Reviews

Working Title: Pereira Maintains

May 14, 2015  |  in Essays, Reviews  |  by Anna Aslanyan

“A single phrase, used regularly throughout the text, changes it drastically, invoking a sinister atmosphere. Who is Pereira telling his story to?”

“In a special action of the case the plaintiff declares, that he is a hackney coachman.” “The defendant maintains that he accidentally stood naked in front of the window.” These excerpts are taken from courtroom reports dated, respectively, the late 17th and early 21st century. Although the reporting verbs used in these two cases are, technically speaking, interchangeable, “declare” would look more out of place in the second example than “maintain” in the first. Today we usually declare love or bankruptcy, war or independence, profits or goods, but rarely our personal details.

The protagonist of Sostiene Pereira, a 1994 novel by Antonio Tabucchi, declares a great many things in Patrick Creagh’s translation, titled Declares Pereira and first published in 1995 by Harvill, a London-based press with an interest in European literature. When the book was reprinted in the US, the title lost its inversion, becoming Pereira Declares (perhaps in line with the advice given in Self-Editing for Fiction Writers, whose authors, Dave King and Renni Browne, think that “‘said he’ fell out of favor sometime during the Taft administration”), and the story, initially billed as A True Account, became A Testimony (and thus closer to the original Italian subtitle Una testimonianza), but the declarations remained in the text. They stayed there until 2010, when the independent British publisher Canongate reissued Creagh’s translation as Pereira Maintains. The only difference between this version and the earlier ones is that “declares” is replaced by “maintains” throughout—a change that, despite being easily made with a find-and-replace tool, produces a profound effect.

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In Review: “Self-Portrait in Green” by Marie NDiaye

May 12, 2015  |  in Reviews  |  by Patty Nash

Translated by Jordan Stump, and published by Two Lines Press

Let me talk about selfies.

Are you annoyed yet? I promise this isn’t a curmudgeonly thinkpiece about millennials; nor is it a listicle written by said millennials in defense of the selfie.* No, I’d like to talk about self-portraiture, which became conceivable as soon as mirrors and other reflective surfaces were available. (Narcissus may have enjoyed his reflection in antiquity, but he wasn’t real, and pools of water are never that smooth). The idea here is objectivity. A stable you that you can see.

Even without gadgetry (mirrors, glassy ponds, cameras et al)—I don’t think a selfie is a foray into solipsism. More the opposite: the way the self-it-self has been constructed is a result of the litany of selves surrounding it. We adjust to resemble, even when affirming our individual self-ness. Every selfie (can we say “self-portrait” now? I’m sorry!) exists as an algorithmic product of the selves around it, which, through refraction and contortion, inform whatever “self” is portrait-ed. This is true even sans Instagram.

This, at least, is my hypothesis after reading Two Lines Press’ 2014 publication, Self Portrait in Green, by French writer Marie NDiaye and meticulously translated by Jordan Stump. The slender novella is written in the first person against the stark relief of an ominous threat, one of a flood that is slated to destroy the village the narrator inhabits, by 2003. Through a series of recollections, Self Portrait in Green navigates a universe of threat, both environmental and interpersonal, through an interconnected series of engagements the narrator litanies against women afflicted by the color green.  READ MORE…

Epic India in Verse

May 7, 2015  |  in Reviews  |  by Farisa Khalid

Reviewing Poetry of India: Anthology of the Greatest Poets of India, ed. Paul Smith (New Humanity Books, 2014)

A few months ago, a friend of mine who was curious about the nuances of Indian culture asked me to explain the artistic differences between North and South India. I realized it was a loaded question, and I could only give him a general overview of similarities and differences between north and south, Aryan and Dravidian, and Central Asian, Persian-Turkish influences versus Burmese and Sri Lankan. I felt I had a vague generalist understanding of my country of origin, though my answers seemed to satisfy him.

