oral poetic form. They are brief, curious, and contain both the wideness and aliveness of a language meant to be passed between two people. The couplets and tercets, translated brilliantly and cohesively by Mahdi GanjaviAmin Fatemi, and Mansour Alimoradi, possess a fluidity and attention that draw the beauty of simple conversation, and the immensity of a single day’s emotions, sharply into view. From petty humour to profound loss, their visual simplicity are an entryway into the profound origins of a poetics.

There is also a great vivacity in Sanja Mihajlovik-Kostadinovska’s “(In)Finite Models of the Short Story,” in which the concept of narrative itself is taken on a wild spin throughout its wanderings into people, places, things, feelings, and myths. Too often we are distracted by semantics, and Mihajlovik-Kostadinovska, along with translator Igor Popovski, bring the reader back into the exhilarating disarray of imagining, reorienting the story back into control of itself. READ MORE…

(Inter)Artistic Dialogues in Contemporary Macedonian Poetry

Contemporary Macedonian poetry is dialogical—a spiritual fruit on the literary crossroads between the East and the West

The interplay between different art forms has long been a subject of poetry. How can visual art, color, or sound be translated into the medium of language? In the following essay, Vladimir Martinovski reflects upon such meeting points in contemporary Macedonian poetry: the poetic dialogue between Mateja Matevski and the Japanese haiku-master Kobayashi Issa; ekphrasis in the poetry of Blaze Koneski; musical instruments in the poems of Jovan Strezovski, Slavko Janevski, Jovan Koteski, and Bogomil Gjuzel; medieval Byzantium sacred art in the poems of Mihail Rendzov. Through a selection of extracts from his essay collection Literary Cross/roads, Martinovski explores the rich and subtle interaction between words and the artistic forms that inspired them.

Contemporary Macedonian poetry is dialogical—a spiritual fruit on the literary crossroadbetween the East and the West, between tradition and modernity, between different artistic forms of expression and the art of the poetic images. A dialogue is established between poetry and different modes of artistic expression. In the attempt to transform paintings into a poetic text, poets must inevitably choose which pieces of visual information is to be transposed into poetic discourse. During the process, the semantics of ekphrastic poetic text is inseparable from—even incomplete without—the connection with the work of art that is the subject of literary description. The poem always depends on the role of the viewer that the reader receives, connecting the words from the poem with the work of art to which they refer.Therefore, a work of art could be treated as a visual catalystof the poem, whereas the poem is an opportunity—thanks to the art of language—to see the work of art in a new way.   READ MORE…