Place: Taiwan

Weekly Updates from the Front Lines of World Literature

This week's latest news from Lebanon, Taiwan, and Sweden!

This week, our writers bring you news from Lebanon, Taiwan, and Sweden. In Lebanon, the three-day festival Electronic Literature Day will feature writers including Rabih Alameddine and Raafat Majzoub; in Taiwan, the writer Liu Wu-hsiung, known by his pen name, Qi Deng-sheng, is being mourned after passing away and a recent exhibition has featured the works of the late Taiwanese poets Yang Mu and Lo Fu; and in Sweden, writer Jonas Hassen Khemiri was in line for the National Book Award’s Translated Literature prize. Read on to find out more! 

MK Harb, Editor-at-Large, reporting from Lebanon

Fernweh! Or “a longing for far-off places, especially those not yet visited.” I recently learned the meaning of this German word on our newly developed “Untranslatable Words” column on Instagram (yes, that’s right we are on Instagram now!). To remedy this longing, which many of us are grappling with, check out this stellar lineup of writers on Electronic Literature Day, a three-day online literary festival featuring writers, thinkers, and practitioners in dynamic formats (November 24-26). The festival is co-organized by Barakunan, an independent publisher and art collective based in Beirut and Berlin. It will feature some of Lebanon’s finest, from acclaimed author Rabih Alameddine, writer and artist Raafat Majzoub, and cultural and social activist Dayna Ash.

This month, the translation news across the Arab region is abundant! Yasmine Seale won the 2020 Queen Mary Wasafiri New Writing Prize for poetry. We’ve previously highlighted Seale’s poetic and engrossing translation of Aladdin that came out with W. W. Norton in 2018. Sawad Hussain sat down with the Anglo-Omani society to discuss translating Arabic literature and the emotional mechanisms involved in bringing the texts “to life” in English. Hussain is the winner of two English PEN Translates awards and in the podcast, she discusses and contextualizes transgender narratives in Oman through the prism of translating The Shadow of Hermaphroditus by Badriyya al-Badri. Here at Asymptote, we are excited about Arabic children’s literature in translation! The English translation of Sonia Nimr’s Wondrous Journeys in Strange Lands from Interlink Books will debut on November 24! It is a feminist folktale unfolding through the journeys of a young Palestinian woman by the name of Qamar. Marcia Lynx Qualey, founder of Arablit Quarterly, worked on the translation. She previously gave an interview to Asymptote in 2017. Finally, on November 24 the shortlist for the 2020 Saif Ghobash Banipal Prize for Arabic Literary Translation will be announced. This year’s prize saw fourteen entries in fiction and poetry, with excellent nominees such as Ibtisam Azem’s The Book of Disappearance translated by Iraqi novelist and scholar, Sinan Antoon. READ MORE…

Weekly Updates from the Front Lines of World Literature

The latest news from Singapore, Taiwan, and the United Kingdom!

This week, our writers bring you the latest news from Singapore, Taiwan, and the United Kingdom. In Singapore, the Singapore Writers’ Festival hosted international writers, such as Liu Cixin, Teju Cole, and Sharon Olds, whilst the Cordite Poetry Review published a special feature on Singapore poetry; in Taiwan, Kishu An Forest of Literature centre has held a discussion about a new translation of Mary Shelley’s Frankenstein; and in the UK, Carcanet Press has launched Eavan Boland’s final collection, The Historians, whilst new books about renowned poets Seamus Heaney, Sylvia Plath, and Anne Sexton have been released. Read on to find out more! 

Shawn Hoo, Editor-at-Large, reporting from Singapore:

The beginning of November sees a deluge of new writing coming from a host of literary journals. Joshua Ip and Alvin Pang have guest edited a special feature on Singapore poetry in Cordite Poetry Review that gives us the rare pleasure of rethinking Singapore poetry through the art of transcreation. The editors commissioned thirty young poets (who write primarily in English) for the challenge of transcreating verse, not just from the official languages of Malay, Tamil, and Chinese, but also ‘minor’ languages such as Kristang, Bengali, and Tagalog that make up Singapore’s linguistic soundscape. Additionally, Mahogany Journal, a new online periodical on the scene for anglophone South Asian writers in Singapore, has just released their second issue, which is themed ‘Retellings.’ Finally, one of our longest-running online journals, the Quarterly Literary Review of Singapore, has launched its October issue. Lovers of Singapore literature have a huge array of choice.

