Place: Austria

New Year Reading Resolutions from the Asymptote team! (Part I)

January 2, 2017  |  in Essays  |  by Sam Carter

From reading more small presses to children's literature in translation, here are our reading resolutions for 2017!

Sam Carter, Assistant Managing Editor

Rather than focusing on a single region in the coming year or trying to rectify one of my many reading deficiencies (such as an embarrassing lack of familiarity with Chinese or Arabic literature, to name just two), I will dedicate 2017 to exploring the work of those folks who are so dedicated to bringing us the best of world literature in book form: publishers. Not just any publishers, of course, but the small presses who tirelessly seek out the new voices that make the global literary conversation an exciting and ever-expanding one.

These small presses spread the wealth of work from across the globe, and my small contribution for the coming year will be to spread my meager wealth by monthly rewarding one of these risk-takers with the purchase of a recent release. This supplement to my regular habits will not only contribute a greater degree of diversity to my readings but also allow me to become better acquainted with the frequently impressive catalogs of these forward and outward looking publishers.

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To guide my exploration, I’ll be adding a further constraint by starting with those presses located close to home and working outward. Because I’m based in Ithaca, NY, I’ll turn to nearby Rochester’s Open Letter Books for my January pick, which will be Lúcio Cardoso’s Chronicle of the Murdered House. A friend and inspiration to Clarice Lispector, Cardoso’s novel incorporates letters, diaries, and a variety of other documents from the characters in this sprawling tale of a family’s downfall.

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What’s New in Translation? December 2016

December 28, 2016  |  in New in Translation, Reviews  |  by Janani Ganesan, Laura Garmeson, and Poupeh Missaghi

Asymptote reviews the latest translated books from Spanish, German, and Konkani

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The Moravian Night by Peter Handke, tr. Krishna Winston, Farrar, Straus and Giroux

Review: Laura Garmeson, Assistant Copyeditor

Not long after midnight, with wintry constellations etched across the Serbian sky, a group of six or seven men make their way through the darkness from various nearby villages to approach the Morava River, a tributary of the Danube. They have been summoned by the owner of a houseboat moored by the riverbank, guided by its neon sign blazing the boat’s name: “Moravian Night”. Once on board, they are greeted by a man who was formerly a well-known writer. He extinguishes the glowing sign, calls for silence, and begins to tell the listeners his story.

So begins The Moravian Night, the latest shimmering, introspective novel to appear in English from the renowned Austrian author Peter Handke, translated from the German by Krishna Winston and published by Farrar, Straus and Giroux. Handke is no stranger to controversy, with his support for Serbia’s Milošević in the 1990s provoking widespread outrage, and the alchemy of this work seems to draw from the political life and writing life of its author. Employing cameo appearances of characters from previous Handke novels and plot points about the fallout of Central European projects and failed Balkan states, Handke toys with reality, as he sees it, through the cracked lens of fiction.

The resulting book, which on the surface is the story of the nameless writer’s journey across Europe from east to west, is really a travelogue of the mind. This obscured narrator travels through the Balkans, Spain, and Germany, retraces his own steps from previous decades, and reencounters figures who were once figments of memory: “the longer he walked the more he fell into his previous footsteps, footsteps of air”. The parallels to One Thousand and One Nights are established in the book’s first scene, and continue with the same undercurrent of danger and threat of death that forced Scheherazade’s stories into being. The narrator seems impelled by the same threat in the dark on board the Moravian Night. Storytelling here is the antithesis of death – the recreation of a life – and a disrupter of time.

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A Dispatch from European Literature Days 2016: On Colonialism and Literature

December 5, 2016  |  in Dispatches  |  by Julia Sherwood

Two writers and a publisher from three different places around the world shared the same story: each, at age sixteen, felt their life was changed.

