Place: Chile

Uncertainty, Improbability, and Hope: An Interview with Ariel Dorfman

November 9, 2023  |  in Interviews  |  by José García Escobar

. . . how can we tell the truth about the terrors and oppression we are witnessing, and not become agents of despair?

In September, Argentine-Chilean novelist Ariel Dorfman released his latest novel, The Suicide Museum (Other Press)—one that has been fifty years in the making. In the narrative, we follow the author’s eponymous alter ego, who is sent by a man named Joseph Hortha to uncover the truth behind the death of socialist president Salvador Allende. Was it murder or suicide?

Fifty years ago, on September 11, 1973, the Chilean Armed Forces, led by Augusto Pinochet and with the support of Richard Nixon, the US government, and the CIA, launched a military coup against the democratically elected president of Chile, Salvador Allende. The coup targeted Palacio La Moneda, resulting in the death of President Allende and the dawn of a military dictatorship led by Pinochet, which lasted until 1990; during Pinochet’s rule, approximately three thousand people were killed, and one thousand more are still missing. Dorfman offers a unique perspective to these events; in 1973, he (and “Ariel”) served as cultural advisor to Allende. He was supposed to be with Allende in La Moneda on September 11, 1973, but switched places with a colleague at the last minute. So, the author survived—unlike many of his friends and colleagues.

Set in 1990, “Ariel’s” search occurs twenty-one years before Allende’s body was exhumed a second time, and a judge “with impeccable credentials,” according to Dorfman, finally determined his cause of death. Juxtaposed by this reality, The Suicide Museum is a political thriller, a historical fiction novel, and a murder mystery.

In the fallout of this turmoil, Dorfman has spent most of his life living in exile. Even after democracy returned to Chile, he’s remained abroad, returning only occasionally. We see and feel that distance and familiarity in The Suicide Museum; we feel “Ariel’s” nostalgia and survivor’s guilt, his shame and regrets, his courage and his dreams, and through that emotional journey, we also see Allende’s first exhumation, we feel the effects of the dictatorship, we see the end of that dictatorship, we get a glimpse of “Ariel’s” creative process, and we see how life rapidly changed for Chileans after the coup, through flashbacks.

“Ariel” and Joseph Hortha ruminate on life, death, suicide, socialism, capitalism, climate change, Latin America. Like a pair of boxers, these two friends, allies, adversaries, confidants, challenge each other, interject each other, insult, comfort, and—sometimes—agree. After claiming that Allende saved his life, Hortha now wants to know if Allende committed suicide. “Ariel,” then, must go to New York, London, Chile.  He must talk to the people, to Allende’s gravedigger, to rivals and sympathizers. He must talk to Patricio Guijón, Allende’s doctor, who was next door at the time of Allende’s death. He must talk to Adrián Balmaceda, Allende’s bodyguard, and the last person to see him alive, to determine the presidente’s cause of death.

Ariel Dorfman remains a towering figure in Latin American and World literature. He’s the author of books such as How to Read Donald Duck: Imperialist Ideology in the Disney Comic, Death and The Maiden, and Heading South, Looking North. In this interview, we talked about his latest novel, but also about autofiction, inspiration, survivor’s guilt, his relationship with English and Spanish, living in exile, how Latin America is brothered through exile, the future of Chile, and what he remembers of that September 11, fifty years ago.  

José García Escobar (JGE): I wanted to talk first about the blend between fact and fiction in The Suicide Museum. In Michael Chabon’s Moonglow, we can find a type of disclaimer at the beginning of the novel: “In preparing this memoir, I have stuck to facts except when facts refused to conform with memory, narrative purpose, or the truth as I prefer to understand it.” The book is marketed as a “novel,” and that word appears on the cover, but much like Chabon, the characters in this “novel”—particularly Ariel—call it a “memoir.” How did you handle this distinction?

Ariel Dorfman (AD): When I first realized that the only way—at least for me—to narrate this quest (the search for the truth about Salvador Allende’s death on September 11, 1973), was to send my own self—really, an alter ego—to Chile, I did so with both joy and trepidation. Trepidation, because it was risky to use my own life, sticking to as many details of that life as possible (my wife, my children, my friends, my return to my country in 1990), and to simultaneously treat all of it fictionally and invent many scenes and characters (including how I present myself) within the straitjacket of a pre-existent chronological order. And joy because I was able to explode the limits of the genre, particularly what is called “autofiction.”

