Posts filed under 'Charco Press'

What’s New in Translation: October 2024

October 14, 2024  |  in New in Translation, Reviews  |  by Ben Goldman, Christopher Higgs, Jonathon Atkinson, and Matilda Nevin

Discover new work from Turkey, Germany, Brazil, Argentina, Cameroon, Sweden, Chile, France, and Cuba!

In this month’s roundup of newly published translations, we introduce nine works from nine countries: Turkey, Germany, Brazil, Argentina, Cameroon, Sweden, Chile, France, and Cuba. From a politically tuned memoir embedded with a familial conscience to a series of poems that consider diasporic experience through the lens of spectatorship—read on to find out more! 

WaitingfortheFear

Waiting for the Fear by Oğuz Atay, translated from the Turkish by Ralph Hubbell, New York Review Books, 2024

Review by Christopher Higgs

The oft quoted line from Jean-Paul Sartre’s No Exit, “Hell is other people,” reverberates conceptually across Oğuz Atay’s Waiting For The Fear like a heavy skipping stone slumping across the surface of dark waters. Yet, in each of the collection’s eight stories, a confounding tension arises between the book’s Sartrean misanthropy and another seemingly competing desire: a strong craving to communicate, a yearning to connect. While Atay’s characters avoid human contact, holding deep disdain and even loathing for other people, they still thrum with a surreal pulse, a quivering mixture of rage and sadness in which their hatred comingles with a cry of the heart; they are desperate to embrace, to be accepted, to be acknowledged and valued, to be seen and heard by others. Six of the eight stories, for example, are epistolary, while the others rely on letters as plot devices. When the concept of written communication isn’t foregrounded, the narratives still hinge on concepts of storytelling, connecting, and sharing. READ MORE…

Translating the Demons on the Page: Maureen Shaughnessy on Belén López Peiró’s Why Did You Come Back Every Summer

May 27, 2024  |  in Interviews  |  by Rebecca Wilson

I feel like it's a gift that she opened herself up and shared such a raw part of herself with us.

After nine years and a criminal complaint. Affidavits, expert witness reports, trips back and forth to police stations, district attorneys, national courts. A five-hundred page case record. Two lawyers. One prosecutor. A justice commission. Fifteen years of therapy. Half my life! My entire family split in two. A whole town covering up the abuser. Seven years of writing workshops. Two books published. Finally. Finally. . . Now I can say out loud all the names I once could not.

Argentine writer Belén López Peiró eventually wrote these words last year, following nearly a decade of denouncing her abuser.

Belén’s first novel, Por qué volvías cada verano (Why Did You Come Back Every Summer), published five years prior to the sentencing, is an account of the abuse Belén suffered as a child and the breakdown of her family after she spoke out. It covers a number of years between the apartments and lawyers’ offices of Buenos Aires and the small town in this province where Belén spent summers with her cousins, her aunt, and her abuser—her aunt’s husband. Using mixed media, the book gossips and growls in a cacophony of voices, legal and colloquial, who question, opine, pity, doubt, support, and blame her. 

This April, Charco Press published the English translation of Belén’s novel by Maureen Shaughnessy. I caught up with the translator, who’s based in Southern Argentina, over Zoom to discuss the book. Our conversation has been edited for length and clarity.

Rebecca Wilson (RW): What were your first impressions of the book and how did you feel when Charco Press asked you to translate it?

Maureen Shaughnessy (MS): In Argentina it had its moment of hype, which is how I came across it in the first place, even though it was published with a small press. It came out here during a time when the #NiUnaMenos movement was really taking off, in that context of purple and green marches with women filling the streets.

When I started reading it, it was too intense for me. Right away, in the second or third entry, she tells this really intense story, the most abusive moment in the book, the most raw. Plus there’s all these dense legal documents—there are these two extremes together.

I had read it and found it too intense to think about pitching it to editors. It was too much for me to even consider, so it was a hard place to go to, to work for so long on the book.

RW: Any translation is a huge responsibility. But given this novel is so personal, and a true account, what did you feel was your relationship to the text?