In early November, the picturesque, if rather overcast hills and vineyards along the Danube in Spitz, Austria provided a luscious backdrop to literary discussions ranging from Haiti to Hungary, Brazil to Burkina Faso, Slovenia to South Africa and Brazil to Zimbabwe. Headlined “The Colonists”, the European Literature Days 2016 brought together writers, translators and literary critics to debate cultural appropriation and colonialism in literature in both the literal and metaphorical senses, with literary readings and wine tastings to boot.

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© Julia Sherwood

“Every country in the world is a hostage of its history from which there is no escape,” German reportage writer Hans Christoph Buch declared in his keynote speech (reproduced in full in the daily Die Presse). Since first visiting Haiti—the country of his father’s birth—in 1968, Buch has traversed the world, concluding that, although he might have written about the Caribbean and Africa, experience is not transferable across continents.  But isn’t a white author writing about Haiti stealing the country’s stories? Do writers have the right to write about countries that are not their own or does it turn them into colonists? Media and cultural scholar Karin Harrasser posed these questions to Zimbabwean lawyer and novelist Petina Gappah and Cuban author and cultural journalist Yania Suárez.

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Hans Cristoph Buch © Sascha Osaka

They certainly do, according to Gappah. But with the privilege to tell stories, especially those that are not yours, comes responsibility to tell the truth, she added. She deemed Hans Christoph Buch to have passed this test with flying colours.  She stressed the value of the external gaze but warned about striving for authenticity, which is the death of fiction: “If you go down the rabbit hole of authenticity you end up with memoirs.”  Suárez agreed that people have the right to write about other countries but only if they’ve spent enough time there to get to know their surroundings properly. Those who haven’t immersed themselves in the culture often misrepresent and fetishize Cuba, for example, creating fantasy narratives and appropriating its recent history to support their own romantic ideas (ideas echoed only a few weeks later by the accolades heaped upon the late Fidel Castro).

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Petina Gappah © Sascha Osaka

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A Fractured Peace: Artist Schandra Singh speaks with designer Shaill Jhaveri

September 15, 2016  |  in Interviews  |  by Shaill Jhaveri

It is over-stimulating, heartbreaking and beautiful. It's like falling in love and having your heart broken every day.

Although considered one of the fastest-growing markets in the world, the Indian art market is still very much in its infancy. Painting dominates it. Artists are broadly divided into the “moderns”: the more mature “legacy” artists whom collectors feel more secure in buying, and the younger, more current “contemporary” artists, who push the boundaries of Indian art. There was not much of a market till the 1990s, when a more vibrant art scene emerged for established and younger artists alike. Since then, despite economic ups and downs, Indian artists and artists of Indian origin have been making their presence felt across the globe. And the world is paying attention, not just to India, but to artists from throughout South and Southeast Asia.

Growing up in India, I was initially attracted to the Indian portrait painters, especially the sumptuous portraits of a royal India, with the Maharajahs showing off their impossible jewels. Later, I was drawn to the more accessible colored photographs, hand colored over black-and-white prints, stiff but theatrical, with the textiles and jewels jumping off the images. There are the overwhelmingly opulent paintings of the 19th c. Raja Ravi Varma from the princely state of Travancore, who fused European academic art into Indian traditions. Then, there are the haunting self-portraits of a half-Indian, half-Hungarian Amrita Sher-Gil. Of the younger artists, the portraits by Surendran Nair, precursors to his more stylized flat narrative paintings, are so very powerful, as is the realism of Abir Karmakar. The digital portraits of Mahatma Gandhi by Aditya Pande push Indian portraiture into another arena entirely.

Today, a lot of the geographical and cultural boundaries have blurred. A young Pakistani artist Salman Toor lives between Lahore and New York City, and finds that he paints himself in a lot of the figures of his poetic canvases. 

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Variations on a Theme: Carolina Schutti & Joanna Walsh on Poetic Prose

May 12, 2016  |  in Dispatches, Translations  |  by Jen Calleja

"Poets have long been questioning the usefulness/uselessness of the label 'prose poem.'"

