Place: France

The 2020 Booker International Longlist

March 2, 2020  |  in Essays, News  |  by Barbara Halla

This year the specter of violence, visceral brutality, and even hauntings loom large.

Every year, the prestigious Booker International Prize is always announced to a crowd of critics, writers, and readers around the world with much aplomb, resulting in great celebration, some dissatisfaction, and occasional puzzlement. Here at Asymptote, we’re presenting a take by our in-house Booker-specialist Barbara Halla, who tackles the longlist with the expert curiosity and knowledge of a reader with voracious taste, in place of the usual blurbs and bylines, and additionally questioning what the Booker International means. If you too are perusing the longlist in hunt for your next read, let this be your (atypical) guide.

I tend to dread reading the Booker wrap-ups that sprout immediately after the longlist has been announced. The thing is, most critics and bloggers have not read the majority of the list, which means that the articles are at best summaries of pre-existing blurbs or reviews. Plus, this is my third year covering the Booker International, and I was equally apprehensive about finding a new way to spin the following main acts that now compose the usual post-Booker script: 1) the list is very Eurocentric (which says more about the state of the publishing world than the judges’ tastes); 2) someone, usually The Guardian, will mention that the longlist is dominated by female writers, although the split is around seven to six, which reminds me of that untraceable paper arguing that when a particular setting achieves nominal equality, that is often seen as supremacy; and 3) indie presses are killing it, which they absolutely are because since 2016, they have deservedly taken over the Booker, from longlist to winner.

I don’t mean to trivialize the concerns listed above, especially in regards to the list’s Eurocentrism. Truth is, we talk a lot about the unbearable whiteness of the publishing world, but in writings that discuss the Booker, at least, we rarely dig deeper than issues of linguistic homogeneity and the dominance of literatures from certain regions. For instance: yes, three of the four winners of the International have been women, including all four translators, but how many of them have been translators of color? To my understanding, that number is exactly zero. How many translators of color have even been longlisted? The Booker does not publish the list of titles submitted for consideration, but if it did, I am sure we would notice the same predominance of white voices and white translators. I know it is easier said than done, considering how hard it is to sell translated fiction to the public in the first place, but if we actually want to tilt the axis away from the western literary canon, the most important thing we can do is support and highlight the work of translators of color who most likely have a deeper understanding of the literatures that so far continue to elude not just prizes, but the market in its entirety. READ MORE…

Weekly Dispatches from the Front Lines of World Literature

February 14, 2020  |  in Dispatches, News, Weekly Roundup  |  by Barbara Halla, Nestor Gomez, and Shelly Bhoil

This week's latest news from Tibet, El Salvador, and France!

This week our writers bring you the latest news from Tibet, El Salvador, and France. At Indiana University, a new Tibetan translation of Elie Wiesel’s Night sparks discussion; in El Salvador, the contemporary poet Vladimir Amaya gives an interview about his poetic decisions; in France, the accusations of sexual assault in the literary establishment ignite urgent discussion about French law and the #MeToo movement. Read on to find out more! 

Shelly Bhoil, Editor-at-Large, reporting from United States

There was a powerful coming together of two exile stories—the Tibetan and Jewish—at the Central Eurasian Studies Department of Indiana University through a panel discussion—The Tibetan Translation of Elie Wiesel’s Night—on January 29. The Nobel Peace Prize-winner Elie Wiesel’s memoir Night (1960), discussed by the distinguished Jewish literature scholar Alvin Rosenfeld in the panel, has been translated into more than thirty languages, its Tibetan version being the most recent. Wiesel was a Holocaust survivor upon whom the Dalai Lama conferred the International Campaign for Tibet’s Light of Truth award in 2005.

Wiesel’s Night is the first work to be translated into Tibetan under New York-based Latse Library’s 108 translations project and made available for free here. According to Latse’s statistics, “In the first two weeks alone [since the book’s publication in Oct 2019], there were 3,300 downloads of the ebook and PDF, and countless more instances of sharing and forwarding on social media and email.” Gendun Rabsel, the Tibetan language expert, spoke in the panel about the welcoming reception of Night among Tibetan readers. Pema Bhum, Night’s translator and a leading Tibetan intellectual, discussed his meeting with Wiesel and the challenges and choices in translating this work into Tibetan, including his consultations with the celebrated historian on Tibet, Elliot Sperling, and with IU Jewish Studies faculty. READ MORE…

Other Worlds: Engaging Rajko Grlić (Part II)

February 6, 2020  |  in Essays  |  by Ellen Elias-Bursac

At the airport, Honorio confesses to his wife that he has neither the strength nor the enthusiasm for new revolutions.

