Language: Spanish

Section Editors’ Highlights: Fall 2017

Our editors choose their favourites from this issue.

Asymptote’s new Fall issue is replete with spectacular writing. See what our section editors have to say about the pieces closest to their hearts: 

As writer-readers, we’ve all been there before. Who of us hasn’t been faced with that writer whose words have made us stay up late into the night; or start the book over as soon as we’re done; or after finally savoring that last word, weep—for all the words already written and that would never to be yours. The feeling is unmistakeable, physical. In her essay, “Animal in Outline,” Mireia Vidal-Conte describes this gut feeling after finishing El porxo de les mirades (The Porch of the Gazes) by Miquel de Palol: “What are we doing? I thought. What are we writing? What have we read, what have we failed to read, before sitting down in front of a blank sheet of paper? What does and doesn’t deserve readers?” There are the books that make you never want to stop writing, and the books that never make you want to write another word (in the best way possible, of course). Vidal-Conte reminds writers again that none of us is without context—for better or for worse. Her essay is smart, playful, honest, and a must-read from this issue.

—Ah-reum Han, Writers on Writers Editor

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In Conversation: Natasha Wimmer on Teaching Translation

Teaching translation feels like I’ve been lifting weights, and then I go to my own translation and it's like, whoa, these weights are so light!

What does it mean to teach translation? Many translators are self-taught, having honed their skills in careers as writers or editors, academics or language experts. But some universities in the United States also offer seminars in the craft of translation. The teacher-translator, then, takes on the unique challenge of developing new pedagogy for a field in flux, one that exists at the intersection of language study, theory, and the instructor’s own experiences in the creative practice of translation.

Today, translator Natasha Wimmer sits down with her former student and Asymptote Editor-at-Large in Brazil, Lara Norgaard, to discuss her approach to teaching translation. 

Lara Norgaard (LN): How did you begin teaching translation? What made you interested in education?

Natasha Wimmer (NW): Princeton approached me, actually. I had never taught a class. Not only that, but I also only have an undergraduate degree, so I had never even taken a graduate class. I was a little bit nervous about taking the job. A few years later I started at Columbia. In that case, I did a panel discussion with the other Bolaño translator, Chris Andrews, and the department heads enjoyed the discussion, so they asked me to teach.

LN: Was there a particular class you took or text you read that influenced the way you approached teaching for the first time?

NW: I actually imagined the course as the class I wish I’d taken before I became a translator. I had no formal education in translation at all. I had never taken a translation class and, in fact, I hadn’t even read anything about translation until about eight years into my translation career. When I was asked to give a talk about translation, I realized I had avoided reading about translation because I was afraid that I would discover that I had been doing it wrong, or that maybe I would mess with the instinctive approach that had somehow been successful so far. But then I found reading about translation really stimulating. I discovered that, not surprisingly, there was a conversation about the questions I had and about the things that I hadn’t articulated but had been working through as a translator.

I worked really hard the first year I taught the Princeton class. I spent a few months just reading translation theory and translation essays for material that I thought was interesting and put together a reading list. The first semester I taught at Princeton was very experimental. In retrospect, I’m surprised I survived. The format of the class changed a lot from the first year to the second.

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Weekly Dispatches from the Frontlines of World Literature

Your news from the literary world, all in one place.

This week, our Editors-at-Large bring us up to speed on literary happenings in South Africa, Central America, and Brazil.

Alice Inggs, Editor-at-Large, South Africa: 

South Africa has eleven official languages, a fact not often evident in local literary awards and publications, which generally skew towards English and Afrikaans as mediums. However, the announcement of the 2017 South African Literary Awards (SALA) has done much to change this perception.

In addition to including five contributors to narratives in the extinct !Xam and !Kun languages (drawn from the Wilhelm Bleek and Lucy Lloyd archives), a biography in Sepedi (Tšhutšhumakgala by Moses Shimo Seletisha) and poetry collections in isiXhosa (Iingcango Zentliziyo by Simphiwe Ali Nolutshungu) and the Kaaps dialect (Hammie by Ronelda S. Kamfer) have been shortlisted.

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Blog Editors’ Highlights: Fall 2017

Our blog editors pick their favorite pieces from the Fall 2017 issue!