Meanwhile, this year’s virtual Singapore Writers’ Festival (mentioned in my October dispatch) concluded last weekend. While festivalgoers did not experience the familiar ritual of queuing and squeezing into a room packed with fellow writers and readers, the online format delivered its own peculiarities. Liu Cixin, Teju Cole, and Sharon Olds were some of the international stars joining us from different time zones across our devices. Margaret Atwood, whose message to novelist Balli Kaur Jaswal was a hopeful “we will get through,” had many viewers sending questions through a live chat box asking the author of The Handmaid’s Tale what it means to write in these dystopian times. Instead of browsing the festival bookstore in between panels, I scrolled through the webstore run by Closetful of Books. Nifty videos were added to lure me to new book releases, booksellers curated a list of recommended reads, while readers craving connection left love notes to nobody in particular. The copy of Intimations I ordered arrived with a sweet touch: it came with a bookplate signed by Zadie Smith. With access to video on demand, rather than rushing from room to room, I found myself toggling between panels on Southeast Asian historical fiction and Korean horror without so much as lifting a finger. If I find myself unable to concentrate (as Zadie Smith said of our social media age: “I feel very bullied at the speed I am told to think daily”), I tune in to Poetry Bites to hear Marc Nair engage in ten-minute intimate chats with ten poets. Kudos to festival director Pooja Nansi and her team for this massively successful event. We are all already looking forward to what the next year’s edition of the festival brings. READ MORE…

Weekly Updates from the Front Lines of World Literature

This week’s latest news from Australia, Taiwan, and Sweden!

This week, our writers bring you the latest news from Australia, Taiwan, and Sweden. In Australia, the NT Writers Festival has celebrated Aboriginal writing and language; in Taiwan, registration has opened for the 2021 Taipei International Book Fair and the winners of the Golden Tripod Awards were announced; and in Sweden, the Nobel Prize in Literature announcement was made, awarding American poet Louise Glück. Read on to find out more! 

Rita Horanyi, Newsletter Editor, reporting from Australia

In Australia, like much of the rest of the world, literary events have been cancelled or moved online due to lockdowns and travel restrictions. Thus, it was especially exciting to see that the Northern Territory (NT) Writers Festival—held this year in the country’s tropical Top End in Darwin—was able to pull off a predominantly live event after having to postpone the festival from May to October.

The NT Writers Festival showcases local talent, alongside interstate and international guests, with a particular focus on South East Asian voices. Unfortunately, COVID-19 meant it was challenging to include writers from South East Asia this year, but, with the assistance of digital technology, acclaimed Indonesian poet Norman Erikson Pasaribu was able to join the festival to discuss “Translating Indonesia” with past Asymptote Editor-at-Large for Indonesia and translator Tiffany Tsao (the session is available to watch online here).

One of the ways the NT Writers Festival differs from many literary events in the country is in its strong emphasis on Aboriginal writing and language. This year’s festival included a panel with Meigim Kriol Strongbala (a group based in Ngukurr working to strengthen the place of Kriol), who discussed the process of translating the popular children’s book Too Many Cheeky Dogs (the session was held in both Kriol and English). Another special appearance was by the Gay’wu (Dilly Bag) group of women from Yirrkala in North East Arnhem Land. This group of women read from and discussed the writing of their Stella Prize longlisted book, Songspirals, which illuminates the role of women in the crying of Yolŋu songlines. Senior Yolŋu Elder Eunice Djerrkngu Yunupingu even keened milkarri (women’s songspirals) in front of festival audiences. In other sessions, a group of Arrernte poets from Mparntwe/Alice Springs read and discussed their new poetry collection, Arelhekenhe Angkentye: Women’s Talk, which interweaves poems in both English and Arrernte. READ MORE…

Weekly Updates from the Front Lines of World Literature

The latest news from Taiwan, Serbia, and El Salvador!