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Translation Tuesday: “Hems” by Ana María del Río

September 12, 2023  |  in Translations  |  by Justin Sergi

Each day she appears to get larger. More thunderous in her love. More outrageous in her furies.

This Translation Tuesday, a short story about an odd couple. A husband is shrinking—physically eroded by the force of his domineering wife. In a lesser author’s hands, things would quickly turn risible: think grimacing stories of shrews and their nebbishes, or cheap, queasy raunch with betas and Amazons. But Chilean author Ana María del Río elevates the material by treating it with a disturbing, straight-faced intensity. Wife is elemental: she loves, cares, rages, panics, resents, and fucks with the same unremitting, meteorological violence. She is”thunderous” a natural disaster, yet possessed also of a brute guile for suffocation with which she strips her husband of his independence and dignity, as exhausted sentences attest.

Suddenly, I feel myself getting smaller. Little by little. I took my pants to the tailor to get the hem raised. She told me that it’s because of my shoes. In the summer people change to wearing low-tops or flats which make the pants seem longer. It isn’t that you’re getting smaller, she jokes, and tells me not to worry. She’s sweet. Her eyes are the color of roasted chestnuts. She raises the hem a bit anyway, just to humor me. She doesn’t seem to notice.

Still, I feel myself getting smaller. My wife tells me it’s nonsense.

It’s because of her. Each day she appears to get larger. More thunderous in her love. More outrageous in her furies. Larger eyes opening wider in the heat of more extreme panics. She’s on medication, but there are days when it doesn’t take. It’s because you don’t love me as you ought to, she says. And how ought I? Suddenly, I notice that I can barely get my arms around her, trembling with a violence I haven’t seen even in the most horrific withdrawals. Her muscles seem to slap against the bone. She kicks wildly. Her eyes, terrified, dart around the room, ah, that room, which is slowly becoming my prison. She knows. She bought padlocks for the closet. To protect us, she says, you should thank me. She fears they will come to kill her in the night. The tenants we evicted are murderers and drug-addicts, capable of anything, she says. It’s true we heard gunshots once or twice from down river. But it’s possible they were hunting rabbits. They were left homeless, after all. They were rude, she says. And if someone is rude to me, well, they’re in trouble. She hired a lawyer. Informed me we would split the bill. To throw them out. In the end, we did. All that’s missing is the judge’s order. When that day comes, she says, I’m gonna throw a fiesta. But who knows what fresh hell will arise that day. I’m exhausted, always a little more exhausted, waiting for days that never come and nice moments that only exist in the future. But she dreams of those moments constantly. When you realize all that I’ve done for you and return the favor. Scares the hell out of me. I don’t think we’re ever going to begin. Everything for us seems either to wither or to end completely. Or, in her case, to get larger. When the judge finally makes it official, I think we’re gonna find rats, huge ones, in the tenants’ place. But at least we’ll be able to go in—why are you always so negative that you have to wreck my dreams, she says. You don’t know how difficult it was to watch you fall off the wagon. Of course I know. She tells me all the time.

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Weekly Dispatches From the Frontlines of World Literature

June 23, 2023  |  in Dispatches, News, Weekly Roundup  |  by Alan Mendoza Sosa, José García Escobar, and MARGENTO

The latest from Spain and Central America!

In this week of literary news, we hear from our Editors-at-Large on Spanish-speaking countries around the world! From Spanish-Romanian literary intermingling in Spain, to recent award winners across Central America, to medium-bending poetry across sound and space in Mexico, read on to learn more!

MARGENTO, Editor-at-Large, reporting on Spain

As the summer season is kicking in and tourists are about to take over Spain—as is the usual for this time of the year—certain portions of the literary world are seeming to gain fresh momentum. That goes particularly for the transnational and translational endeavors. 

The latest issue of the Madrid-based literary journal Ágora – Papeles de Arte Gramático offers a rich overview of contemporary Spanish poetry while including a generous Catalan special feature. A substantive section on Romanian literature is also featured, with reviews of Encarnación García León’s recent anthology of Romanian fiction in Spanish translation and articles on Spanish translations of the legendary writer and internationally revered religion phenomenologist Mircea Eliade and the symbolist Ion Minulescu. 