Each issue, our blog editors choose some of their favorite pieces to showcase. The Fall 2017 issue is extra special for us, since we get to introduce two new assistant blog editors: Sarah Booker, who translates from Spanish, and David Smith, who works with Norwegian. Together with Stefan Kielbasiewicz, they make up the Asymptote blog team. Enjoy these highlights! 

Ricardo Piglia’s piece, “On the Threshold,” is a philosophical, melancholic meditation on the art of reading and the construction of the autobiography. Composed of a series of diary entries in which the narrator muses on his grandfather’s life and on the practice of writing, this text poses fundamental questions about the practice of writing: How do you write an autobiography? What moments really matter when considering a lifetime of memories? How do you begin to write? The realization that experience “is a microscopic profusion of events that repeat and expand, disjointed, disparate, in flight” is what finally allows the narrative to unfold and the pieces of these two men’s lives to come together.

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Weekly Dispatches from the Frontlines of World Literature

Your news from the literary world, all in one place.

Here we are again with literary updates from around the world. This week we bring you news on cultural responses to the earthquakes in Mexico and the latest on indigenous writers via Editors-At-Large for Mexico Paul Worley and Kelsey Woodburn. UK-based Executive Assistant Cassie Lawrence brings us up to speed on the latest from the UK, including recent prizes and publications. Finally, contributor Julia Chien and Editor-At-Large for Taiwan Vivian Szu-Chin Chih discuss the latest poetry and film initiatives in Taiwan.

Paul Worley and Kelsey Woodburn, Editors-At-Large, Mexico:

This week on Thursday, October 12, the 17th Annual Book Fair opened in México City’s Zócalo (main square downtown), and will run through October 22. As reported by Mexico’s Cultural Secretary, under the hashtag #CulturaSolidaria, the event will explore the role that the arts and culture play in rebuilding a city devastated by the September 19 earthquake that took over two hundred lives and left parts of the city in ruins.

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Weekly Dispatches from the Frontlines of World Literature

Your news from the literary world, all in one place.

Here we are with this week’s news on exciting developments in the world of literature! Our Editor-At-Large for Singapore, Tse Hao Guang, updates us on new translation initiatives and experimental literary events. Sarah Moses, our Editor-At-Large for Argentina and Uruguay, fills us in on recent literary festivals and on an event honoring everyone’s favorite cartoon cynic. Finally, Tomás Cohen, our Editor-At-Large for Chile, tells us about some exciting new publications appearing in the region.

Tse Hao Guang, Editor-At-Large, with the latest updates from Singapore: 

In the spirit of experimentation, stalwart independent bookstore Booksactually devised a Book Prescription Day (Sep 30) in conjunction with #BuySingLit, inviting the public to meet seven authors one-on-one as they administered literary balm to all manner of ailments. Literary nonprofit Sing Lit Station put on a zany, rave-reviewed, pro-wrestling-meets-spoken-word spectacle Sing Lit Body Slam (October 6-7), selling out on opening night. Sing Lit Station also announced the 2018 Hawker Prize for Southeast Asian Poetry, awarding the best poems published by SEA-affiliated journals to a combined tune of SGD$2500 (USD$1800). Finally, Singapore played host to the 2nd Asian Women Writers’ Festival (September 29-30), with Singaporean novelists Balli Kaur Jaswal and Nuraliah Norasid speaking alongside other writers from the UK, the Philippines, Pakistan, and India.

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Meet The Publisher: Antares Press’s Margarita Feliciano on Publishing from Spanish, French, and Indigenous Languages

I’m interested in bringing to the attention of readers in the world the fact that there are other languages—not known languages.

ANTARES Publishing House of Spanish Culture is a trilingual press located at York University’s Glendon Campus in Toronto, Canada. ANTARES aims to bring literary and scholarly works from the Spanish-speaking world to North American readers. With this in mind, the press publishes non-fiction, fiction, poetry, and theater either written in or translated from Spanish, English, and French. In recent years, ANTARES’s interests have expanded to include the literature of indigenous languages such as Quechua and Ojibwe. Asymptote’s Editor-at-Large for Argentina, Sarah Moses, met with director Margarita Feliciano to chat about ANTARES’s catalog and their commitment to publishing translations of works written in Spanish and indigenous languages.

Sarah Moses: How did ANTARES get started?

