Place: Pakistan

New in Translation: September 2016

Asymptote’s own review brand new translated literature.

 

wayward

Wayward Heroes, by Halldór Laxness, tr. Philip Roughton. Archipelago Books.

Review: Beau Lowenstern, Editor-at-large, Australia

The process of reading literature in translation is to dip into the perennial pool: possible meanings are compounded by language, we splash and struggle and only when we begin to get on our feet do we realise how much deeper and longer the cave goes. Often great writers see only a tiny fraction of their oeuvre translated for a wider audience—as a reader, we must play a game of guessing the size and shape and clarity of the submerged iceberg from only its superficial crown. Not to mention the person we all know who constantly admonishes us that if we had only read the original

Iceland’s Halldór Laxness falls into this lamentable category, with the majority of his collection of stories, essays, novels (including a four-volume memoir), plays and poetry frozen in time to all bar those with a blue tongue. Published in Iceland in 1952 as Gerpla, The Happy Warriors was the title of the original, sparsely recognised English translation, though it contributed to his body of work for which he was awarded the Nobel Prize in Literature in 1955. 

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Have I Taken Language as a Loan?

Shadab Zeest Hashmi wonders if language is "luggage," borrowed—or her very own

Home and flux mean the same in a land named after a severance, or the great “partition” of the subcontinent: a paradox of freedom-and-loss, umbilical-cord-and-scissors. Born in Pakistan, a country that emerged on the world map after the collapse of the British Raj and the largest mass migration in human history, “permanence” is forever in the shadow of exile.

If poetry seeks who we are, I’ve found myself searching in language, not land. Land, in its aspects worth remembering, becomes language. If I carry language, I carry land. What is exile, then, if not a road paved for poets, permanent wayfarers?

I came to America as a college student. In Passage Work, the first series of poems I completed as my senior thesis at Reed, I wondered: why write in English, the language of the colonist? Have I taken language as a loan for poetry? Have I betrayed Urdu? In these earliest poems, I call language “luggage,” a historical-personal luggage, both burden as well as reason for being. READ MORE…