Posts filed under 'bulgarian literature'

Weekly Dispatches From the Frontlines of World Literature

The latest in literary news from Southeast Asia, Bulgaria, and Chile!

In this week of world literature, our editors cover the influence of censorship and propaganda on literature, and look back on Southeast Asian literature released this year.

Alton Melvar M Dapanas, Editor-at-Large, reporting from Southeast Asia

What a year in Southeast Asian literature! The Philippines, Vietnam, and Thailand took center stage in Penguin Random House Southeast Asia (SEA)’s catalogues, with a range of texts published throughout the year. First off in March was Bleeding Sun by playwright-novelist Rogelio R. Sicat, translated by one of Sicat’s children, the translator and editor Ma. Aurora L. Sicat, from the original Dugo sa Bukang-Liwayway, which was serialised beginning 1965. Sicat, who came of age in the aftermath of the American Occupation, wrote novels which further revealed his belief in land reform and love for Tagalog as a literary language, veering away from his contemporaries who were influenced by Euro-American conventions.

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Weekly Dispatches From the Frontlines of World Literature

The latest in world literature from the Philippines, Bulgaria, and the United States!

This week, our Editors-at-Large bring us around the world for updates on literary workshops, readings, and conferences! From a workshop dedicated to Kapampangan literature in the Philippines, to the thriving Mahala Bookstore in Bulgaria, to ALTA’s online Write the World panels, read on to learn more!

Alton Melvar M Dapanas, Editor-at-Large, Reporting from the Philippines

Tomorrow, May 18, marks the deadline of the call for workshop participants for Pamiyabe, the regional creative writing workshop for young writers who hail from the northern Philippine region of Central Luzon. Across Central Luzon and Metro Manila, the Kapampangan language (also alternatively named Pampangan, Pampango, and Pampagueno) is the native tongue to over 3.2 million Filipinos. 

Now in its 21st year, the Pamiyabe writing workshop is aimed at contributing towards the flourishing of Kapampangan literature and organised by The Angelite, the official student publication of Holy Angel University in Angeles City, Pampanga. This year’s theme is “Pamaglugug queng regalu ning milabasan, pamagkaul queng progreso ning kasalungsungan” (Nurturing the gift of the past, embracing the progress of the present).

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‘Obliged to Serve a Memory’: A Review of Vera Mutafchieva’s The Case of Cem

Cem . . . is silent, an inanimate object in his own story, only moving when and where other powers will him.

The Case of Cem by Vera Mutafchieva, translated from the Bulgarian by Angela Rodel, Sandorf Passage, 2024

Cem—born in the burgeoning Ottoman Empire, the second son of the legendary Mehmed the Conqueror, and in the eyes of history, the exiled prince. In his time, Cem was lauded by storytellers the world over for who he might become and what he might accomplish, until finally he was pitied for all that he endured. But these portrayals of Cem, some true and others exaggerated, have all but faded from the public eye over time—a fact that renowned Bulgarian author and historian Vera Mutafchieva sought to remedy with her comprehensive account of his struggle in her novel, The Case of Cem.

Mutafchieva’s works have been published in nearly a dozen languages, the most recent being Angela Rodel’s English translation of The Case of Cem. Originally published in Bulgarian in 1967, the story follows Cem as he tries and fails to usurp his older brother at the behest of some of his countrymen. He is forced into years of exile that take him far from home, from Rhodes to France to Italy. His imprisonments—though those holding him would call it refuge—turn the almost-sultan into an unwilling pawn and bargaining tool for European powers, and eventually lead to his tragic downfall. 

The Case of Cem is a daring blend of court intrigue, tragedy, and historical fact that masterfully captures complex layers of history in its prose and reads like an epic. Just as prevalently, though, it is a reflection on memory, identity, homeland, and what it means to lose them.

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Weekly Dispatches from the Frontlines of World Literature

The latest literary news from Mexico and Bulgaria!

This week, our Editors-at-Large take us to bi-national experimental poetry festivals and a community for children’s literature. From prize-winning novels to poetry that spans genres and mediums, read on to find out more!

Alan Mendoza Sosa, Editor-at-Large, reporting from Mexico

On Monday, January 15, Mexican poet Rocío Cerón launched the online series of panels “Diálogos Bifrontes” (Bifrontal Dialogues), alongside digital artist and poet Carlos Ramírez Kobra. Their conversation was the first of several upcoming chats about experimental, transmedial, and expanded poetry, a genre of literature that combines sounds, performance, and visual elements with poetic writing. They talked about how the transformation of poetry into different artistic and sonic registers entails a process of thinking, reflection, and attention that dissolves traditional boundaries between genre, media, and performance. They also reflected on their creative processes, highlighting how their works consist of — paraphrasing Cerón — an infinite codifying and re-codifying of language and symbols.