This week, the Asymptote blog is excited to share a special two-part engagement with Croatian filmmaker Rajko Grlić. Yesterday in Part I, we featured an interview between Grlić and Ellen Elias-Bursać, who, in addition to being an Asymptote contributing editor, is also the editor of the first English translation of Grlić’s memoirs. Today, in Part II, we bring you an exclusive excerpt from that memoir, from a section called “Festival Selector.”

Croatian filmmaker Rajko Grlić organizes the material of his memoir, Long Story Short, like a lexicon of filmmaking terminology. Under each heading and definition, he includes a story from his life: his filmmaking; his struggles against nationalism in Croatia during the war of the 1990s; and his years of teaching at NYU, UCLA, and Ohio University. Grlić was known as one of the leading Yugoslav filmmakers in 1980s Croatia, celebrated for such box-office successes as You Love Only Once (1981); In the Jaws of Life (1984), which was based on a Dubravka Ugrešić novel; and That Summer of White Roses (1989). He left Croatia in the 1990s during its war for independence and has since gone on to make several more notable films, including The Border Post (2006) and The Constitution (2016). He collected stories during his many years of making movies and moving through the world, aware that he’d never have the opportunity to make every story he had to tell into a film, but refusing to lose them to oblivion.

Grlić’s memoir was translated by Vesna Radovanović and edited by Asymptote contributing editor Ellen Elias-Bursać. Elias-Bursać spoke recently to Grlić about the life that led to Long Story Short, an interview that was published yesterday as Part I of this series. In the excerpt that follows, “Festival Selector,” Grlić tells of his decades-long friendship with Honorio Rancaño, the selector for movies shown at Mostra, a film festival that was held for many years in Valencia, Spain.

Festival Selector: the person who chooses the films, conceptualizes and shapes the festival creatively.

Cannes, 1981

In the hall of Palais des Festivals in Cannes, someone taps me on the shoulder and, before I have a chance to turn, starts talking about my movie You Love Only Once, in a jumble of Czech, Russian, and Spanish.

“Honorio Rancaño, selector for the Valencia Film Festival,” the man finally introduces himself, unshaven and chewing on a long, wet cigar. READ MORE…

Fiction as Seduction: An Interview with Anne Serre

January 29, 2020  |  in Interviews  |  by Tristan Foster

A writer’s only responsibility is to seduce without cheating.

Anne Serre has been published steadily in her native France since the release of her debut novel, Les Gouvernantes, in 1992, but it wasn’t until October 2018, when New Directions published it as The Governesses, translated by Mark Hutchinson, that her writing was made available to an English-speaking audience. The Governesses was followed by The Fool in October 2019, a collection of three unlinked but thematically cohesive novellas. Serre’s two books tell enchanting and surprising stories, both delightful in style and shocking in their disregard for moral norms. At their heart is the subject of the fulfillment of desire—desires which range from living absolutely for the story to the taboo of incest; this jarring mix of charm and discomfort makes for a unique and surprising reading experience. Here, in a rare English-language interview, Serre speaks about her work in translation, her “infinite conversation” with longtime friend and translator, Mark Hutchison, and unravels some of the mystery surrounding her untranslated work.

—Tristan Foster

Tristan Foster (TF): In your essay published in Granta, entitled “How I Write My Books,” you state that you begin with a sentence, that this is the gate through which the rest of the story enters—this sentence and those which follow are the product of your reading and your thinking and living life. You write: “It requires on my part months of silence and solitude, a form of inner tranquillity, and close attention to what is taking shape inside me.” You frame this as something less serendipitous than it is magical, using the language of the occult—mystery, trickery, secret ceremonies—to describe it. How important is the magical for you, both in your writing and how you think of it? 