It is exceedingly difficult to encapsulate the cultural diversity of the Indian subcontinent, spanning across India, Bangladesh, Pakistan, with a cultural nebula across Burma, Sri Lanka, and Thailand. To travelers like the seventh-century Chinese Buddhist monk Xuanzang (the 14th century Central Asian [Uzbek] warrior), the marauder Timur (the subject of Christopher Marlowe’s Tamburlaine) and even Mohandas Gandhi, returning from years of living among the racist Boers of South Africa, India remained a baffling and exotic mystery to the intellect and senses.

Fortunately for us, a book like Paul Smith’s massive anthology, Poetry of India: Anthology of the Greatest Poets of India, gives curious readers of Indian culture and literature an adequate place to start. Paul Smith is an Australian poet and scholar of Indian and South Asian literature. He has translated the works of Rumi, Hafiz, and Nizami, as well as the works of various other Sufi and Persian poets. In this anthology, he delves straight into the complexities of Indian literature, Sanskrit poetry from South India and the Deccan states, medieval Tamil poetry, and poems by well-known nineteenth and twentieth-century poets like Makhfi, Ghālib, Tagore, and Iqbal.

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What We’re Reading in April

April 30, 2015  |  in Essays, Reviews  |  by Ellen Jones and Mui Poopoksakul

“Full of startling colours, and featuring scenes both disturbing and erotic, The Vegetarian is the most powerful novel I have read this year.”

Ellen Jones (criticism editor): Three of the best things I’ve read this month have been slim, 100-odd-page volumes in translation. The first is Takashi Hiraide’s The Guest Cat, translated from Japanese by Eric Selland. The book was recommended by a great lover of cats who insisted I read it in hard copy rather than on my Kindle for the hypnotisingly green feline eyes on the book’s jacket. My family has always had cats, a number of them so embarrassingly rotund—despite years of controlled diets—that we’ve had to wonder whether a well-meaning neighbour wasn’t regularly spoiling them with choice titbits from the table or bowlfuls of cream. So I found much to relate to in this quiet story of a young couple’s relationship with a local cat, whose daily visits revitalise their marriage and ignite an enthusiasm for gardening. Hiraide’s writing (he is primarily a poet) had rarely been translated before, but The Guest Cat has become a bestseller in the United States, France, and now Britain; the ubiquity and inexhaustible popularity of cat photos and videos on social media speak volumes about this book’s potential appeal. But there is so much more to it than a plot summary might suggest—it meditates on the transience of life and beauty, and masterfully maps out a domestic space with the precision of an architect. This is undoubtedly a book for cat people and dog people alike.

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In Review: “The Librarian” by Mikhail Elizarov

April 28, 2015  |  in Reviews  |  by Isabel Lower

By turns absurdist, satirical, and downright funny: "The Librarian" takes a page from every book

 For the most part, The Librarian is a novel about a young man in quarter-life crisis named Alexei, who is thrust into the role of the fearless leader of a secret society that revolves around a collection of “magical” books.

Borrowing from many science fiction or fantasy novels, Mikhail Elizarov’s story, translated by Andrew Bromfield, begins with some world-building. In the tone of a dry, literary historian, the narrator relates the life of a fictional Soviet writer named Gromov. To the uninitiated reader, Gromov’s books are merely badly-penned propagandist fiction, in which “Good triumphed with excruciating regularity.” Under the right conditions, however, they cause readers to become enraptured, band together, and carry out alarming acts of violence. READ MORE…

New in Translation: 33 Days by Léon Werth

April 22, 2015  |  in Reviews  |  by Yardenne Greenspan

“I recount the lowly; I tell, in the immensity of this war, the stories of insects.“

Every year, as Holocaust Memorial Day approaches, my husband and I begin looking for a film, a book, or an article with which to commemorate the day. Each year this tradition becomes more challenging and more exciting, as we move away from Hollywood epics and into the realm of small-scale, private stories. As I grow older and my mind expands, I become more interested in the minutia of this enormous tragedy: what people talked about, what mundane things preoccupied their minds, what made them laugh.

In his memoir 33 Days, Léon Werth chronicles the time he and his wife spent on the road fleeing Paris during the Fall of France in 1940. They move between farmhouses and through blockaded roads. They worry for their teenage son, who has left earlier with friends. They pilfer whatever remains in empty homes and abandoned vehicles, and sleep on hay bales. They are at war, but not in the Holocaust. They are Jews who do not yet know what their identity will come to mean.