These Dialogues complement last year’s special, celebratory 13th anniversary edition of Enclave, an annual festival of expanded poetry founded by Cerón, which ran between November 23 and 25. As a bi-national event, Enclave 2023 was co-sponsored by several Mexican cultural institutions and the Goldsmiths University of London, and co-curated by Cerón and the German-British sound artist Iris Garrelfs. It invited collaborations between Mexican and British artists and poets exploring intersections between poetry, sound, music, and visual art.

Diálogos Bifrontes builds on Enclave’s mission of bringing together poets, artists, and musicians. Like the festival itself, the series will feature conversations by cutting-edge poets from Mexico and the U.K. who are redefining what poetry can mean. READ MORE…

Weekly Dispatches from the Frontlines of World Literature

The latest literary news from Bulgaria and Egypt!

This week, our editors-at-large report from Bulgaria and Egypt, taking us to book fairs and prize ceremonies. From the passing of a giant of Egyptian children’s literature to the arrival of literary stars in Bulgaria, read on to find out more!

Andriana Hamas, Editor-at-Large, Reporting from Bulgaria

The fiftieth anniversary edition of the Sofia International Book Fair graced the beginning of December. It took place over five days in the National Palace of Culture and saw the participation of approximately 160 publishing houses. Its motto was, quite fittingly, “We create stories. We create history.”

In an interview for the Nova News channel, Veselin Todorov, former longtime chairman of the Bulgarian Book Association revealed some intriguing details about the fair’s conception: “We began this tradition fifty-five years ago. However, we are celebrating our golden jubilee only now because on several occasions during socialist times, it was decided for the fair to be held every other year instead of every year. It all started back in 1968, in the Universiada Hall. Todor Zhivkov [former de facto leader of Bulgaria] inaugurated the event—a pompous and noisy affair. He even claimed it was one of the biggest such fairs in Eastern Europe.”

Literary critic Amelia Licheva also commented on the festival in her opening-day interview for the independent media platform Toest: “The boldest ambition of the team in charge of the cultural program (both Daria Karapetkova and I are part of it this year) is to attract real stars. Bulgaria is a small market with a bad image abroad and it is rather difficult, but we do not give up easily. Actually, our efforts finally paid off. The Bulgarian public will be able to meet with Franco Moretti, Leïla Slimani, Dacia Maraini, Stefan Hertmans, Ia Genberg, and Agustina Bazterrica. We are hoping to cultivate a taste in the audience for the issues of global importance and get more people to attend these discussions. This would mean a success not only for the festival but also for the role of literature in the present day.”

What better way to end 2023 than with hope for the literary future of 2024?

Ibrahim Fawzy, Editor-at-Large, reporting from Egypt READ MORE…

Weekly Dispatches From the Front Lines of World Literature

Literary news from Bulgaria, the Philippines, and India!

Join us this week with a new batch of literary dispatches covering newly released audiobooks by the unofficial “hero of the Philippines,” the passing of one of Bulgaria’s most notable political figures and literary critics, and an award-winning translator’s appearance in New Delhi. From a night of chilling literature in Sofia to a bookstagrammer’s compilation of all Indian books in translation from 2022, read on to learn more!

Andriana Hamas, Editor-at-Large, reporting from Bulgaria

Although usually uneventful, January has so far proved a surprise for everyone who has taken a keen interest in the Bulgarian cultural scene.

Earlier this month, the local community lost the literary critic Elka Konstantinova. Throughout her life, the scholar, who passed away at the age of ninety, managed to balance an innate passion for the written word with a desire to bring about broader societal change by being an active participant in the country’s political life. In a recent report, the Bulgarian Telegraph Agency described her as “one of the key figures in Bulgarian politics after the fall of communism in 1989.” Her research encompassed diverse topics from the relationship between the fantasy genre and the world of today to the general development of the short story during specific periods of the twentieth century.

In other news, by the time you are reading this dispatch, the French Cultural Institute in Sofia will have begun preparations for its first Reading Night (Nuit de la Lecture). The event, organized in collaboration with the National Book Centre, is set to start today, in the late afternoon, and will last well past midnight. This year, the theme is “Fear in Literature” with a focus on fairy tales, criminal investigations, fantasy, dystopian science fiction, chilling essays, and more. Younger readers and their parents will have the chance to participate in several literary workshops and specially designed games that aim to ignite the public’s enthusiasm for books and stories.