Anne Serre (AS): I don’t believe in magic, neither in life nor in writing! When I try to describe how I write, I’m describing a mental process in which memory and imagination meet like two rivers that suddenly flow together. It’s a bit of a mystery because, for me, this only ever happens in writing. You might compare it to a child at play. When a child pretends to be a character and invents a situation, he is both himself and the invented character.  

TF: It was also a delight for me to read, in that same piece, your view that the writing is a patchwork—of memories, your previous work, and the imagination, but one which “appears to be cut from the same cloth, and a cloth that is new and without a snag.” I say that because the story told in The Governesses seems to me to contain a perfect world of its own, one that is recognisable from fairy tales encountered as a child as well as, perhaps, Emma and Jane Eyre and Vanity Fair, an ecosystem in total balance, so much so it might pop if poked with a stick. The Governesses was your first book, originally published in 1992; why has building this kind of world been so important to you from the outset? 

AS: I used to say that I came to literature through “the door of enchantment” because it was the only door open to me. I tried to find other doors but I couldn’t. Sometimes I think that 99% of my early material was made up of my reading and my daydreams about my reading. I was full of fiction. Maybe a little too much to make do with just living. READ MORE…

Brusque Lyricism: Liesl Schillinger on Translating Inès Cagnati

January 23, 2020  |  in Book Club, Interviews  |  by Andreea Scridon

Cagnati’s images . . . her intentionally repetitive reflections and refrains, have a force and strength that are magnified by their rough grain.

Inès Cagnati’s award-winning Free Day is a potent and imagistic work that speaks powerfully on isolation, self-actualization, and freedom through the interior monologue of a young girl—we at Asymptote were incredibly proud to present it as our December 2019 Book Club selection. During a time in which much about our ideas of self is under scrutiny, Free Day is a fearless psychological exploration. In the following interview, Assistant Editor Andreea Scridon speaks to translator Liesl Schillinger on bringing Cagnati’s distinct roughness and rhythm into English, neologisms, and her “reservoir of lived memory”.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers in the US, the UK, and the EU. You can sign up to receive next month’s selection on our website for as little as USD15 per book; once you’re a member, you can join the online discussion on our Facebook page!

Andreea Scridon (AS): Inès Cagnati is not a name that has been frequently circulated in the Anglophone sphere up until now. Could you tell us what drew you to her as a writer, and why you thought her work would appeal to English-speaking readers?

Liesl Schillinger (LS): It was my editor at NYRB who brought Inès Cagnati to my attention; like you, I hadn’t known of her before. But as soon as I started reading Free Day, I became aware of her strong, glowing (sometimes searing) individual voice. Her writing struck me as brusque, incantatory, and strangely lyrical in places. Entirely original. Originality always compels me; and not only was her voice original, so was her subject. The experience of Italian immigrants in southern France during the postwar period was entirely new to me. In the past, I’d thought about immigration mostly in terms of how the country that received the newcomers treated them; I’d given less thought to how they treated each other. This book opened my eyes. Cagnati continually expressed emotionally gripping truths that disturbed and moved my heart and conscience. I read another of her books, Génie la Folle (Genius the Fool⁠—“Genius” was the nickname of the narrator’s unfortunate mother) and found it more haunting still. Wanting to know more about Cagnati, I went online, and was surprised to discover next to no biographical information, but I learned that every one of the books she wrote won a French literary prize. I felt it was time to shine a light on this forgotten writer and her experience—particularly at a moment when we, as Americans, ought to be reflecting on the refugee crisis at our southern border, and thinking about the men, women, and children who are suffering there. READ MORE…

What’s New in Translation: January 2020

January 13, 2020  |  in New in Translation, Reviews  |  by Eva Wissting, Leah Scott, and Samuel Kahler

A darkly comical Cuban fiction, the collected texts of an impassioned French thinker, and an Israeli story of radical empathy.