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In Review: The Scapegoat

April 1, 2015  |  in Reviews  |  by Isabel Lower

“Even though the mystery is decades old by the time it reaches the main character, The Scapegoat is a page-turner.”

It is always a good sign when a book makes you laugh on the first page. In the opening scene of Sophia Nikolaidou’s novel, The Scapegoat, an American reporter named Jack Talas observes a dirty and scabbed old villager, “A man who took life as it came and made the most of it—or so he seemed to the American, who’d been raised on eggs and bacon, had studied at expensive schools, had seen plenty of poor people in photographs. Now he wrote dispatches about them, and he did so with compassion.”

With compassion. This phrase evoked such a bombastic, self-assured character it made me laugh out loud. However, if you’re dead set on comedy, that’s too bad. Because by the next page, Jack Talas is a corpse, found floating in the Mediterranean with cuttlefish eggs in his eyelashes. The Scapegoat is based on the murder of CBS reporter George Polk, who, like his fictional double Talas, was in Greece in 1948 to expose the government’s corrupted use of American aid relief.

Talas makes enemies of everyone: the government, the communists, and even the Americans. But it is a fellow journalist, named Manolis Gris, who is accused of murdering Talas. However, the forces behind Gris’s indictment reach far beyond Gris himself.

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New in Translation: March 2015

March 31, 2015  |  in Reviews  |  by Dylan Suher, Eva Richter, and Patty Nash

Yan Lianke's The Four Books, Boris and Arkady Strugatsky's The Dead Mountaineer's Inn, and Addendum to a Photo Album by Vladislav Otroshenko

To imagine the Great Leap Forward—an event that began as a febrile dream and ended as an apocalyptic nightmare—tests the limits of the lucid consciousness. In late 1957, Mao Zedong declared that China could “surpass the UK and catch up to the US” through backyard steel furnaces, experimental agricultural practices, and sheer force of will. Village officials vied with each other to promise impossibly high crop yields; newspapers printed staged photos of experimental rice fields planted so densely that they could support the weight of children. Now it’s hard to understand how anyone sincerely believed, or even pretended to believe, that such outcomes were possible. When famine hit in 1958, the crisis was compounded by an unwillingness on the part of the government to admit failure to Mao or to the citizenry. As a result, China exported grain while millions—anywhere between twenty to forty million between 1959 and 1961—starved to death. We may never know the true death toll, as the Great Famine is more taboo a topic in China than even the atrocities of the Cultural Revolution: where responsibility for the Cultural Revolution can be safely foisted onto a group of extremists, the Great Famine is the original sin of the People’s Republic. The Communist Party has therefore consistently sought to efface from public memory the realities of the most lethal famine in human history.

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In Review: The Fall of Language in the Age of English

March 18, 2015  |  in Reviews  |  by Elisa Taber

“ Gradually, the hegemony of English over Japanese shifts from a personal, to a communal, to a national, and, ultimately, to a global concern”

In The Fall of Language in the Age of English, Minae Mizumura’s refusal to succumb to the dominance of the universal language is both political and aesthetic, as evidenced by the lyricism of her text. To her credit, the author does not employ theoretical jargon, but rather the same lucid prose that characterizes her novels. Luckily for English readers, Juliet Winters Carpenter and Mari Yoshihara’s skillfully crafted translation renders the nuances between katakana and hiragana into English. Indeed, Mizumura’s prose, use of narrative framing, and manipulation of the national language embed the justification for preserving the latter in the text.

This volume covers Mizumura’s encounter with the international writing community, the translingual formation of national languages, and a pragmatic assessment of education policy. It is not just Mizumura’s compelling prose, however, but also her use of literary techniques that gives her license to cover such a wide breadth of topics. Her introduction, in the form of a personal essay, conveys the ambiguous identity of a Japanese woman brought up in the U.S. and schooled in French literature. Readers witness how the author’s polyglot upbringing predisposes her to view writing as a medium one must struggle with, rather than one for free self-expression. As such, Mizumura makes a case for writers, not theorists, to ascertain the meaning of world literature. Gradually, the hegemony of English over Japanese shifts from a personal, to a communal, to a national, and, ultimately, to a global concern.