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Weekly Dispatches From the Front Lines of World Literature

The latest from Bulgaria, India, and the United States!

This week, Asymptote‘s Editors-at-Large bring us news on literary festivals, award-winning works, and poetry open-mics in Bulgaria, India, and the United States! From discussions of disinformation and machine translation at the Sofia International Literary Festival, to a poem performed in the Metaverse, to double-Booker wins in South Asia, read on to learn more!

Andriana Hamas, Editor-at-Large, reporting from Bulgaria

Writers are powerful creatures. They think up imaginary worlds that sometimes appear more tangible than the mundane reality most of us face on a daily basis. What happens, however, when malicious groups deliberately blur the line between illusion and fact in an attempt to sway public opinion in a specific direction? How does one fight disinformation, and can literature teach us to differentiate between the plausible and the ridiculous? These are only some of the questions the 2022 edition of the Sofia International Literary Festival, held December 6–11 during the Sofia International Book Fair, endeavored to answer.

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Translation Tuesday: “The Killer in Compartment Number 8” by Ivanka Mogilska

[It] turned out that the body was surrounded by poems of an unknown author.

This Translation Tuesday, a literary murder mystery aboard a train carriage reveals the intricacies of expressing a woman’s inner life. Briefly sketched yet drawn with a rich interiority, the Bulgarian writer Ivanka Mogilska’s short fiction is translated by Lora Petrova. Step right onto the crime scene now and find out who’s guilty!

If the cricket that lived in Emilia’s left ear had been less insistent, she would surely have learned the killer’s identity earlier. But he almost never stopped. Most times it was singing with a quiet monotone, making her feel as if she was drifting through a cloud, with a head stuffed full of cotton. The train was wriggling through the valley. The fog was hiding the warning signs on trees about the coming fall. Today, the cricket’s song was especially anxious and Emilia would often have to read the same page twice. 

Soon after departure, the frivolous young man in the group of guests staying at Waterby Manor found the hostess dead in front of an old cabinet in the corridor leading to the kitchen. Police arrived quickly and asked the guests to retire to their rooms. The officers inspected the crime scene.

The cricket in Emilia’s ear hit a high note when it turned out that the body was surrounded by poems of an unknown author and the cabinet had hundreds more pages written in the same hand. Poems, poems, poems. READ MORE…

Weekly Dispatches From the Front Lines of World Literature

The latest in literary developments from the Philippines, the Hispanophone US, and Bulgaria!

This week, our editors report on the state of regional, multilingual literature from the Philippines, the Feria internacional del libro de Nueva York, and the Frankfurt Book Fair and its presentation of Bulgarian writing. Read on to find out more!

Alton Melvar M Dapanas, Editor-at-Large, reporting from the Philippines

Panel discussions on publishing and writing served as pre-workshop events to the forthcoming Cordillera Creative Writing Workshop (CCWW). Dubbed Hobwal, book talks were co-presented by indie presses Milflores Publishing, Baguio Writers Group, and multilingual children’s book publisher Aklat Alamid. Ryan Guinaran, Dumay Solinggay, Richard Kinnud, and Sherma Benosa, writers working in Ibaloy, Kankanaey, Ifugao, and Ilokano respectively, spotlighted the panel on writing in the mother tongue. Last year’s workshop instalment featured panelists like Genevieve L Asenjo, International Writing Programme alumna and De La Salle University-MFA Creative Writing program faculty, known for her writings in/translation from the Kinaray-a and Hiligaynon. Other discussions centred on pandemic writings, Baguio City’s literary cartography, and climate fiction.

The University of the Philippines-Baguio’s College of Arts & Communication, and Cordillera Studies Center grant CCWW fellowships to emerging poets, fictionists, and essayists writing in 15 northern Luzon languages—from Bontoc to Ivatan, Kalinga to Gaddang, and major languages Kapampangan, Ilokano, Pangasinan, Filipino, and English. In a country where national writing workshops, awards, prizes, and festivals put premium to English and Filipino, so-called regional endeavours like the CCWW have epitomised what it means to be multilingual, thus sincerely national. READ MORE…

Weekly Dispatches from the Front Lines of World Literature

The latest in literary news from Vietnam, Bulgaria, and Taiwan!