We’re starting up 2020 with what we do best: bringing you a selection of brilliant titles that have most recently landed in world literature. Our picks this month span the radical, the intimate, and the dark, with the stunning cross-section of twentieth-century Cuban society, a collection of essays by the notorious Jean Genet, and an Israeli tale of survival and struggle told in a great feat of imagination. Go ahead and take advantage of that new-year urgency to fulfill your resolution to read more, and start here.

black cathedral

The Black Cathedral by Marcial Gala, translated from the Spanish by Anna Kushner, Farrar, Straus and Giroux, 2020

Review by Leah Scott, Social Media Manager

A dark mosaic of interwoven narratives, The Black Cathedral by Marcial Gala lures the reader straight into the complicated dramas of Cienfuegos, a small Cuban town riddled with poverty and conflict. The novel features a broad cast of idiosyncratic characters, whose histories we come to understand not only through their own unique voices, but by the tales told by others; Cienfuego’s harrowing history emerges through decades of local gossip, placing the reader right at the center of the town’s most turbid rumors and confessions—stories that ultimately culminate in a vicious and bitter end.  READ MORE…

Mother-Daughter Collaboration: An Interview with Jean Paira-Pemberton and Catherine Piron-Paira

January 3, 2020  |  in Interviews  |  by Lou Sarabadzic

This was what we could share together at this time in her life; I think it added much tenderness between us.

I met Catherine Piron-Paira last June in Paris at the annual poetry market, and at the time was already aware of Éditions des Lisières, a remarkable independent press committed to translation and multilingualism. I had recently read their latest bilingual English-French release, Seeds in My Ground/Ma terre ensemencée by Jean Paira-Pemberton, and discovered that the translator (or co-translator), Catherine Piron-Paira, was the author’s daughter. Many poems were substantially re-written in their French translation, suggesting a very creative working relationship. The press’ website says the text is “adapted” rather than merely translated, and the book itself indicates that the French version was developed “in collaboration” between Jean and Catherine. A few months later, all three of us scheduled a video chat. Jean and Catherine were then sent the condensed and edited transcript of this interview for approval and final edits, and it is now our great pleasure to bring it to Asymptote’s readers.

Lou Sarabadzic (LS): In the foreword, Catherine, you explain that your mother, Jean Paira-Pemberton, “is a nomad between two languages, two cultures, two countries.” Could you tell us a bit more?

Catherine Piron-Paira (CPP): Mum settled in France in 1952, but she continued going to England for reasons of both business and pleasure. She also went from Strasbourg to Saverne every day for work. There was a place where we went for holidays: Chapeau Cornu, near Lyon. We used to go from Strasbourg to Lyon, from Lyon to Strasbourg. As for “nomad,” how do you feel about that?

Jean Paira-Pemberton (JPP): Well, I have a relationship now with French, which is almost like the relationship with a mother tongue. I think I am completely bilingual. I can use both languages for practically everything, except poetry. Poetry is only in English.

LS: Why do you think that is?

JPP: Because English is my mother tongue, and I have wanted to be a poet ever since I learnt how to write, so it goes back to way before I learnt French. I started to learn French in secondary school, when I was eleven. It is very much a second language. I have never written poetry in French. I have written lots of other texts in French, of course, as part of my job; I was a university teacher, and I published articles and all sorts of things on linguistics in French–my thesis about John Clare’s life was in French. But not poetry. READ MORE…

New Year, New Horizons!

January 1, 2020  |  in Essays  |  by Rachel Allen, Sarah Moore, and Xiao Yue Shan

Reading resolutions for 2020—brought to you by the blog team.

Happy New Year, reader! To ring in the ’20s, we are getting personal and sharing our own reading resolutions. From literature engaged with the effects of climate change to classic theological texts, here are the reads we have on the radar for 2020. Maybe our titles overlap with some of yours? If you’re inspired, share your resolutions with us in the comments below.

Xiao Yue Shan, Assistant Blog Editor:

We are becoming ever more impelled by the worst-case scenarios, the ultimate consequences of our carelessness. Climate change is cemented at the pinnacle of every engaged mind, consuming the concerns of those on the forefront of human progress—the writers. December is a month of returns, and a trip across the Pacific on my part meant a reabsorption into the beloved stacks of books left behind by a past self who had endlessly imagined the present. I found in those volumes an incredible vitality—it takes considerably more courage to speculate on the future now, yet in our infinitely ideating language, we can’t help it, we imagine naturally, as we have always done.