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What We’re Reading in March

March 4, 2015  |  in Essays, Reviews  |  by Dong Li, Matthew Spencer, and Rosie Clarke

Experimental contemporary novelists, classic science fiction, and not-to-be-missed writings on art: Asymptote recommends!

Rosie Clarke (marketing manager): Last month I found that “torturous” reading need not mean “badly written.” I inadvertently spent February with books fixated on death, mourning, poverty, and disturbing desires. In anticipation of her new novel Gutshot, I raced through Amelia Gray’s AM/PM and Threats, in addition to a difficult digestion of Jane Unrue’s Love Hotel, and finally a more peaceful meander through Swiss-German proto-modernist Regina Ullmann’s The Country Road. Together, the intensity of these works had a simultaneously invigorating and exhausting effect.

Gray poses a rather exciting figure to me—of her own fragmentary and boldly inventive fiction, she commented in a recent interview with the New Yorker that “life is such a natural mix of horror and humor that it lends itself easily to the form.” AM/PM is a collection of interconnected vignettes: single page scenes and observations, made on relationships, loneliness, madness, all set in unsettling scenarios of ambiguous reality.

Threats extends Gray’s use of dark humor coupled with a troubling sense of dread. It takes you to a dark place, where loss and solitude manifest in ways almost too real to take. The novel begins with its protagonist, David, watching his wife bleed to death, then sitting with her body for days before intervention. His fragile mental state dissolves, and he loses all concept of time, with short chapters mimicking this to great effect. The titular threats are paper scraps inscribed with poetic, surreal warnings, which David tries to understand. I have never read a book that so effectively communicates the desolation and emotional destruction death can have on a person. This, interwoven with the mystery of his wife’s death and the anonymous notes, makes Threats bizarre and intoxicating.

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In Review: “Rabbit Back Literature Society”

February 23, 2015  |  in Reviews  |  by Rohan Kamicheril

On a meta-writerly thriller from Finland: "Jääskeläinen’s exploration of the magpie habit of a writer is thorough and complex."

The fictional Finnish town of Rabbit Back is the setting for Pasi Ilmari Jääskeläinen’s The Rabbit Back Literature Society (tr. Lola Rogers), a strange chimera of snow-bound noir and creeping surrealism that reveals itself with the unassuming gestures of a children’s book.

Rabbit Back is the home of the bestselling (and reclusive) children’s book author Laura White. White’s Creatureville books, widely lauded for their striking treatment of local myths, have brought worldwide recognition to the town and to the coterie of nine protégés she hand-selected at an early age to be the members of her Rabbit Back Literature Society—young men and women who have, by the time of the events in the book, matured into the upper ranks of the Finnish literary scene. READ MORE…

In Review: The Selected Poems of Corsino Fortes

February 9, 2015  |  in Reviews  |  by Aditi Machado

Translated from the Portuguese by Daniel Hahn and Sean O’Brien, forthcoming from Archipelago Books

Selected volumes are a curious affair—when done well, I think of them as seductions, acts of largesse introducing to one who is ignorant, unable to access the “whole” thing, but desirous of such access, a writer of importance. The Selected Poems of Corsino Fortes is precisely this sort of book, bringing into English the lyrically and politically powerful poems of a major Cape Verdean poet and diplomat.

Cape Verde was made independent in 1975. Many of its inhabitants emigrated shortly thereafter, but many also stayed behind. Fortes, writing in a mixture of Portuguese and Cape Verdean Creole, describes his country in the heated, generative moments of its new formation, as well as its moving outward and forward in the world. In translating Fortes’s poems, Daniel Hahn and Sean O’Brien have had to re-create a language linked to the islands and to the people as if by a circulatory system: “In that lesson / of earth & blood / Transfused / I heard the wild waves surge / From the heart to larboard.”