MS: During the last few drafts, I got to a point where it was already typeset and we were supposed to go to print and I read it again. I had to say, ‘No, wait, not yet. Sorry, we have to keep editing it’, because I did feel responsible for trying to translate all those voices that were swimming around in her head, all those demons she brought out onto the page. READ MORE…

What’s New in Translation: May 2024

May 13, 2024  |  in New in Translation, Reviews  |  by Danielle Pieratti and Sarah Gear

New titles from Italy and Colombia!

In a fecund month of new translations, our editors select two phenomenal titles: a collection of the later poems by the acclaimed Eugenio Montale, and an intimate epistolary fiction leading readers to a seldom-seen region of Colombia. 

Late Montale – New York Review Books

Late Montale by Eugenio Montale, translated from the Italian by George Bradley, New York Review Books, 2024

Review by Danielle Pieratti, Poetry Editor

“The world exists,” declared Eugenio Montale in the poem “Wind and Flags” from his first book, Cuttlefish Bones, published in 1925 (translated by Jonathan Galassi). Given the frank, existential agnosticism that governs the poet’s later work, it feels a little like whiplash to return to this otherwise characteristically subtle poem after reading Late Montale. Translated from the Italian by George Bradley, this collection comprises Montale’s published and unpublished poems from the second half of his life, offering glimpses of the poet first in the period of his Nobel win and later, as an increasingly reflective and skeptical widower. Yet ultimately, Montale seems to arrive where he began. “Unarguably / something must exist,” he writes in an unpublished poem at the end of his life,

But with [regard to] this,
science, philosophy, theology (red or black)
have all misfired.

If this isn’t faith,
O men of the altar or the microscope,
then go f. yourselves.

Given that these works range from the 1960s to his death in 1981, the fact that Montale circles back to this revelation bears noting. While his underlying ironies and symbolism persist, there’s a definitive “shift from formality to intimacy and self-revelation,” Bradley writes in his introduction, which “parallels the course of twentieth century poetry as a whole”. In poems taken from Satura, first published eight years after the 1963 death of his wife Drusilla Tanzi, Montale retains his characteristic imagery and density, but his focus has drifted from the tangible nature symbolism of his earlier works to more abstract questions of grief befitting an older poet experiencing loss. Many of the poems speak to memory and to individuals from Montale’s past, including several from two long sequences addressed to Tanzi. Others allude frequently to Montale’s former life as an opera singer. Indeed, the tension between then and now pervades Late Montale, and the poet’s apparent scorn for the passing of time lends a hint of tragedy to poems increasingly pensive and raw. “We were two lives too young to be old but too old to feel we were young,” he writes to Tanzi in “Lake Sorapis, 40 Years Ago”, which ends:

That’s when we learned what aging is.
Nothing to do with time, it’s something that tells us,
that makes us tell ourselves: “Here we are,
it’s a miracle and won’t come again.” By comparison
youth is the most contemptible of illusions.

READ MORE…

Weekly Dispatches from the Front Lines of World Literature

July 22, 2022  |  in Dispatches, News, Weekly Roundup  |  by Josefina Massot, Kristina Tatarian, and Rubén López

Literary news from Argentina, Armenia, and Guatemala!

In this week’s round-up of global literary goings-on, our editors report on efforts to highlight queer Armenian literature, plurilingual Argentine writing, and a Guatemalan festival that seeks to redress fragmented memories through art and literature. Read on to find out more!

Josefina Massot, Editor-at-Large, reporting from Argentina

Last Thursday, New York-based writer and critic Sylvia Molloy passed away at the age of eighty-three. She was, among other things, a pioneer—the first woman to gain tenure at Princeton University back in the seventies, the first person to found a U.S. writing program in Spanish, and, perhaps most notably, the first Argentine author to really tackle LGBTTIQ+ culture in her work; her debut novel “En breve cárcel” (1981), an icon of queer literature, was written during the Argentine dictatorship and first published in Spain to avoid persecution.

Molloy established a fruitful link between queer themes and translation: “queer means twisted, weird, out of place, and if people think my texts deviate from the norm, so much the better,” she once said. “I’m interested in texts that take unusual turns, including those that go from one language to another. I’ve always had that sort of linguistic conflict, because I write in Spanish but will often explore phrases in other languages.”