Moreover, the issue opens with poems by past Asymptote contributor Felix Nicolau in Elisabeta Boțan’s Spanish translation and some of Fernando Pessoa’s celebrated poems in Dinu Flămând’s Romanian rendering. The journal has had a long-standing interest in Romanian-Spanish literary cross-pollinations, as a previous issue featured a sizeable section dedicated to the Romanian inter-war writer Max Blecher, who passed away at the age of 28 after spending a decade ill, confined to his bed, and writing literature that would later be widely translated. Blecher’s collected poems in Spanish translation, edited by Joaquín Garrigós, was a highlight of the issue. Ágora’s Editor-in-Chief Fulgencio Martínez warmly recommends to his readers the summer issue of another Madrid-based journal, Littera Nova, profuse with Romanian writing. 

READ MORE…

Translation Tuesday: “Return” by Cristalina Parra

February 28, 2023  |  in Translations  |  by Julián David Bañuelos

my mother’s eyes in the morning and my father / ringing the doorbell, atop his bike, without shoes...

This Translation Tuesday, we bring you poetry from Chilean poeta Cristalina Parra’s debut collection Tambaleos. Translated from the Spanish by Julián David Bañuelos, “Return” is a tidal wave of nostalgia–overwhelming and sweet. 

Return

while swapping my papers, my mountains for the
desert gulf, i think about the reflections of clouds
cloaking the Santiago Mountain or the sun–
rise measuring the length of your face, slowly
cracks the day, there, the winds cross
the valley, the leaves sing and the clouds dance, I
hear the music you sent and the music we listened
to while running from the pigs, i think of all
the shellfish in this cold ocean and how the squids,
before death, try for the shore, i see,
my mother’s eyes in the morning and my father ringing
the doorbell, atop his bike, without shoes, his olive
skin, i think about the pup attempting their first
steps and the whiskey i threw back with my cousin
while playing Charlie Garcia’s keyboard and
chatting about the void we both understood, I think of the sunrise
for the first time in three years.

READ MORE…

Fall 2022: Highlights from the Team

November 2, 2022  |  in News  |  by Alex Tan, Annilee Newton, Barbara Halla, Bella Creel, Caridad Svich, Heather Green, Ian Ross Singleton, Janet Phillips, Marina Dora Martino, Megan Sungyoon, and Sofija Popovska

Where to start with our glorious Fall 2022 issue? Here are some entry points, courtesy of our global team!

Emma Ramadan’s work as a translator has been so important to me and my literary journey—not least because of the attentiveness she lends to the writers she translates from Francophone North Africa, such as Ahmed Bouanani. I also really admire the way she speaks about her process with Claire Mullen in her interview, the passion and commitment and genuineness that shine through, for instance, in how she discusses her feelings at finally finding a copy of Molinard’s Panics. It reminded me a little of Alice Guthrie’s work with Malika Moustadraf’s Blood Feast, which was also out of print and circulated online as low quality scans.

I really love the slow, meditative writing of Dejan Atanacković’s absent narrator in Lusitania (tr. Rachael Daum). When it ranges with a kind of radical exteriority over the ephemera that remains of Teofilović, and the marginal annotations of Stojimirović that accompany his journals, it reads almost like the prose of Sebald—with the enigma of Teofilović as one such central, inaccessible figure around which the story endlessly circles, never losing sight of the larger political and social context.

Laksmi Pamuntjak’s “The Tale of Mukaburung” could easily have been written and translated to pander to a white gaze, and it’s really to the credit of both Pamuntjak and her translator Annie Tucker that there is a pervasive self-sufficiency to the story and its world, a refusal to explain itself, a matter-of-fact revelling in the ordinariness of its own magic and ritual. This seems especially commendable when a dominant affect in the story is puzzlement and defensiveness, in confrontation with foreigners whose presence and purpose are unknown, even to the reader, until much later in the story when it is revealed that many among them are political prisoners.

—Alex Tan, Senior Assistant Editor (Fiction)

Olavo Amaral’s “Steppe” (tr. Isobel Foxford) is exquisite in every way: the writing of the translation, the unusual subject matter, the relationship and emerging love between the two main characters and how it is described, the mood created by the atmosphere of snow and remoteness.

I have been following closely the horrors of Putin’s war in Ukraine and though still angry and frustrated by its continuation, I thought I was fairly hardened to the extent of Russian atrocities. But I broke down towards the end of Galina Itskovich’s War Diary (tr. Maria Bloshteyn), where the unspeakable rape and violence against children is put into words.