As Venice makes its cinema showcase and the MET spreads its red carpets for the lavishly dressed, literature also serves up September as a memorable month with plenty of international displays and showcases of both known favorites and new releases. This week, a vital Vietnamese poet is commemorated in film, a varied arts festival takes place on Bulgarian shores, and an eminent Taiwanese author makes his English-language debut. Read on to find out more!

Thuy Dinh, Editor-at-Large, reporting from the Vietnamese Diaspora

Each year, on September 16, the village of Tiên Điền, in the province of Hà Tĩnh, commemorates the death anniversary of Nguyễn Du (1765-1820), its venerated native son and author of The Tale of Kiu—a 3,254-line epic poem unequivocally embraced as the Vietnamese soul. This year, to mark the 201st year of his passing, the three-hour biopic Đi Thi Hào Nguyn Du (The Great Poet Nguyn Du) will make its premiere at the XXII National Film Festival in Hue, Central Vietnam. The film’s original September release—meant to coincide with Nguyễn Du’s death anniversary—has now been rescheduled to November 2021, due to safety concerns related to Vietnam’s recent surge of COVID cases.

The Tale of Kiu, created during a time of warring loyalties and written in the Nôm (Southern) script with Chinese characters modified to reflect Vietnamese spoken vernacular, has been endlessly adapted into ci lương (“reformed” Southern Vietnamese folk opera), chèo (Northern Vietnamese musical theatre), Western-styled opera, and films. Since the idea of trinh 貞 (chastity/integrity/ faithfulness) in Nguyễn Du’s oeuvre represents both a conceptual and linguistic challenge, its complexity has inspired at least six English translations in recent decades. Huỳnh Sanh Thông’s Nguyn Du, The Tale of Kieu–A Bilingual Edition (Yale University Press, 1983), while still considered the gold standard, employs unrhymed iambic pentameter that often lapses into wooden syntax. Vladislav Zhukov’s The Kim Vân Kiu of Nguyn Du (Cornell University Press, 2013), in grafting iambic pentameter to lc bát (six-eight syllable Vietnamese rhyme scheme), results in obtuse renderings reminiscent of Nabokov’s eccentric translation of Eugene Onegin. Most recently, Timothy Allen’s The Song of Kieu: A New Lament (Penguin, 2019), while ebullient with vivid syntax, contains numerous errors and self-indulgent interpretations.

Nguyễn Du’s mistrust of chastity goes hand in hand with his concept of exile; his heroine wanders far-flung places and learns to survive by endless transformations—also a recurring theme in Kiu Chinh: Ngh Sĩ Lưu Vong (Kiu Chinh: Artist in Exile) (Văn Học Press, 2021). Penned by veteran Vietnamese American actress Kiều Chinh, the memoir echoes Nguyễn Du’s art of story-telling “to beguile an hour or two of your long night.”[i] The Joy Luck Club actress—whose dramatic flight to freedom is recounted in Viet Thanh Nguyen’s The Sympathizer—will embark on a September-November book tour to Vietnamese diasporic communities in the U.S., sharing chapters from her own life that reflect the larger history of Vietnam.

[i]Huỳnh Sanh Thông’s English translation, The Tale of Kiều, line 3254, p. 167.

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All Literature Is Worth Investigating: An Interview with Translator Stefan Rusinov

All cultures are exciting, both for their achievements and failures, for their beauty and nastiness.

In 1999, almost 170 years after his birth, Bulgaria honored publisher Hristo G. Danov’s legacy by establishing national literary awards in his name. In 2021, Stefan Rusinov, a translator who isn’t afraid to ask the important questions about the essence of his trade, won Best Fiction Translator for multiple books he had worked on over the course of twenty-four months. In addition to these admirable recent endeavors in Chinese prose, he juggles his work at Sofia University and his tasks as a freelance interpreter. Our conversation highlights his current projects, the importance of honest answers, and the value of simply “hanging out” with writers.

Andriana Hamas (AH): I would like to begin by asking you about your Бележка под линия (Footnote) podcast, thanks to which you meet fellow translators and discuss “behind-the-scenes torments,” the decisions they eventually have to make, and their inevitable missteps or failures. What have you learned so far?

Stefan Rusinov (SR): I’ve learned a lot, which was really the selfish reason to start this project to begin with. Private conversations with other translators and several years of translating gradually made me realize how case-specific this activity is and that mastery comes rather from accumulating solved problems than from learning universal principles (not to underestimate translation theory). That’s why I wanted to create a space where we won’t so much muse over the nature of translation and other such abstract questions, but we would dig into the specifics, where translators would be put in the position of explaining their considerations and decisions to someone who doesn’t know their working language. Nine episodes on, I’m even more certain that discussing actual problems encountered by translators from all kinds of languages is an important way to understand this activity (and also a major way to pump up my own translation skills).