Margarita Feliciano: The press started in the year 2005, but officially we started to publish in the year 2006. I’ve been a professor at York University since 1969 and I’ve always taught literature. In 1989, I started to publish a magazine called Indigo—before Indigo the store; I didn’t have a chance to register it. The subtitle of the magazine was The Spanish/Canadian Presence in the Arts. Things were not done in translation but published in their original language—it could be Spanish, English, or French.

I was forced to retire in 2005 because at the time we had lost a strike and one of the requirements was mandatory retirement for people aged sixty-five. The law is now gone but I unfortunately fell in that category. So in view of that, I decided to create ANTARES—to continue to do what I was doing and at the same time keep me at university because in my life all I’ve done is either be a student or a teacher. So I wanted to continue my work.

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Translation Tuesday: Excerpt from Formaldehyde by Carla Faesler

​"There is a human heart the size of a fist inside of a jar."

This glimpse into a new work by Carla Faesler offers an intriguing portrait of a married couple’s life and the spectre of their daughter, memories of a deceased mother, and a heart preserved in a jar. This excerpt seems to almost represent a cross-section of the story, focusing on one particular, seemingly normal day, yet with flickers of the past as well as into the future. The ending leaves us unsettled, but wanting more—we’ve become witness to a family’s mysterious secret, and we won’t be let go just yet. 

Excerpt from Formaldehyde

“The heart, if it could think, would stop.”

—Fernando Pessoa, Book of Disquiet

Febe, Larca’s mother, swallows her pills in the morning. Her circulatory system pumps the pharmaceuticals in minutes. Only then can she cook breakfast. When the effect peaks, she’s finishing her second cup of coffee. Larca walks to school hand in hand with Celso, her father, while Febe, engrossed like a hen, perches in her armchair, purveying a section of foliage out the window, a bit of sky, the fraction of a lamp post, to wonder how her husband, after dropping off their daughter, can walk to the hardware store and hoist the storefront’s heavy curtain under the constant watch of the guards. The physical force flushes red Celso’s face, supplied with blood by a network of fine veins. Then Febe, pallid, stands to fix her hair and slip something on in time for her husband to come home. Once he’s climbed the stairs, they greet one another with the warmth of a hand resting on a shoulder or the idle motion of clothes settling. Immediately then, two mannequins long out of fashion go down the white wood stairs. They drive to the market to buy food, and they check up on grandma’s house, which is really the house of Cristina, Celso’s dead mother, where everything remains unchanged thanks to Aurora who, despite her ponderous age, has held to her thrifty ways. They leave behind some groceries and the daily request that she resist the cloisters that have her walled in, consumed. It’s not that there are ghosts, with the family legend there would be enough dead to populate a country, it’s Aurora who frightens herself, the terrible appearance of her varicose veins, her wearied insides burdening her with the notion that she won’t ever disappear.

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Weekly Dispatches from the Frontlines of World Literature

Traveling the world, one book at a time!

Your weekly shot of global literary news is here! Today we travel to Austria, Costa Rica, Guatemala, and Morocco to find out about the latest prizes, performances and literary festivals. 

Contributor Flora Brandl reporting from Austria: 

In the southern state of Styria, the oldest Austrian festival for contemporary art, Steirischer Herbst (Styrian Autumn), recently opened with a powerful speech by the Austrian composer Georg Friedrich Haas. Styrian-born, Haas is one of the most renowned figures of the international New Music scene and currently teaches at Columbia University.

In his opening speech, Haas reflected on the dynamics of the remnants of Nazism and the burgeoning avant-garde art scene in Styria. While Nazism was always at the forefront of fighting so-called “degenerate art”—“for they knew: art is dangerous for them”—it also provided fertile grounds for a creative form of resistance: “We [artists] were spurred by the pain and the rage and the grief,” Haas recounted. He ended with an invocation that the role of artists today is to “spread the virus of humanitarianism” in the wake of a worldwide rise of fundamentalism. A political speech with a very personal note, the entire speech can be read in the original German here.

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The Cage by Valeria Cerezo

Finn didn’t respect anyone who had made his Grandma suffer, even if it had happened a long time ago.

A piece that will bring you face to face with the anxieties of childhood, with a dollop of the sticky sweetness of dulce de leche. It is a gorgeous treat that has been brought exclusively for Asymptote readers in translation by the Miguel Angel Asturias National Literature Prize for lifetime achievement winner, David Unger.