—Janet Phillips, Assistant Managing Editor

Kudos to Jonathan Chan for beautifully translating such ancient poems of Choe Chi-won, whose characteristic loneliness metaphorized in natural images is successfully rendered in translation.

I think one of the most important missions of Asymptote is to sustain languages under oppression, be that a national language that is close to extinction or the voice of a people amid a political process of erasure. Lauren Bo’s review of The Backstreets by Perhat Tursun undertakes this mission in remarkable earnest and rigor, by not only posing the biopolitical question of survival faced by the Uyghurs but also diligently analyzing the text via a close reading, and ultimately marrying the two to derive a conclusion that engages readers with the enduring challenge of humanity that surpasses the violence that is immediately palpable: “The Backstreets is an account of survival and a reminder that even the cruelest elements of humanity are fabricated out of absurdity and fear of the uncertain.”

The elusive language of Krikor Beledian’s “Unpeopled Language” (tr. Taline Voskeritchian and Christopher Millis) is delicate yet piercing, and while  the history of the Armenian genocide cannot be separated from the poetics of Beledian, its implementation of “the tool against the game of expression“ speaks to the broader context of the survival of a people and their language in and after the era of mass murder.  

—Megan Sungyoon, Assistant Editor (Poetry)

READ MORE…

Reckoning With the Idea of the Canon: An Interview with Robin Myers, Part II

July 7, 2022  |  in Interviews  |  by Alan Mendoza Sosa

The tradition becomes this tidal flow that is always acting on us . . .

In the second part of a three-part series, Editor-at-Large Alan Mendoza Sosa continues his conversation with poet and translator Robin Myers. In this installment, they continue their discussion on multiplicity in translation, touching on canons in Spanish literature, conceptual writing, and collaboration. Read part one of the interview here.

Alan Mendoza Sosa (AM): Have you felt that commercial interests interfere with what gets published and translated?

Robin Myers (RM): Always, although I find it hard to express exactly how, beyond my own intuitions and observations, you know? Definitely. I sense that certain authors become “hot” authors, and so other writers will get grouped together or hyped in response to them or in comparison to them. And of course authors in translation are very susceptible to being treated as automatically “representing” the country or even the region they come from, which is hugely problematic. Among many publishers there is a real interest in contemporary Latin American fiction writ large, which is obviously never a balanced playing field. With literature translated from Spanish to English, there are lots and lots of books being translated from Argentina, Chile, quite a few books from Mexico, and far fewer from other places. You know, very unequal.

AM: Usually very little, next to nothing from Central America, I would imagine.

RM: Totally, next to nothing. Yeah, Argentina, Mexico, Chile, I’d say.

AM: Sometimes Peru, maybe? Or not even.

RM: Yeah, Peru a little more recently. I’m thinking of Katya Aduai, Gabriela Wiener. But anyway, my hope is that as interest in translation as a field continues to grow, and with increasing advocacy for translators as artists, the range and multiplicity of authors who get translated will also keep growing. I think all of that is on the rise, which is thrilling.

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“I want my words and those of the law to meet on the page and touch”: On Alia Trabucco Zerán’s When Women Kill

March 10, 2022  |  in Reviews  |  by Suhasini Patni

In looking at disobedient women, the book dismisses “the lawyer’s red pen” and the “narrow confines” of law.

When Women Kill: Four Crimes Retold by Alia Trabucco Zerán, translated from the Spanish by Sophie Hughes, And Other Stories, 2022

Could such bloody murders really have been committed by women? Did they owe their homicidal violence to advances in feminism?

Alia Trabucco Zerán has been training herself to suspect—as if it were an art form. It is this honed ability for distrust, combined with her background in law, that brings her close to the four women at the center of When Women Kill. In her debut novel, The Remainder (shortlisted for the 2019 Booker International), Trabucco Zerán told the story of Iquela and Felipe, who undertake a road trip to help their family friend Paloma collect and bury her late mother’s body. The lives of the trio are bound with the loss and terror of Pinochet’s rise to power, and as the sky darkens to the color of ash, they too dream of corpses, sinking into hazy memories. The Remainder sealed its author as one of Chile’s most recognized and poignant debut novelists, and central to its story is the same uneasiness of forgetting that pervades When Women Kill; what is true, in a lawful sense, is curled and uncurled in this text, making it one of the more incisive intersectional feminist analyses of myth and murder.