This week our writers bring you the latest literary news from Taiwan, Serbia, and El Salvador! In Taiwan, renowned writer Huang Chun-ming has brought out his latest novel and Chinese novelist Yan Lianke’s new essay compilation, Hers, has just been published. In Serbia, the annual Shakespeare festival, Šekspir Festival, has begun, and the Reading Balkans 2021 programme has launched in collaboration between Goga Publishing House, PEN Centre, and others. In El Salvador, a new blog run by Nelson Alonson, Una Verdad Sin Alfabeto, and publishing house Editorial Kalina have run online debates about Salvadoran writing and diaspora literature. Read on to find out more! 

Vivian Szu-Chin Chih, Editor-at-Large, reporting from Taiwan

The autumn equinox has brought drizzling rain to cool Taiwan down from the previous summer heat. During the final quarter of 2020, while hoping our global readers will all stay safe and healthy, several literary and movie events are taking place in Taiwan. With online screenings and live discussions being streamed, it might be the best time for an easy access to Taiwan’s recent cultural events, no mater where you are.

The renowned Taiwanese novelist and playwright, Huang Chun-ming’s (黃春明, 1935-) latest novel (Hsiu-Chin, the Girl who Always Smiles,《秀琴,這個愛笑的女孩》) was just published by Unitas Magazine’s publishing house. The story centers around a village girl from northeastern Taiwan entering the film industry accidentally in the 1960s, when Taiwanese-language films were at their peak. Huang’s novella was featured in our past issue, with the translator Howard Goldblatt’s moving account of his long-term friendship with Huang. At the same time, the Chinese novelist Yan Lianke’s (閻連科, 1958-) essay compilation, Hers (Tamen,《她們》), was recently published by Rye Field Publishing Company in Taiwan, unprecedentedly featuring stories of women the novelist encountered, inside and outside of his own family. Perhaps most unorthodox is the publication from Taiwan Tongzhi (LGBTQ+) Hotline Association of their eight-year project that interviewed seventeen lesbians over fifty-five years old in Taiwan, to be published by Locus Publishing Company in October. This groundbreaking book on the life experiences of “lao-la” (「老拉」) in Taiwan, literally meaning old lesbians, is not only about their personal memories and struggles of being lesbians in the conservative Taiwanese society before the 1990s, but also a literary historical review of Taiwan’s gender equality and LGBTQ+ movements since the 1950s.

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Translation Tuesday: “The Tide of Time . . . and the Phone Receiver” by Ping Lu

The floor is slippery, take it slow, one step at a time, let’s go a little slower.

For this week’s Translation Tuesday, writer and cultural critic Ping Lu illustrates the power of unspoken familial love in her memoiristic essay “The Tide of Time . . . and the Phone Receiver.” Through a sequence of personal anecdotes about the speaker’s stoic parents, we witness how a natural anxiety over the aging process can beget silence and emotionally oblique conversations. Affection is unuttered but demonstrably present through the speaker’s physical acts of care; in turn, her parents pass over the harsh truths of aging in silence, their aches and injuries covered as much as possible by a loving pride.

On the phone, Mother casually tells me that her back hurts. Then: an abrupt yelp, and I can clearly hear the phone being dropped, falling and landing, somewhere.

Mother has probably turned to talk with Father. One moment she is speaking to me, and the next, to him—it’s perfectly integrated, the flow of words seamlessly maintained. And where did the phone land? In the gaps between the cushions of the couch? On the corner of the coffee table? Or did it slip down to the floor? Mother won’t remember to pick it back up—she has all but forgotten the receiver, and the fact that I’m still on this side of the phone call. I can only keep my hold on the phone, waiting patiently, afraid that she will later remember and resume our previous conversation.

At my end of the receiver, as I wait, I hear it, with startling clarity: her conversation with Father.

In truth, it’s nothing much. Mother continues to talk about her sore back; their dialogue centers around domestic trivialities.