I’ve learned, or rather, I’ve confirmed, that uncertainty is part of the game, and it should be. I find it very hard to trust a confident translator. There are tons of problems we need to solve and tons of decisions we need to make and, to borrow Wolfgang Iser’s idea of interpretation, the mere existence of these cases means that we are bound to create a gap between the original and the translation. So, in a way, we are bad translators by default.

I also learned that in French unfuckable means “incomprehensible.” READ MORE…

Physical Object and Metaphysical Destiny: To the Lake Journeys to the Heart of the Balkans

Kapka Kassabova’s English-language travelogue invites readers in the Balkans to consider local culture with a fresh perspective.

On a website called Lost Bulgaria, anyone curious enough can browse thousands of carefully preserved and curated photographs depicting the poignant yet essential ways in which the people, customs, and landscape have transformed or been transformed from the last quarter of the 1800s until 2010. About a dozen of the blurred images kept in this time machine take us back to the first half of the twentieth century and Lake Ohrid, one of the world’s oldest and deepest, which nowadays is split by the border between North Macedonia and Albania. The majority of the visuals reveal everyday life near the shores, the monasteries that dot the mountainous terrain, the traditionally clad locals, or the passers-by who felt the need to extend a prayer to Saint Naum of Ohrid. Kapka Kassabova’s latest travelogue with distinct autobiographical elements, To the Lake: A Balkan Journey of War and Peace, offers a similar but much more powerful passage through the lake’s past and present.

The book, which reviewers often place in the travel fiction genre, is pronouncedly personal, even though the disclosed memories, both on an individual level and as an outlet for the collective subconscious, undoubtedly remind readers from diverse regions of the globe of their unique roots and unending voyage of self-discovery.

The author (b. 1973) spent her childhood and teenage years in Sofia and later moved with her family to New Zealand, only to finally—or at least for the time being—settle down in the Scottish Highlands. Her extensive travels have informed her writing, which encompasses poetry collections and novels, in addition to literary travelogues. Although Kassabova’s mother tongue is Bulgarian, she writes in English, a practice that evokes the likes of Vladimir Nabokov, Khalil Gibran, and Joseph Conrad and makes her Bulgarian translations all the more fascinating.

Located on the edge of her grandmother’s homeland, Lake Ohrid is where she passed a few of her summer holidays. Once considered the pearl of the Balkans, nowadays it is listed as a UNESCO World Heritage site and boasts endemic species and unique prehistoric remnants. Despite this international protection however, its pristine waters are still threatened by climate change and widespread pollution. While making a convincing case for immediate preservation action of global scale, Kassabova’s fictionalized reportage can also be perceived as a continuation to her previous one, Border: A Journey to the Edge of Europe, in which she sets on a quest to comprehend the meaning of the separation points not only between countries, but also between people. In a similar fashion, To the Lake prompts us to tag along as she traces the ancient Via Egnatia and dives into the bloody history of the region, where Bulgarians, Macedonians, Albanians, and Greek are always at crossroads, especially in the aftermath of the two Balkan wars and the ensuing decades under communist rule. READ MORE…

Weekly Dispatches From the Front Lines of World Literature

The latest news from Bulgaria, Palestine, and Serbia!

This week our writers bring you the latest news from Bulgaria, Palestine, and Serbia. In Palestine, the Sheikh Zayed Book Award winners have been announced, including Iman Mersal taking the Literature Award; in Serbia, a new anthology of Miloš Crnjanski’s poetry has been translated into English; and in Bulgaria, a conference about Bulgarian Literature as world literature was held at the National Book Center. Read on to find out more! 

Carol Khoury, Editor-at-Large, reporting from Palestine

It is an unusually hot spring, Ramadan is in its last third, and the country has been under partial lockdown for a long time, which leaves no reason to wonder that the literary scene in Palestine is suffering from Frühjahrsmüdigkeit (aka springtime lethargy)! One cannot but wonder how people in hotter regions, such as in the United Arab Emirates, not only manage to get through with their days, but also make international literary news.