Trabucco Zerán begins her book by explaining why she undertook this study, claiming that a woman who kills is “outside both the codified laws and the cultural laws that define and regulate femininity.” Scavenging through multiple archives, court documents, films, and plays, she reconstructs the history of Corina Rojas, Rosa Faúndez, Carolina Geel, and Teresa Alfaro—four high-profile Chilean murderers of the twentieth century. She is unconcerned with learning about the motivations behind the acts; instead, the book serves as an account to remember and discern the women who commit crimes, who have expressed their rage. READ MORE…

Violence, Beauty, Structure, Freedom: An Interview with Translator Urayoán Noel

March 9, 2022  |  in Interviews  |  by Noa Mendoza

Urayoán is always conscious of, resisting, and emphasizing the neocolonial nature of the translated word.

In the early days of the pandemic I became obsessed with a little book called Materia Prima (Ugly Duckling Presse, 2019) by Uruguayan poet Amanda Berenguer. Two years later, I’m still returning to it again and again. Berenguer’s poetry, ranging from a classically lyrical style to experimental concrete work, speaks to a certain gruesome dance that defines the intense moments of closure and euphoric freedom of the pandemic era. The poems—particularly her concrete works—contain wells of meaning; they dip into abstraction and yet are completely literal, hung in the spatial galaxy of the page, intimate and infinite, like vessels unto themselves. The English translations, pasted next to the original Spanish, felt like an impossible feat. How, I wondered, was it possible to translate these vessels in which every letter, fluidly molded in Spanish, was essential to their form?

 When I interned for UDP in the summer of 2021, I seized the opportunity to chat with one of the translators who had worked on the book, and specifically on these visual poems, Urayoán Noel. Noel is a poet, translator, and professor based in the Bronx, originally from Rio Piedras, Puerto Rico. His poem “ode to coffee/oda al cafe,” named after the iconic Juan Luis Guerra song, deconstructs the relationship between English and Spanish, empire and cash crop, moving in and out of the two languages like a defiant and fluid snake. This is emblematic of the warm and brutal intelligence that Urayoán brings to the act of translation: he is always conscious of, resisting, and emphasizing the neocolonial nature of the translated word, and he has a deep love for language and an understanding of all that it celebrates, erases, amplifies, and reveals.

Noa Mendoza (NM): I thought it might be nice to start out talking about a poem that I’m actually going to get a tattoo of soon.

Urayoán Noel (UN): No way, really?

NM: Yes! This graph one, it’s untitled, but it is a pictorial representation of a beach scene, with a jumble of letters underneath.

I’m wondering what your experience was translating this graph, and, more generally, the incomprehensible. The words in the middle that don’t necessarily hold semantic meaning. And also gibberish more generally, if you ever think about that when it comes to translation.

UN: I think I might make a distinction there. I certainly agree that Berenguer’s language isn’t linear. I’m not sure she’s a poet of gibberish. I think of gibberish as a kind of uncontained language. My sense is there’s always this rigor in her work and a constant struggle between freedom and constraint.

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Blog Editors’ Highlights: Winter 2022

January 24, 2022  |  in News  |  by Darren Huang, Erica X Eisen, and Xiao Yue Shan

The reconstituting of memories that have been erased is a central concern for the playful yet meditative Winter 2022 issue.

Asymptote’s Winter 2022 issue is now out, marking the magazine’s eleventh year in publication! The newest edition features writing from a record forty-three countries and twenty languages. Here to introduce you to what this issue has to offer are our blog editors with some thoughts on the pieces that stood out to them the most.

In Maria Stepanova’s 2021 genre-defying work In Memory of Memory, she wrote that her excavation of family history was motivated by a desire to discover “the way memory works, and what memory wants from me.” Stepanova was absorbed with not only recovering the stories of her Jewish family but also probing her own obsessive relationship with memory itself. The memoir suggests the faultiness of memory in its rips and tears, while betraying an anxiety over its artifice in the way the memoirist manipulates the archive through inclusion, exclusion, and distortion for the purpose of her narrative. The reconstituting of memories that have been erased through the forces of time and displacement is a central concern for the playful yet meditative Winter 2022 issue. Like Stepanova, the authors of these varied works construct complex inquiries into the past through reappraisals of memory, dreams of alternate lives, and imaginative play with form. They seek the truth through memories while contesting their inevitable artificiality and malfunctioning.