Finn is under the bed, perhaps the safest place in the world. The boy feels he has nothing to fear and yet, there he is, under the bed in the waning half-light. First he lies face down in back near the headboard. He finds a hair curler under the bed and spins it. He’s happy because sometimes the curler spins in a circle and other times it veers to the right or left.

There’s dust under the bed, a fine layer of dust. Finisberto imagines that his finger is a crayon and he draws the outline of a doll. He thinks it’s a good drawing. He turns on his back, counting the bed slats above him. He can hear someone calling his name from far off. It’s the calm voice of his grandmother, soft and sweet. “Fiiinnnn.” He likes the smell of his grandmother’s hands. Sometimes he grabs one of them and run it over his cheeks while watching television.

Her voice edges closer, dangerously close. Finn scrunches himself at the farthest corner under the bed and closes his eyes. He recognizes her steps on the carpet, the rhythm of her pace on the bare floor. He stifles his laughter. His grandma will think he’s lost; she’ll sit on the corner of the bed and shout out his name, pleading with God to make him appear. And then Finn will stick his hand out from under the fringes of the bedcover making believe it´s a cat´s claw hunting for his grandmother´s ankles.

This time, however, he has to be more imaginative: his grandmother already knows the cat-under-the-bed trick. This time he’ll pretend to be a spider climbing up her leg. Grandma will sit at the edge of the bed and call out to St. Kahn D. Cane, the patron of lost boys.

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Weekly Dispatches from the Frontlines of World Literature

Your weekly roundup of global literary news and intrigue.

Ever get the feeling that even with all the news happening right now in the world, you’re still not getting enough? Well, that’s what we’re here for, keeping you covered with the latest in global literary news from our Editors-at-Large who are on the ground as we speak. This week we have reports about censorship and activism from Singapore and Mexico, as well as important news about festivals and prizes in the UK, and much, much more. 

Theophilus Kwek, Editor-at-Large, reporting from Singapore: 

The Singapore International Festival of the Arts (SIFA)―launched in 2014 to revive the Singapore Arts Festival, a landmark event in Southeast Asia’s arts calendar―drew to a close this week, concluding a month of theatre, film, music, and visual arts shows. These included a number of international partnerships such as Trojan Women, a Korean retelling of Homer’s epic directed by the SIFA’s founding festival director Ong Keng Sen; as well as Becoming Graphic, a collaboration between Australian theatre practitioner Edith Podesta and Eisner Award-winning graphic artist Sonny Liew, who previously had his funding withdrawn by the National Arts Council for his alternative political history of Singapore.

In a wide-ranging interview with The Guardian to mark his final year as festival director, Ong (who has previously spoken out against the censorship of SIFA’s programs by the government) lamented the “restrictive” attitudes of state funding agencies towards the arts, and said that he felt “drained by the fighting” of the past four years. His successor, fellow theatre practitioner Gaurav Kripalani―currently artistic director at the Singapore Repertory Theatre―struck a more conciliatory position earlier this year, saying that he would opt for increasingly “mainstream” programming.

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Youmein Festival: Creating Art in the Liminal Space Between Tradition and Imitation

“Is a society made up of endless imitations that become canonized as tradition? Or do traditions change through borrowing from other cultures?"

Diverse languages and artistic disciplines intersected at the Youmein Festival in Tangier where artists and writers from Morocco, Algeria, Spain, and France created pieces to reflect the interplay between tradition(s), taqalid, تقاليد, and imitation, taqlid, تقليد.. Asymptote’s Tunisia Editor-at-Large Jessie Stoolman and writer Alexander Jusdanis report from Tangier. 

For the past three years, Youmein (“Two Days” in Arabic) has brought together diverse artists in the city of Tangier to create art installations based on a central theme over a 48-hour period.

The festival is run by Zakaria Alilech, a translator and cultural events coordinator at the American Language Center (ALC) Tangier, George Bajalia, a Ph.D. candidate in anthropology at Columbia University, and Tom Casserly, a production manager at Barbara Whitman Productions. They’re quick to emphasize their hands-off approach. “We’re not curators,” says Alilech. Instead, they see themselves as facilitators, providing artists the initial inspiration, space and support to realize their ideas. The trio stressed that Youmein is less about the final product and more about the process of making art.