When I was invited to create a miniseries of semi-regular author events as translator in residence at the Austrian Cultural Forum London, I wanted to make sure that the Austrian author would always be in dialogue with a British counterpart about something they have in common in their writing. My motivation is to juggle the foreignness and uniqueness of German-language literature with where it meets and overlaps with literature written in English in order to show that writing comes from a specific linguistic, cultural and literary context, but one that connects and communicates with others. As journalist Judith Vonberg summed it up in her review of the event for Literaturhaus Europa: “it’s a simple but unconventional idea. Instead of highlighting the differences between British literature and literature made on the continent, the starting point is similarity, which opens up far more interesting discussions.”

The first of these events brought Austrian writer and musician Carolina Schutti and author and illustrator Joanna Walsh together to discuss poetic prose and how poetry permeates their writing in terms of language, effect and form with me in the ACF London’s Salon back in February. As a writer of both poetry and short fiction, I’m interested in why sometimes one form does and then other times won’t do at all, and why it sometimes happens that I can read the poetry and prose of others interchangeably as if in the other form. What are the markers and where is the boundary? READ MORE…

Tour de Farce: Julian Gough in Vienna

December 10, 2015  |  in Dispatches, Reviews  |  by Tamara Radak

"'Uh, it kind of doesn't matter what it does. Everyone will want one. Look at it.' They looked at it. It was beautiful.”

Julian Gough’s four-day visit to Vienna started on November 12th, with a reading at Lane & Merriman’s Irish Pub. The Pub features pictures of Samuel Beckett and pint glasses with Oscar Wilde on them, as well as the latter’s appropriate quotation for such an establishment: “Everything in moderation, including moderation” on the wall. The Pub also provided the perfect setting for a lively reading and a long and engaging Q & A session that touched on a number of important current issues—ra(n)ging from 21st century technology to the pros and cons of a return to a gift economy.

The reading was co-hosted by write:now, the Association of English-Language Writers in Austria, the Irish Embassy in Vienna and the English Department at the University of Vienna, each of whom managed to blackmail bring a fair amount of people to the event—the room was packed and the “antici… pation” was palpable. After I had introduced Julian, he took the imaginary stage. READ MORE…

European Days of Literature 2015, “The Migrants:” A Dispatch

November 18, 2015  |  in Dispatches  |  by Julia Sherwood

"When people are in a 'swarm,' they aren’t people."

Every year since 2009, writers, critics, and literature lovers have been flocking to the Austrian region of Wachau for the European Days of Literature. Late this October, I was fortunate to spend three glorious autumn days surrounded by vineyards in Spitz and Krems on the Danube, to talk about all things literary and listen to authors read from their works, all liberally sprinkled with local Grüner Veltliner. Literature was center stage throughout—and there was a perfect balance between readings, panel discussions, informal chats and the picturesque setting—no wonder many of the participants have been coming year after year.

The overarching theme of this year’s gathering—The Migrants (Die Ausgewanderten)—was chosen with a view to discuss the ways European literature has been changing through and along with the increasing migration of authors. Little did the organizers know that the symposium would take place at a time when migration dominates the media headlines as thousands of desperate refugees risk their lives to cross the Mediterranean and trek through Europe seeking sanctuary, putting the old continent’s humanitarian values, tolerance and unity to a test and threatening the very foundations of the European Project.

“Some of the best writing in Europe today is migrant writing,” said writer AL Kennedy, who tries not to define herself as having a specific nationality. In her powerful keynote speech (podcast recording here) she tackled the current migration crisis head on: “Between my first draft and my last a photograph of a small boy made it to headlines of many newspapers which had, only hours before, been pouring out hatred at refugees as a moral, cultural, biological and spiritual threat. As David Cameron put it: ‘a swarm of people.’ When people are in a swarm, they aren’t people. They are both of an alien species and a danger. When words put them in a swarm, they don’t receive the real world’s help.”