In Rose Bialer’s deeply affecting interview, the Hungarian poet, memoirist, and translator George Szirtes speaks of returning to certain memories and themes in his personal history throughout his career in poetry, sometimes writing new poems that function as continuations of collections published decades before. This idea of Szirtes’s “return” to the same moments for their comprehension reflects his mistrust of memories but also his belief that truths are embedded within them. One of the talk’s many astonishing moments is when Szirtes claims that the return over time to the same memories in his poems reveals parallel narratives that add up to a palimpsest of personal history and identity. For Szirtes, formal constraints such as the terza rima continuously open the same memories to new facets and understandings. This illuminating conversation demonstrates how the fluidity of memory allows the poet-translator to construct an unstable past and self while “registering the sense of truth in all its complexity.”

READ MORE…

The 2021 National Book Award for Translated Literature: Who We’re Betting On

November 15, 2021  |  in Essays, News  |  by Darren Huang and Xiao Yue Shan

Our blog editors take you through the shortlist!

The announcement for the National Book Award for Translated Literature is right around the corner; the 72nd ceremony is due to broadcast live on November 17. On the shortlist are five varied and individual titles: Elisa Shua Dusapin’s Winter in Sokcho, translated from the French by Aneesa Abba Higgins; Ge Fei’s Peach Blossom Paradise, translated from the Chinese by Canaan Morse; Benjamín Labatut’s When We Cease to Understand the World, translated from the Spanish by Adrian Nathan West; Nona Fernández’s The Twilight Zone, translated from the Spanish by Natasha Wimmer; and Samar Yazbek’s Planet of Clay, translated from the Arabic by Leri Price. Whom will the judges smile upon? Read more for our take.

A friend, not too long ago, once told me that he feels guilty whenever he reads fiction. Just seems a bit indulgent, he said. Yes, I admitted in turn, when pleasure and beauty mix, it feels incredibly indulgent. It was early autumn, dawn was a glorious thing, and we were talking about the first novels we loved—ones I remember for their intelligent presences, their human authority, but most of all, for the distinct, almost secret, pleasure they brought. The indulgence of excellent fiction feels luxurious precisely because of this intimacy: a sense of understanding passed via that most hidden method, of mind to mind. It seems to me that when pleasure and beauty mix, we allow the precocious lies of fiction to move through us, and become truths.

The five titles that make up the finalists for this award are all, in their own respect, remarkable emblems of fiction’s capability to create truth through duplicity. They achieve this through vivid, personal recollections—as in Planet of Clay—or through intensive research—as in When We Cease to Understand the World—or perhaps in what Borges described as “magic, in which every lucid and determined detail is a prophecy”—something I suspect to be at work in The Twilight Zone. The worlds for which these works contribute their imagination are various, wonderful, horrible, and mercilessly true; it makes me think something else about this triangulation of pleasure, beauty, and truth—that it is in the conciliation of the latter two where the incomparable pleasure of fiction is found.

Beauty is not reliably something one can stand to look at for long, but it always leaves something searing. Samar Yazbek’s Planet of Clay—the most lyrical and poetic of the five selections—is gorgeously written, and its translation by Leri Price is a definitive work of art, but it feels sick to talk about the pleasures in reading this story of Rima, a young, mute girl in Syria, as she loses one solid fact of her life after another amidst the atrocities and miseries of war. Instead, Yazbek’s prose is a holding thrall, channelling the child’s voice which springs between stark lucidity and dappled abstraction. Elegantly hanging in the balance between the wounded reality and the salve of her reveries, Rima draws an excruciating impression of the pain she experiences and witnesses, intensifying the horror with an unsparing visuality: “I am afraid of the meanings of things when they turn into words, as it is hard for me to understand bare words without turning them into pictures.” The coarse red of blood, the acrid taste of poison gas, the dusty pallor of a face in death—the words of Planet of Clay are both pictures of unflinching witness, and figures of breathtaking reverie. READ MORE…

The International Booker at the Border of Fiction: Who Will Win?

May 27, 2021  |  in Essays  |  by Barbara Halla

[T]his year’s shortlist . . . is explicitly focused with questions of archives, loss, and narration.

With the announcement of the Booker International 2021 winner around the corner and the shortlisted titles soon to top stacks of books to-be-read around the world, most of us are harboring an energetic curiosity as to the next work that will earn the notoriety and intrigue that such accolades bring. No matter one’s personal feelings around these awards, it’s difficult to deny that the dialogue around them often reveal something pertinent about our times, as well as the role of literature in them. In the following essay, Barbara Halla, our assistant editor and in-house Booker expert, reviews the texts on the shortlist and offers her prediction as to the next book to claim the title.