With my ear pasted to the phone, I become suddenly aware that I am eavesdropping, and that this doesn’t seem ethical. I want to put down the phone, but at the same time I feel a compulsion to continue. What if, after a while, Mother again picks up the receiver only find that I’m not here? READ MORE…

What’s New in Translation: September 2020

New work from Taiwan's Amang and Germany's Jenny Erpenbeck!

This month’s selected new translations from around the world cross more than geographic boundaries: the first combines deliciously feral Taiwanese poetry with exclusive, first-hand conversations on the process of writing and translating it; the second features a series of stylistically varied but equally poignant essays on an acclaimed German author’s personal and political journey. Both titles prompt us to peek into their subjects’ fascinating lives and work, and we’re all too happy to indulge.

amang

Raised by Wolves: Poems and Conversations by Amang, translated from the Chinese by Steve Bradbury, Deep Vellum, 2020

Review by Filip Noubel, Editor-at-Large for Uzbekistan

When I agreed to review Raised by Wolves, I thought I had signed up to read a translation of contemporary Taiwanese poetry. I very quickly realized my mistake: Raised by Wolves is much more than that; it is an invitation to partake in a feast of words that agree to disagree, that clash and dissolve to reemerge in another language. It is also an act of transgressive eavesdropping, as the poet and her translator let readers in on their intimate discussions about their craft (the book’s subtitle is “poems and conversations”).

Amang has published several collections, including On/Off: Selected Poems of Amang, 1995-2002 (2003), No Daddy (2008), Chariots of Women (2016), and As We Embrace Thousands Are Dying (2016). In addition, she is a filmmaker and blogger, and her eclectic interests are clearly reflected in this new translation of her work. A couple of themes, however, seem to be especially prevalent throughout.

First, as the poet discloses (incidentally explaining her collection’s English title), she was raised mostly by her grandmother, who “was quite a character. She was very powerful and courageous. A she-wolf. She would do or say whatever she wanted. None of th[at] Confucian nonsense for her.” In line with this almost feral sentiment, many poems include raw images celebrating nature or the vibrance of the human body. In one, for instance, Amang writes: “Thrusting your hand down a tiger’s throat / to tear out his heart  / so, too, I / cut from a book a sheet of / ice.” And elsewhere: “I can give you anything / . . . / except that puny little stick / they call a prick / and is that worth making a fuss about?” READ MORE…

Weekly Updates from the Front Lines of World Literature

The latest literary developments from Taiwan, the US, and Japan!

The disparities of COVID-19’s grip over us is becoming gradually more apparent as certain countries celebrate recovery, while others continue to shelter in place. In Taiwan and Japan, processions are resuming after the interruption, with film festivals and award announcements taking over headlines, while in the US the situation remains somehow at once unpredictable and static. In Taiwan, reportage literature seeks to reset old injustices; in Japan, the prestigious Akutagawa Prize reveals its nominees; and in the US, a beloved literary event is put off for another year. Read our editors’ dispatches from the ground here!

Vivian Szu-Chin Chih, Editor-at-Large, reporting for Taiwan

The 2020 United Daily News Literary Prize has been awarded to the Malaysia-born Sinophone novelist, Chang Kuei-hsing (張貴興), who has been living in Taiwan for the last four decades. The prestigious award went to the author’s latest novel, 野豬渡河 (Wild Boar Crosses the River) which depicts his hometown in Malaysia, Sarawak—a city occupied by the Japanese in the 1940s. Asymptote has previously featured Chang’s “Siren Song” (translated by Anna Gustafson) in our Winter 2016 issue.

The Taiwanese author notable for his reportage literature, Lan Bozhou (藍博洲), will soon have new book published by Taipei’s INK Publishing in July: 尋找二二八失蹤的宋斐如 (Searching for the Missing Song Feiru in the February 28 Incident ). Consistent with Lan’s previous focus on giving a voice to the victims of Taiwan’s White Terror (1947-1987), this new work again inquires into the difficult question of the whereabouts of Song Feiru, a Taiwanese intellectual and founder of a newspaper criticizing the government in the 1940s. The namesake of the book was kidnapped by the Kuomintang and went missing after the outbreak of the infamous February 28 Incident in 1947.