Fortes’s Cape Verde is full of tongues: all of nature speaks and sings. His language is fleshly. This visceral quality comes from abstractions made tangible through Fortes’s dense, at times opaque, symbology of bread, coin, sun, sea, guitar, and so on. For example, the last few lines of “From Mouth to Windward,” through the grammar of lists, draw concrete images together with abstract concepts like “marriage” and “birthright,” conflating them such that both “types” feel bodied, sensual, intellectual, inevitable: “Sea and monsoon, sea and marriage / Bread, stone, a patch of earth / Bread and birthright.” But it is also the translators who perform these transformations by—essentially by writing like poets. The alliterations I “see” in the en face Portuguese (which I do not read) are matched in English, enhancing the sense that language is not simply for understanding but for seeing, hearing, and touching.

As much as these poems emerge from the archipelago, they also describe the emigration of its people into Europe and the United States. When Fortes writes, “I saw patricians / clad in togas / Speaking Creole / In vast auditoria,” I hear the reverberation of a distinct Cape Verdean way of life moving along with its people: “. . . the earth and the story / Emigrate with us under our tongues.”

I would recommend this magnificent, generous, and bilingual presentation of Corsino Fortes’s work to anyone who enjoys grappling with the poignant, the sensuous, and the esoteric. It will be difficult for me to forget the “Tree and drum of the ancient viola” and the sardine as “a flickering tongue in the sea’s mouth”; nor “Eating the earth eating the earth eating the earth,” when “the earth is flesh”; nor Fortes’s prayer-command to the sunflower to “enter [him] / Before the sun / Disorients you Sunflower!”

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The Selected Poems of Corsino Fortes is forthcoming from Archipelago Books & Pirogue Collective’s Island Position here. 

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Aditi Machado’s poems have recently appeared in The Offending Adam, DIAGRAM, The Iowa Review, MiPOesias, LIES/ISLE, and Better Magazine; others are forthcoming in Conjunctions. She has a chapbook called The Robing of the Bride; it is available from Dzanc Books. She edits poetry for Asymptote, an online journal dedicated to translation. She earned her MFA at Washington in St. Louis and is now studying toward a doctoral degree at the University of Denver.

In Review: “Phoenix,” by Ouyang Jianghe

January 7, 2015  |  in Reviews  |  by Dylan Suher

A look at intersecting poetics, visual arts, languages, and global industries

How to write the poetry of finance capital? There certainly is a poetry in the modern market; in the glowing lights of the myriad digits that flit through a bank server; and in capital’s capacity to erect and destroy cities with the stroke of a pen.

But when all that is solid melts into air, how can an artist make capital itself into a tangible object for reflection? The artist Xu Bing attempted this task with his sculpture “Phoenix”: a pair of twelve ton, one-hundred-foot long birds meant to represent China’s new ascendance in this age of global capital, fashioned from scrap metal by a team of migrant workers. Xu Bing’s sculpture, in turn, inspired the contemporary Chinese poet Ouyang Jianghe to write a poem in tribute to the work, also entitled “Phoenix,” which Austin Woerner has recently translated. READ MORE…

What We’re Reading in December

December 17, 2014  |  in Essays, Reviews  |  by Patty Nash and Tiffany Tsao

This December: family sagas, American classics, flash fiction, and meta-translation

Tiffany Tsao (Editor-at-large, Indonesia): Family sagas make up my month’s leisure reading so far. Jeffrey Eugenides’s Pulitzer-Prize-winning Middlesex and William Faulkner’s Absalom, Absalom! have been on my to-read list for several years, and it was with a combination of sheepishness and triumph that I finally got round to cracking open their spines. One occupational hazard of being a literary academic is that you often lack the energy to graze beyond your particular fields of expertise. As a recent post-academic, it has been a great pleasure indeed to read more in the way of the American “classics”—and not just so I can finally stop embarrassing myself at dinner parties where I often disappoint fellow guests by not having read every work in the western canon, all the latest prize-winners, and everything listed on the latest “Top 100 great reads” list circulating the web.

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