If there is such a thing as untranslatability, then the title of Adriana Cavarero’s Tu Che Mi Guardi, Tu Che Mi Racconti would be it. Paul A. Kottman has rendered it into Relating Narratives: Storytelling and Selfhood, a title accurate to its content, typical of academic texts published in English, but lacking the magic of the original. Italian scholar Alessia Ricciardi, however, has provided a more faithful rendition of: “You who look at me, you who tell my story.” This title is not merely a nod, but a full-on embrace of Caverero’s theory of the “narratable self.”

Repudiating the idea of autobiography as the expression of a single, independent will, Caverero—who was active in the Italian feminist and leftist scene in the 1970s—was much more interested in the way external relationships overwhelmingly influence our conception of ourselves and our identities. Her theory of narration is about democratizing the action of creation and self-understanding, demonstrating the reliance we have on the mirroring effects of other people, as well as how collaboration can result in a much fuller conception of the self. But I also think that there is another layer to the interplay between seeing and narrating, insofar as the act of seeing another involves in itself a narrative creation of sorts; every person is but a amalgam of the available fragments we have of them, and we make sense of their place in our lives through storytelling, just as we make sense of our own.

I have started this International Booker prediction with Cavarero because I have found that this year’s shortlist—nay, the entire longlist—is explicitly focused with questions of archives, loss, and narration: what is behind the impulse to write, especially about others, and those we have loved, but lost? Who gets to tell our stories? It is a shame that Adania Shibli’s Minor Detail, translated by Elisabeth Jaquette—as one of the most interesting interjections on the narrative impulse—was cut after being first longlisted in March. The second portion of Minor Detail sees its Palestinian narrator becoming obsessed to the point of endangerment to discover the story that Shibli narrates in the first portion of the book: the rape and murder of a Bedouin girl, whose tragic fate coincides with the narrator’s birthday. This latter section of the book is compulsively driven by this “minor detail,” but there is no “logical explication” for what drives this obsession beyond the existence of the coincidence in itself. READ MORE…

What’s New in Translation: May 2021

May 10, 2021  |  in New in Translation, Reviews  |  by Alyea Canada, Jacqueline Leung, Lindsay Semel, and Sarah Moore

New work from Iceland, Chile, France, and Argentina!

We take our jobs of bringing you the best new releases from the realm of world literature very seriously, and this week, we have four astounding texts from authors notorious for their intelligence, their variousness, and their ability to captivate. From Iceland, Sjón explores the banality of evil in a charged, probing character study. In Argentina, the legendary Norah Lange comes to new light as she evolves beyond her reputation as a literary muse, and tells her story in her own, singular language. The latest from French writer and playwright Yasmina Reza is a poignant meditation, guided by oratory, on selfhood, aging, and human frailties. And lastly, Chile’s award-winning Lina Meruane comes out with an exploration of illness and intergenerational trauma that is at once dreamy and deeply grounded in physicality. Read on to find out more!

red milk

Red Milk by Sjón, translated from the Icelandic by Victoria Cribb, Sceptre, 2021

 Review by Lindsay Semel, Assistant Managing Editor

Sjón, one of Iceland’s most internationally recognizable literary figures, is a lifelong cultural miscegenationist. Since his earliest days as a neo-surrealist poet and musician, he has drawn proudly and liberally from global artistic lineages. In Red Milk, his latest collaboration with long-time translator Victoria Cribb, he employs an intentional, methodical restraint to examine the survival of Nazism post-World War II through the life and early death of Gunnar Kampen, a fictionalized version of a real, small-time Icelandic neo-Nazi. Sjón’s policy of omission—of drama, psychology, violence, grandeur of any kind—results in a delicious tension. He tempts us to expect so much of the novel, and though he never provides the relief of clean culminations, he manages to keep the reader wanting.

More than anything, we want Gunnar to either damn or to redeem himself, but he refuses to be anything more than a tempest in a teacup—a chess piece carved in ivory rather than ebony. He passes his brief life engaged in the mundane building of a movement that never comes to fruition. He stumbles into nationalist socialism the same way any young person stumbles into their solidified adult identity. This is not a psychoanalytic assessment of what draws him to Nazism so as much as a collection of images, inputs, choices, and feedback that nudge him there. One such curious image comes from a party he attended with his parents as a child. Bored with the adults, he wanders through the house until he encounters “a human figure, sitting in the shadow thrown by the curved back of the armchair,” in the library. He marvels at her brown skin and colorful clothing.