Usually my reading directives are predictable, by which I mean they’re somewhat “in accordance” with my being a female Chinese poet—the tendency veers towards a healthy majority of women writers, plenty of Chinese literature, and as much poetry as possible. As we approach the new decade, however, I’ve turned my attention to literature more specifically in dialogue with our planet. In Amitav Ghosh’s beautifully urgent book-length essay, The Great Derangement, he convincingly argues for an overhaul of the fiction genre so that it may better address and reflect upon our contemporary precarity. Though the best of our stories are inevitably engaged with our environment, I found Ghosh’s take riveting in its insistence that we continue to build and invent language that is ever more precise, alert, and curious. READ MORE…

Announcing Our December Book Club Selection: Free Day by Inès Cagnati

December 30, 2019  |  in Book Club, Reviews  |  by Andreea Scridon

We readers, used to idealizing arcadia, are reminded of the fear and constraint that can be a part of being, in a way, another person’s property.

Winner of France’s Prix Roger Nimier in 1973 and now published for the first time in English, this month’s Book Club selection is a powerful portrait of childhood and the struggle between freedom and nostalgia. Written by Inès Cagnati, who was born in France to Italian immigrants, Free Day vividly depicts feelings of estrangement within a community and the surrounding environment. Through the interior monologue of fourteen-year-old Galla, Cagnati poignantly conveys the conflicts of childhood experience: hostility, fear, cruelty, yet overwhelming curiosity and desires. 

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers in the US, the UK, and the EU. You can sign up to receive next month’s selection on our website for as little as USD15 per book; once you’re a member, you can join the online discussion on our Facebook page!

Free Day by Inès Cagnati, translated from the French by Liesl Schillinger, NYRB, 2019

In Free Day, Inès Cagnati—with evidently great subtlety and focus—examines a young girl’s manner of interacting with the world around her, in addition to developing that which lies within her. Though the basis of the book is that of a poor Italian family of farmers in mid-century France, the novel is in actuality a character study of fourteen-year-old Galla, chronicling the sacrifices she makes in order to attend high school.

Initially, the reader senses a degree of ambiguity regarding the narrator’s age before it is revealed, as Galla seems to pendulate between the thinking of a child and that of an adult—indeed as one does at that in-between age. Though by no means convoluted or rambunctious, here one could argue that there is something Joycean in Cagnati’s book, as the dramatic guise is stylistic in a manner that we have originally come to know and love in A Portrait of the Artist as a Young Man. Cagnati immediately sketches Galla not as bratty or melodramatic, as teens are sometimes written, but as a likeable freethinker despite her condition: “The English professor, too. He talks to us endlessly about people who’ve been dead forever, instead of leaving them in peace, which they definitely deserve, or telling stories of his own.” READ MORE…

My 2019: Georgina Fooks

December 26, 2019  |  in Essays  |  by Georgina Fooks

This year, I read more translated fiction than ever before, buoyed by my involvement in Asymptote

Here to continue our A Year in Reading series, please welcome Georgina Fooks, who made a conscious effort at the start of the year to expand her reading to include more women and non-European authors. Here is the result:

At the start of 2019, I consciously decided to read as much as possible. After several years of buying books and never reading them (a predicament neatly summed up by the Japanese word tsundoku), I resolved that this year, I wanted to read more books while buying less—so it is that I’ve done my best to read from my own shelves (although that doesn’t mean I have stopped buying books entirely).

The first half of this year was dominated by reading for academic purposes—so I read lots of French and Latin American fiction and poetry. My favourite author is Marguerite Duras, and I enjoyed Le Ravissement de Lol V. Stein; there’s something special about the atmosphere she paints through language, her evocative style, and the way she explores desire. Throughout the whole book, Duras keeps you guessing as to who’s in control, who holds power, and she never answers that question for you. I was also really moved by A l’ami qui ne m’a pas sauvé la vie by Hervé Guibert, which is an emotional read that blurs the boundaries between fiction and autobiography. When published in France, it caused a media stir for recounting how Michel Foucault died of an AIDS-related illness, but beyond media sensationalism, it’s a heart-wrenching account that explores betrayal in all its forms—betrayals between friends, broken promises, and the betrayal of oneself when writing an account of your own life. 