Although the global situation of COVID-19 has been rapidly evolving with uncertainty, Taiwan has luckily arrived at a relatively safe status, and many local activities are resuming this summer as a result. The island-wide screenings of Xin Qi’s (辛奇, 1924-2010) films from mid-July to late-November, and the Golden Horse Classic Film Festival (with the theme of the beloved Italian director, Federico Fellini) from late-July to mid-August, are among the events leading this trend of recovery in Taipei. Xin Qi was one of the few prolific and prominent Taiwanese-language film directors in the 1960s, whose five cross-genre cinematic works have been digitally restored by the Taiwan Film and Audiovisual Institute, and will be screened around Taiwan’s theatres, both new and old, during the festival. As for the Golden Horse Classic Film Festival, it is a part of the global tribute to Fellini’s 100th birthday anniversary (“Fellini 100”), and will broadcast twenty-four of the director’s films, most of which are 4K versions, freshly restored.  READ MORE…

On Hunter School: Indigenous Stories from Taiwan

The Chinese language sings an altogether different tune in the mouths and hands of indigenous Taiwanese storytellers.

Hunter School by Sakinu Ahronglong, translated from the Chinese by Darryl Sterk, Honford Star, 2020

“I’m dumb,” I told an editor to whom I had shown an essay. “I haven’t read much, and the things I write nobody reads. I can’t write essays like other people.”

“Sakinu, why would you want to be like anyone else?” she said. “Everything in you is literature, things other people don’t have and can’t imitate. Sakinu, let everyone know all the things you keep hidden, let your life story, and Paiwan history, come flowing out of your pen.”

Translation specializes in the improbable, bringing faraway stories to unlikely audiences. The English-language translation of Hunter School (superbly crafted by veteran translator Darryl Sterk) goes further than most in this regard, because although Hunter School was originally written in Chinese, the author has no Chinese heritage, and his people have until recently had no voice in the world of Chinese-language literature, despite being part of the Chinese world; his name is Sakinu Ahronglong, and he is an indigenous man of the Paiwan ethnicity.

Like all of Taiwan’s many indigenous ethnicities, the Paiwan are an Austronesian people more closely related to the Maori of New Zealand than to the Han Chinese who now compose the majority of Taiwan’s population. Though their voices have been marginalized, they remain inheritors of living wisdom, passed from mouth to ear for millennia. Now, Sakinu’s stories have made the quantum leap, first from fireside storytelling to Chinese text, then finally into English, and they are here to show us a new way to relate to our planet and to people who have lived closest to nature for the longest time. This book is a fighter. It had to be. It has fought its way tooth-and-claw through the brambles of oppression—cultural cleansing, intolerant Christians, economic exploitation, etc. etc.—and against all the odds, here it is.

Hunter School begins with the author, Sakinu Ahronglong, in school. Flying squirrel school. Getting to class isn’t a simple commute. Luckily, young Sakinu has a guide in the form of his father, a consummate hunter who holds deep compassion for the animals he meets on his forays, and who teaches Sakinu many things, like the names of the bigwigs in local monkey society. The early chapters are short, leading readers on a tour of Sakinu’s mountain forest childhood and his wilderness education. As the book progresses and Sakinu’s world expands, the chapters stay short. They weave a sequence of life stories, crossing and re-crossing the frontier between a wild ancestral homeland and modern life in a globalized, post-industrial country. In the wilderness, we get to know a world that, for all its wildness, is still very much lived-in (and has been for thousands of years before the Han Chinese arrived in Taiwan in the sixteenth century). These stories show us a new way of imagining the wild realms of mountain and forest, which many of us are only acquainted with (and fond of) from various ventures into the “backcountry.” Of course, it’s only the “backcountry” if you don’t live there. In these pages, we see how people like Sakinu’s grandfather used to live entirely civilized lives in the wild before the time when much of the world’s nature was cordoned off from human society, emptied of most of its indigenous residents, and divided up into national parks, commercial forestries, and mines. READ MORE…

Coming Home to Everywhere: On Sanmao’s Stories of the Sahara

Defamiliarisation leads to an ecstatic shattering of past lives, and she emerges, proudly, in her otherness.