Practising art alone is not enough at times like these, she argued in her impassioned address, for “true art is not an indulgence but a fundamental defence of humanity.” She challenged writers to take on a more activist stand, using tweets, poetry, and bestselling novels, to create “50 shades of refugee.“

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Translation Tuesday: “Chairs and Sentences” by Anna Weidenholzer

October 27, 2015  |  in Translations  |  by Jen Calleja

"Ferdinand only likes the thin straws, and he likes it when a straw bobs back up after being submerged in a beer bottle."

A brown leather sofa, on it a man, below it a Lurch. A Lurch is a bundle of dirt made of dust, fluff and hair. A Lurch is what I call a Wollmaus. Because the chairs are never cleared away I have a lot to do, the man says. Because the chairs are never cleared away I get angry. But because the chairs are never cleared away I have a job to do. It’s better to have a job than not having a job. Because what would I do if I didn’t have a job. I would just sit at home, sitting at home is nothing, what do you do when you don’t have a job. It’s better to work even if I get the same money I would get if I didn’t work.

The man takes his left hand from his stomach, lays it behind his head, moves his thumb back and forth. Ferdinand watches the man move his left thumb back and forth. Ferdinand watches TV. It’s after ten pm, Ferdinand prefers serious programmes, he appreciates their seriousness and while watching he frequently looks past the television. Is there a hole in the air? A student asked him once; no, a lake, Ferdinand had answered.

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Translation as Firework: A Prismatic Rendition of Anna Weidenholzer

October 26, 2015  |  in Dispatches  |  by Jen Calleja

"The original is dead. Long live the original."

For my latest event as the Austrian Cultural Forum London’s guest literary curator, I commissioned and curated work for an exhibition presenting multiple translations of a short story by Austrian author Anna Weidenholzer in forms including sound, ceramics, textiles, video, sculpture, photography, text, and even tattoo designs and recipes. A reading and performance event in the ACF’s Salon celebrated and closed the exhibition this week and let the audience all be translators for an evening.

The incredibly affecting short story “Sessel und Sätze” (“Chairs and Sentences”) from Anna Weidenholzer’s collection Der Platz des Hundes (Where the Dog Sits) follows aging school caretaker Ferdinand Felser’s preoccupations with his passive position in the world. Having been mocked as a schoolboy by pupils and teachers for his dialect—and by his parents for trying to change it—Ferdinand is now secretly learning nine languages in his office and is troubled by the climate of xenophobia surrounding him at work, in the news, and among close friends. You can read the story tomorrow on the Asymptote blog.

Posing as a metaphor for the multiplicity of possible translations of any story, the exhibition on display in the ACF’s gallery encouraged the visitor to see how each “translation” altered and added to their reading of the story (which they also read in translation) or how the exhibition could be one multifaceted translation. It considered a translation as a personal reading, extension, destruction or an attempt at honing into an essence of the original text by a “translator,” and also explored the fallibility/adaptability of linguistic translation by further experimenting with alternative translations. READ MORE…

In Review: “Thought Flights” by Robert Musil

July 16, 2015  |  in Reviews  |  by P. T. Smith

P. T. Smith reviews a newly translated collection of short pieces by Robert Musil

At first appearance, the newly translated collection of short pieces by Robert Musil, titled Thought Flights by translator Genese Grill (Contra Mundum Press), seems at odds with the writer’s reputation. After all, he is most famous for the massive, unfinished Man Without Qualities. Why would he take time away from that project he was so dedicated to so he could write pieces of fiction only a couple pages long, essays about whether the crawl stroke is an art or a science, and satirical fragments like “War Diary of a Flea”? And considering all that Musil articulated about society, gender, philosophy, art, etc. in Man Without Qualities, is there reason to read this instead of, or after, that? The quickest way to answer both questions is hinted at by Grill in her introduction. The first: for Musil to maintain his sanity by taking breaks. The second: if you admire both the intellect and aesthetics of Musil and the serious play that Walser brought to his feuilleton, this is a chance to see what comes about when those two styles are combined.

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