Some of my favourite Latin American authors are from Argentina, so in addition to reading Borges and Cortázar, two of my favourites, I also enjoyed exploring Silvina Ocampo’s stories for the first time; she is famously overshadowed by Borges (a fellow writer) and Adolfo Bioy Casares (her husband), but she’s received a lot more attention in recent years. My favourite story of hers, “Tales eran sus rostros”, has now been translated into English and serves as the title of a new collection of hers in English: Thus Were Their Faces, published by NYRB Classics. It describes a supernatural phenomenon, and is haunting and ambiguous in the best possible way. She writes that no one knew if what happened was terrible, but became beautiful, or beautiful, but became terrible—but she leaves it up to the reader to decide.  READ MORE…

Desirable Impossibilities: On Henry Weinfield’s New Translation of Gérard de Nerval’s Chimeras

November 27, 2019  |  in Essays  |  by Alexander Dickow

Weinfield remains the best of these translations, and this is thanks to his sensitivity to rhythm, meter, and rhyme.

Poets and their translators have often agonized over the exhausting task of translating the ineffable poetics of their work, of which every word, punctuation mark, break, pause, and sound is a contributing factor; it goes without saying that the journey from one language to another somewhat impedes upon this delicate balance. In this following essay, Asymptote‘s Alexander Dickow expertly dissects an overarching complication: the act of translating metric verse. In dialogue with a newly published translation of Gérard de Nerval’s famed Chimeras and their predecessors, larger questions of poetics and translations emerge: just how impossible is translating music, and what can be accomplished in an impossible task?

The contemporary preference for unrhymed, free-verse translations of poetry generally has little to do with readability, and much to do with lack of ambition; with the belief, perhaps sanctioned by laziness, that capturing the rhythm of an original with any admirable degree of purity is a fool’s errand, a quixotic fantasy: impossible, and therefore undesirable. The French theorist of translation and poet Henri Meschonnic spent years defending metrical and rhythmic translation, arguing that rhythm is the mark of subjectivity in language and therefore essential to the enterprise of translation. He made this impassioned defense largely in vain, but the proof is in the pudding: whatever one thinks of Meschonnic’s theories of translation and rhythm generally—and he has no lack of critics—the translations of Shakespeare’s sonnets he offers in Poétique du traduire seem, at least to the author of the present essay, indisputably more accurate and powerful than any of the other examples (Meschonnic quotes some five to six examples of other translations for each sonnet he translates into French). Admirable and accurate verse translation is not impossible; even if it were, should the translator’s ambition yield before that impossibility? Is not reaching for the impossible the definition of worthy literary ambition? (See Georges Bataille.) Excessive humility may be a more typical translator’s flaw; perhaps it is time to consider a bit of pride in the “little art,” as Kate Briggs recently called translation, with a hint of tender irony. In fact, translation is an irreducibly arrogant and presumptuous endeavor in the first place—utopian, as Ortega y Gasset has argued. One might as well own that presumption, and aim for the heights: what do we have to lose? The worst that can happen is a bit more failure, which there is no lack of in translation, metrical or otherwise. One may certainly sacrifice too much for a rhyme, but one may sacrifice too much for any formal effect in a poem, and this is not sufficient cause, in my view, to jettison meter and rhyme entirely. Nor is “updating” a text for our own era and its prose and free-verse dominance. For is it not the foreignness of another age that we in part admire in a text of the past? And in resigning ourselves to “updating” a metrical text, are we not capitulating once more to our imprisonment in history (that “impossibility” again, this time of transcending the zeitgeist) and to the anxiety of audience expectations? READ MORE…

Translation Tuesday: Excerpts from Proofs of the Living by Andrée Chedid

November 26, 2019  |  in Translations  |  by Lauren Peat

Groan / without a voice / in our accents

This week’s Translation Tuesday features the work of Andrée Chedid. Expertly translated for sound and content by Lauren Peat, these poems crack like a conceptual whip—the poet writes, “The cry of being / Rattles our targets / Unweaves our wefts.” With a density of imagery and sound as well as a commitment to a somber reflection on modern consciousness, these poems recall the poetry of the French Symbolists, who constructed dense systems of meaning that evoke magnitudes from the mundane or eerie. The vaguely mathematical nature of the poems, captured in “proofs,” means that the reader is driven towards a certain point, or climax, without realizing exactly where they have arrived. Sometimes the subject matter is haunting; at all times it is captivating.