Seven authors and researchers, from Egypt, Tunisia, Saudi Arabia, and the US, as well as a publishing house from Lebanon, have been declared the winners of this year’s Sheikh Zayed Book Award. The winners were selected from a pool of more than 2,300 submissions, the most the annual award has received since it was founded in 2007. The awards will be formally presented via a livestream ceremony on Youtube during the Abu Dhabi International Book Fair (23–29 May 2021).

This year’s Literature Award went to Iman Mersal for her 2019 work of creative nonfiction Fee Athar Enayat Al Zayyat (In the Footsteps of Enayat Al-Zayyat). This look into the life of the Egyptian writer Enayat al-Zayyat, who killed herself in 1963, illuminates the challenges of writing while female, of attitudes toward mental health, and life in mid-20th-century Egypt. It is part detective story, part biography, and part memoir, and unfolds tender and surprising connections. It recently came out in Richard Jacquemond’s French translation as Sur les traces d’enayat Zayyat. READ MORE…

Weekly Dispatches From the Front Lines of World Literature

The latest news from Slovakia, Hungary, and Bulgaria!

This week, our writers bring you news from Slovakia, Bulgaria, and Hungary. In Slovakia, this year marks the centenary of the birth of renowned writer Ladislav Grosman, while Pavol Rankov has made history by winning the European Book Prize 2020; in Hungary, acclaimed poet Krisztina Tóth is being targeted after criticising some books on the country’s school curriculum; and in Bulgaria, George Orwell’s works being released to the public domain in 2021 has sparked a plethora of new translations. Read on to find out more! 

Julia Sherwood, Editor-at-large, reporting from Slovakia and Hungary

The beginning of the year marked 100 years since the birth and forty years since the death of Slovak-born writer Ladislav Grosman. Born in the eastern Slovak town of Humenné on 4 February 1921, he moved to Prague after the war where he made his mark as a writer in the 1960s and, following the Soviet-led invasion of Czechoslovakia in 1968, emigrated to Israel where he died on 25 January 1981. Grosman is primarily known for his novel The Shop on Main Street, which he later adapted into a screenplay for the film that won the foreign language Oscar in 1985. His other books, including Nevesta (The Bride) and the 1000-page-long novel Adam remain largely unknown.

With the European Book Prize 2020 for his novel It Happened on the First of September (Or Some Other Time), Pavol Rankov scored a hat trick, becoming the first Slovak recipient of three international prizes (the book won the European Union Prize for Literature in 2009 and the Polish Angelus Prize in 2011). This time a panel of thirteen journalists from the leading European media chose his book as a “a great contribution to researching the memory and consciousness not only of the people of the Eastern bloc but of all Europe.” Reacting to the news Rankov said: “I view the award as more of a recognition of the French translation than of the original Slovak text, which the jury never held in their hands.” Michel Chasteau’s French translation appeared in 2019, and the book is now also available in English, in Magdalena Mullek’s translation.

Slovakia’s literary scene is unthinkable without the colourful figure of publisher Koloman Kertész Bagala. Since founding his publishing house thirty years ago, Bagala has published 500 books by Slovak writers, organised twenty-five rounds of his short story competition Poviedka, and hundreds of discussions, readings and other events, as well as discovering many new Slovak writers. Bagala, sometimes referred to as the “unguided missile of Slovak literature,” has persevered despite several near-bankruptcies and nervous breakdowns. While some authors moved on to more mainstream houses, many have remained fiercely loyal. They include Balla, a past Asymptote contributor, who immortalised the maverick publisher in his novel Big Love. When his narrator bumps into Bagala in a seedy bar in Rotterdam, he observes: “This man looks perfectly at home wherever he is, as if he belongs wherever he happens to be . . . Dishevelled, unkempt, unshaven, frustrated, on the brink of bankruptcy and madness—but right where he belongs.”

And in the week when we celebrate International Women’s Day, we can’t ignore disturbing news from Slovakia‘s southern neighbour, Hungary: Krisztina Tóth, one of most acclaimed contemporary Hungarian poets and writers (and past Asymptote contributor) has become the target of a vicious media campaign after she criticized some of the books in the country’s school curricula for depicting women as passive and submissive (more information on Hungarian Literature Online). Taken out of context, these were presented as calls for the banning of literary classics and she has been subjected to horrendous harrassment, even having dog excrement pushed through her letter box. In an interview with the Czech writer Dora Kaprálová for the Slovak-Hungarian online journal dunszt.sk, Tóth said: “Power has no sense of humour, authoritarian regimes destroy the sense of playfulness and humour, since they assume a variety of points of view. My weapon is irony. But now my weapon has been destroyed and I am bleeding.” READ MORE…