Without releasing her grip on his left hand, she raises his right hand and pulls it under the lampshade, holding it up to the strong bulb until the light shines red through the child’s flesh, revealing the silhouettes of the bones inside.

            ‘Only possible with such a hand.’

The woman nods at him. The filigree brooch on her shoulder gleams, exposing the pattern from which it is made: a myriad tiny swastikas that differ from the hated one only in that they stand upright rather than tilted on their side.

            ‘Only white people let the light into themselves.’

The imagery is not attributed any meaning besides its own aesthetic potency. The woman’s exoticism is a neutral source of intrigue for Gunnar, unrelated to his blossoming racial beliefs. The woman—as an ideologically educated Gunnar discovers later—might well have been Savitri Devi, the all too real mother figure of contemporary neo-Nazism, but Gunnar’s brush with history is told with the same tone as if she had simply been Reykjavik’s witchy spinster. READ MORE…

What’s New with the Crew? (May 2021)

May 6, 2021  |  in News  |  by Lee Yew Leong

From getting shortlisted for (or winning!) prestigious prizes to publications and performances, we were busy making waves this quarter!

Contributing editor Adrian Nathan West’s translation of Chilean writer Benjamín Labatut’s When We Cease to Understand the World was shortlisted for the Booker International Prize.

Senior Copy Editor Anna Aresi’s Italian translation of a poem by Anna Akhmatova won the 2020 All-Russia State Library for Foreign Literature & The Institute for Literary Translation’s “Writers of the Silver Age about War” translation contest.

Nonfiction Editor Bassam Sidiki was awarded a Graduate Nonfiction Hopwood Award from the University of Michigan for two essays, one of which is forthcoming in Wordgathering. The Hopwood Awards are a major scholarship program at the University of Michigan, founded by Avery Hopwood.

Chris Tanasescu aka MARGENTO, Editor-at-Large for Romania and Moldova, will be giving on June 11 for the third year in a row a computational performance titled #GraphPoem at the world’s most important digital humanities event, DHSI 2021.

Editor-at-Large for Japan David Boyd’s new co-translation with Sam Bett of Mieko Kawakami’s novel Heaven will be published later this month on May 25.

Director of the Educational Arm Kent Kosack has a new short story in Arts & Letters and a short craft essay on Tobias Wolff in Fiction Writers Review.

Chief Executive Assistant Rachel Farmer‘s translation from the German of an extract of We Have Lived Here Since We Were Born by Andreas Moster appeared in the anthology Elemental, published in March by Two Lines Press.

Interested in joining the team? Watch this page next week for a very important announcement!

Face-to-Face with Chilean Spanish: A Conversation between Víctor Hugo Ortega and Georgina Fooks

May 5, 2021  |  in Interviews  |  by Georgina Fooks

It seems nearly all poetry writes of places that no longer exist.

In Víctor Hugo Ortega’s “The Most Beautiful Statue,” from his collection Elogio del Maracanazo, we begin with the overwhelming recollection of a car accident, only to have the narrator pull the rug out from under our feet. It’s not a tale of a traffic collision, but instead a dizzying descent into memory, taking us from anime to a bizarre but delightful encounter between a football team and a statue of Nobel winner Gabriela Mistral.

While these associations may seem eclectic, the backdrop of the city of Santiago unites these disparate elements, as is true elsewhere in Ortega’s work. His prose and poetry thematize the city, while grounding it in the specificity of Santiago and Chile to interrogate the question of chilenidad, or Chilean identity. Following the estallido social, the mass protests that erupted across the country in 2019, the country is in the process of rewriting its Pinochet-era constitution, and the question of what exactly it means to be a Chilean in Chile right now is all the more pressing. As Ortega’s translator, I spoke to him about his interest in the transient nature of the city, the theme of chilenidad, the specificity of Chilean Spanish, and his personal interest in a collaborative translation process.

Georgina Fooks (GF): I want to begin this conversation by talking about the first story of yours I translated, “The Most Beautiful Statue,” which is from your first translated collection, Elogio del Maracanazo (into Portuguese and Italian). For me, this story—as well as the book as a whole—emphasizes a number of essential themes that come up in your work: the specifically Chilean setting, TV, poetry, football. Why did you decide to have this text translated first? Does it have any special significance for your body of work as a whole?

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