proofs of being

The call of every birth
Cracks the world order

Its verb looks for us
Its breath divests

Planted into marrow
Pulling speech from the field of words
The cry of being
Rattles our targets
Unweaves our wefts
Flips the streaming hourglass
Holds us to the path———— READ MORE…

Weekly Dispatches from the Front Lines of World Literature

November 22, 2019  |  in Dispatches, News, Weekly Roundup  |  by Eva Wissting, Hodna Nuernberg, Quyen Nguyen, and Sarah Moore

Catch up on this week’s latest news in Morocco, Sweden, Vietnam, and France!

This week, our editors are bringing you news from Morocco, Sweden, Vietnam, and France In Morocco, changes to the ministry of communication are affecting book imports. In Sweden, the announcement of the August Prize has brought excitement, whilst the awarding of the Tucholsky Prize to Swedish-Chinese writer Gui Minhai has been met with indignation in China. In Vietnam, the sales of a much-anticipated translation of bestseller South Korean writer Cho Nam-joo have not been as expected. In France, the centennial of Sylvia Beach’s Shakespeare and Company bookshop was celebrated. Read on to find out more!

Hodna Nuernberg, Editor-at-Large, reporting from Morocco

Last month, Morocco’s King Mohammed VI ordered major bureaucratic reform, slashing the government’s thirty-nine member cabinet to just twenty-four—the smallest ever—and doing away with the ministry of communication. While the official line was that the ministry was no longer necessary to regulate the kingdom’s newspapers (a convincing argument, given the state of Morocco’s oppositional press), the abolition of the ministry has had a perhaps unintended side effect: all book imports have been blocked in customs since early October.

The first article of Morocco’s 2003 Press Code guaranteed the freedom of domestic publications. Foreign books, on the other hand, were subject to the ministry of communication’s control. Prior to the October reform, this control was carried out by the foreign publications bureau of the ministry’s public relations division. As such, the bureau was responsible for “analyzing the content of foreign publications” and delivering (or not) the visas necessary for importation. Although Morocco does not officially practice state censorship, this process allowed the king to uphold his three red lines (the monarchy, the kingdom’s “territorial integrity,” and Islam), which were enshrined in article 29 of the Press Code. READ MORE…

An Impeccable English: Notes on the 2019 National Book Award for Translated Literature

November 18, 2019  |  in Essays  |  by Erik Noonan

The unstated significance of the way the books are written in English is the meaning of the Translated Literature Award.

As both writers and readers anticipate the results of the National Book Awards this upcoming Wednesday, we at Asymptote, to no surprise, are keeping a particular eye out for the outcome of the Translated Literature category. In this following essay, Assistant Editor Erik Noonan gives us a probing and interrogative look at the five books on the shortlist, looking beyond content to pursue answers regarding the linguistic journeys that these works have taken, in order to be chosen.

With the reinstatement of the Translated Literature category, the National Book Foundation is clearly attempting to correct the gender and culture biases of years past. From the beginning of the category in 1967 until 1983, when it was discontinued, every winning author was European with only four exceptions: Yasunari Kawabata in 1971, the anonymous author of The Confessions of Lady Nijo in 1974, the anonymous Chinese author(s) of Master Tung’s Wester Chamber Romance in 1977, and Ichiyō Higuchi with the Japanese authors of the Ten Thousand Leaves anthology in 1982. Lady Nijō and Higuchi were the only two women, albeit long deceased, to be awarded during the prize’s first iteration. Among the translators, Karen Brazell and Helen R. Lane won in 1974, Clara Winston won with Richard Winston in 1978, and Jane Gary Harris and Constance Link won in 1980. The rest were male. In 2018, the category was reinstated and the entry criteria revised, so that both the author and the translator had to be alive at the beginning of the awards cycle to qualify. Last year, the first of its new phase, author Yōko Tawada and translator Margaret Mitsutani took the award for The Emissary. This year, you can expect this corrective trend to continue (for example, every book on the longlist was written in a different language). READ MORE…