They intend the festival to be an opportunity for the artists and audience to discover Tangier through the lens of each year’s theme. While strolling through the city’s streets, historically a meeting point for peoples from around the Mediterranean and beyond, it is not uncommon to hear any combination of Rifiya, Darija, Spanish, French, English, and Italian. Thus, it is perhaps unsurprising that language has played an essential role in selecting the theme of the Youmein festival from its inception.

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In Conversation: Zee Edgell on Belize, and Writing About Home From Afar

Our Guatemala Editor-at-Large interviews Zee Edgell about history and politics seeping into her fiction and Belize as a character.

Zelma Edgell is Belize’s most celebrated writer. Zee, as she’s better known, has also worked as a teacher and journalist. Zee’s first novel, Beka Lamb deals with the relationship between Beka, her best friend Toycie and their conservative community. Published in 1982, Beka Lamb has since become a classic of Belizean literature.

Three novels later, Zee continues her exploration and analysis of Belize’s history, political turbulence, and racial structure. In her second book, In Times Like These (1991), we’re thrown right in the middle of Belize’s independence. In 1997 Zee published The Festival of San Joaquin in which we get a glimpse of the way religion has shaped the country’s traditions and inhabitants. With Time and the River Zee presented yet another facet of Belizean history: slavery.

Zee regards Belize as one of her characters. Belize affects her as a writer and becomes the environmental engine of her protagonists. Belize shapes the community that psychologically cornered Toycie in Beka Lamb; it affects Pavana’s motivations in In Times Like These. Belize is often not only a compassionate and beautiful landscape but also the driving force of the elements that pull at and constrict Zee’s characters.

Formerly known as the British Honduras, Belize is sandwiched between Mexico, Guatemala, and the Caribbean Sea, and is the only country in the isthmus with English as the official language. Zee attributes Belize’s disconnection to Central America’s literary scene to this idiomatic difference. However, her work—and that of her peers—is historically and creatively crucial to the region, defining Latin America’s literary contemporaneity.

Asymptote Guatemala Editor-at-Large José García Escobar

José García Escobar (JGE): I am curious about your creative upbringing. Can you describe your experience of growing up in Belize, and your relationship with art

Zelma Edgell (ZE): In primary school, I participated in yearly school entertainments. We sang Belizean patriotic songs and listened to marching bands and marimba. During the Christmas and New Year holidays, we listened to Garifuna drummers and watched their dances. We also acted out scenes from plays. Also, during the school year, we regularly attended masses at the cathedral. In that sense, yes, I was close to creative activities.

JGE: What were some of the early authors that shaped your reading and writing habits?

ZE: Some of the authors that I read in high school were William Shakespeare and Charles Dickens. Outside of school, I read a large a variety of writers, including books by Mark Twain.

JGE: Any Belizean or Caribbean writers?

ZE: As a young girl, I read the work of Belizean poets. I started reading the work of Caribbean writers when I was in my late twenties or thirties. READ MORE…

Weekly Dispatches from the Frontlines of World Literature

Probably the best source of global literary news available.

It’s the official start of Autumn in the Northern Hemisphere and Spring in the South―the beginning of a new season where minor plans and promises are made that we desperately try to be faithful to. Or maybe not. Maybe it’s just the temperature that changes. Nonetheless, here at Asymptote we’ll always fulfill our promise of bringing you the latest news from around the globe, just in time for the weekend, with this week’s reports from Argentina, Romania and Moldova, and Taiwan. 

Lara Norgaard, Editor-at-Large, brings us the news from Argentina:

August in Argentina was a month for reading. Buenos Aires celebrated Jorge Luis Borges’ birthday on August 24 by organizing a walking tour tracing Borges’ most notable haunts. The 24th is also the country’s annual Día del Lector, commemorating the renowned writer.

On August 23, the Latin American Art Museum of Buenos Aires (MALBA) hosted a conversation between North American policy analyst David Rieff, and Argentine novelist Luisa Valenzuela on the topic of collective memory. Valenzuela is known for her novels that recall state violence, written during and after Argentina’s brutal last military dictatorship. The topic of historical memory is especially relevant right now as the Argentine public protests the alleged disappearance of indigenous rights activist Santiago Maldonado, who went missing at a protest in Patagonia on August 1.

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