Stories of the Sahara by Sanmao, translated from the Chinese by Mike Fu, Bloomsbury Publishing, 2020

One of the most beloved characters of most Chinese children born after 1940 is the infamous Sanmao (三毛 / Three Hairs), an orphan so impoverished that he could only manage to grow, well, three hairs. Set largely in nationalist Shanghai, the narrative of Sanmao detailed his nomadic wanderings, often involving ignominious miscarriages of justice, teetering hunger, and desperate, one-yuan schemes. Round-headed, ribcage-baring, picking up cigarette butts on the street, Sanmao was adored by children like myself—poor but not destitute, bred with an uncertain yet determined idea of the world’s cruelties, cultivating a helpless, weary sort of empathy for a two-dimensional friend.

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Our Fall 2019 Issue Is Here!

Featuring Radka Denemarková, Sylvia Molloy, Monchoachi, and a Spotlight on International Microfiction

Welcome to our spectacular Fall 2019 edition gathering never-before-published work from a record-breaking 36 countries, including, for the first time, Azerbaijan via our spotlight on International Microfiction. Uncontained, this issue’s theme, may refer to escape either from literal prisons—the setting of some of these pieces—or from other acts of containment: A pair of texts by Czech author Radka Denemarková and Hong Kong essayist Stuart Lee tackle the timely subject of Chinese authoritarianism. In “The Container,” Thomas Boberg performs the literary equivalent of “unboxing” so popular on YouTube these days, itemizing a list of things in a container shipped from Denmark to the Gambia—all in a withering critique of global capitalism.

The container lends itself to several metaphors but none as poignant or as on point as—you guessed it, dear Asymptote reader—the container of language itself, as suggested by London-based photographer Elizabeth Gabrielle Lee’s brilliant cover highlighting the symbolism of the humble rice grain. This commodity has, like language, been exported, exchanged, enhanced, and expressed in various forms from its various origins across the planet. Even when a state attempts to erase language, resistance remains possible, as poet Fabián Severo—the only Uruguayan writing in Portunhol, the language of the country’s frontier with Brazil—demonstrates: “This language of mine sticks out its tongue at the / dictionary,” he sings, “dances a cumbia on top of the maps / and from the school tunic and bow tie / makes a kite / that flies / loose and free through the sky.” In one of Argentine writer Sylvia Molloy’s many profound riffs on the bilingual condition, Molloy claims that “one must always be bilingual from one language, the heimlich one, if only for a moment, since heim or home can change.” READ MORE…

Translation Tuesday: “Homecoming” by Badai

Eventually, at the edge of his vision, where the fog begins to thin, a figure of a person emerged.

This week’s Translation Tuesday features the work of Badai—an indigenous Taiwanese writer. “Homecoming” probes at themes of reunion, service, and loss through the eyes of a young man torn between the traditional ways of his family and the projects of the nation-state. Juxtapositions between the mountains where the protagonist lives and the flatlands with the military bases, government projects, and different linguistic groups are drawn into tension. This tension is extended for the protagonist as roads, schools, and parks show the growing homogeneity of the national culture. Pride in one’s service—to family and to the state—are complicated things for young men and women. Moments like those expressed here show the complex interrogation that the short story form provides. Here, the interrogation revolves around one’s implication in the changing social fabric of Taiwan. 

A young man was on a bus, heading home. His name was Dumasi. Dumasi had already transferred buses once; this was the second leg of his journey, and he was forcing himself to nap because he still had the final leg ahead of him. The bus would drop him off at the last stop, and then he would hike for two hours up mountain trails. Not that he felt the slightest bit tired. Every inch of him was bursting with the excitement of returning home. Nonetheless, he shut his eyes to rest.

A voice said: “Hey, mister bus driver, this is my stop!”

Dumasi opened his eyes: there was a middle-aged man walking unsteadily up the aisle, laden with bags and bellowing good-naturedly in the direction of the driver’s seat. For Dumasi, the sight and sound of this man was deeply familiar, comforting even—from his broad shoulders to the way he spoke Mandarin with a thick, mountain-man accent.

Dumasi reached down to his luggage and ran his hand along a bulge in the bag. Good—the two bottles of sorghum liquor he’d bought for his homecoming were intact—all was in order. Father will be so happy, he thought to himself. READ MORE…

Weekly Dispatches from the Front Lines of World Literature

This week, we’re talking about poetry in Transylvania, storytelling in Marrakech, and LGBT literature in Taipei.

It would be difficult for even the most hardened of cynics to bemoan the state of literature after having read the news coming from around the globe this week. Our editors report on a stunning international festival of poetry in Transylvania, the determined literary representation of an “unofficial” language in Morocco, and an abundance of musical, literary, and theatrical events taking place under the open skies of Taipei.

Xiao Yue Shan, Assistant Blog Editor, reporting from the Z9Festival in Sibiu, Romania

The forecast called for a 60 percent chance of rain, but the sun was still wispily gathered in the early evening, so rows were laid out in the courtyard and the fifth edition of Z9Festival, the young literature festival based in Sibiu, began.

Founded in 2015 and sponsored by the Lucian Blaga University of Sibiu, the festival gathers poets from nine countries around the world to share their work with the Romanian public; the name can be read as either New Zone or Zone Nine, in an ode to both its focus on writers under forty and its international reach. So it is that in mid-July 2019, writers from the UK, Poland, The Netherlands, Belgium, Germany, Italy, China, Russia, and Romania descended upon the picturesque landscape of Sibiu to join one another in a night celebrating poetry, and its inherent ability to dissipate borders.

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Recovering What Is Missing: In Conversation with C.J. Anderson-Wu

The collective denial of victimhood is the reason why dictatorship lasts, the far-right exists, and inequality prevails.

Chieh-Jane Anderson-Wu (吳介禎) is a Taiwanese author, translator, and publisher of Taiwanese literature in translation. She is partly inspired by the white spots of Taiwan’s recent history, namely the White Terror, a forty-year period of martial law which began in 1949 and witnessed systematic repression within the nation, particularly targeting intellectuals. Pervasive censorship during the White Terror affected literature, but also the lives of many families at a time when secrecy and denial turned into a survival strategy for many. Anderson-Wu has written several works, including the story collection Impossible to Swallow and “Life Looked at From A Single Window,” and is currently working on a new novel.

Filip Noubel (FN): Today Taiwan is one of the freest societies in Asia, yet martial law only ended in 1987, almost forty years after it was first imposed. This period, known as the White Terror, witnessed tremendous political violence: over one hundred and fifty thousand people, including many intellectuals, were arrested, and several thousands were executed. It is also the theme of your collection of short stories called Impossible to Swallow. What has led you to find inspiration in this particular period of Taiwan’s history?

C.J. Anderson-Wu (C.J. A-W): There are several causes, but one of them is my sense of guilt. I did not understand it until I had written several stories. After the Formorsa Incident in 1979, posters of the so-called rebels were everywhere. I was a kid and really believed that they were bad people, that they should be arrested and put in jail. Years went by and as more historical materials were released after the abolishment of martial law, I gradually realized what lies we had lived in. I feel so grateful to those who never backed down and sacrificed so much for the freedom we are enjoying today, and resent my gullibility.

Another thing is that we never had transitional justice. We never had a Nuremberg Trial-type that conducted thorough investigation on what had really happened, why it happened, and who should be responsible. Thus we don’t know how we can prevent it from happening again. Today the past dictators are still worshipped, the days under authoritarian rules are still commemorated, and lies are still believed. I was shocked, in despair, and infuriated. How can people stay ignorant when all the evidence is presented in front of their eyes? How can people feel okay sacrificing the rights that were earned by blood, tears, and sweat?

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