Translation at large was central to Molloy, who grew up speaking Spanish, English, and French. Her short essay collection Vivir entre lenguas (Living Between Languages) is an attempt to portray this plurilingual experience. While her own English version of the work hasn’t been published in full, an excerpt did run in Asymptote’s Fall 2019 issue; meanwhile, her brilliant Desarticulaciones will be released by Charco Press in both Spanish and English.

As we bid adieu to one of our greats, we also welcome a newcomer—the latest press to sprout up in Argentina’s bustling indie ecosystem. Sergio Criscolo’s Híbrida has just published its first four titles, all by South American authors: Aspas by Belén Zavallo, El placer de abandonar by Schoë Blintsjia, El corazón adelante by press co-editor Humphrey Inzillo (all three of them, Argentines), and Elis Regina, una biografía musical by the Brazilian Arthur de Faria. The first is a book of poetry; the second, a debut novel; the third, a collection of journalistic columns; the fourth, a translation into rioplatense (rather than neutral) Spanish. READ MORE…

Weekly Dispatches from the Front Lines of World Literature

August 20, 2021  |  in Dispatches, News, Weekly Roundup  |  by Allison Braden, Eva Wissting, and Peera Songkünnatham

This week, our editors report from Thailand, Sweden, and the USA.

Around the world, the way we read is changing: Eva Wissting digs into book sales data in Sweden and finds a spike in digital subscription services amid the pandemic, Peera Songkünnatham reports that Thai poets are reinventing a classic form, and Allison Braden rounds up a slew of Women in Translation Month events. The annual celebration, dedicated to shaking up the canon, makes for a perfect moment to envision the heady, vivid future of literature.

Eva Wissting, Editor-at-Large, reporting from Sweden

A literary project called Bokbastionen (“The Book Bastion”) is finally about to launch in Sweden. The Swedish Arts Council has granted Svenska Bokhandlareföreningen, an association of Swedish booksellers, 400,000 SEK to support in-store events with authors. Although it was the challenges posed by the pandemic that led to the idea of supporting booksellers, coronavirus restrictions have delayed its start because gatherings have not been possible until now. Finally, the first event supported by the project will be held this coming week at a poetry festival in picturesque Söderköping. The initial plan for Bokbastionen included twenty author events this year, but about half of these will spill over into next year instead. The interest to host events has been particularly large among smaller, independent bookstores, which now are looking for ways to create interest among readers and book lovers.

Even though the pandemic has had severe consequences for much of the cultural sector, book sales have had a positive development in Sweden, according to a new report from the Swedish Publishers’ Association. In the first half of 2021, overall book sales have increased by over 10 percent, but there is an ongoing shift between sales channels. The largest growth is in digital subscriptions with almost 20 percent, followed by an almost 15 percent increase in online bookstores. Physical bookstores, on the other hand, have had an 8 percent decrease in sales during the first half of this year. Both digital and printed books increased in sales, by 14 percent and 7 percent respectively, indicating that ebooks are not replacing physical books. Out of all book sales in Sweden, almost 80 percent take place online—50 percent through online bookstores and 28 percent through digital subscriptions. The report concludes that book sales have been greatly influenced by the pandemic. More customers have turned to online options, including digital subscription services. Though there are more bookstores closing down permanently than there are starting up, readers seem to be returning to physical bookstores as vaccination rates increase. READ MORE…

Tapestry of Coincidence: An Interview with Fate Author Jorge Consiglio

July 21, 2021  |  in Interviews  |  by Allison Braden

If you look at the quotidian under a microscope, the most mundane things become unrecognizable.

Jorge Consiglio’s novel Fate (Charco Press, 2021) charts a tangle of crossroads, both literal and figurative. A taxidermist, an oboist, and a meteorologist do their best to direct their destinies against the background of Buenos Aires’s frenetic streets. Their worlds tilt and collide, and the sum of their experiences poses an eternal question about whether our everyday lives—and the incidents that jolt us out of them—are the work of fate or chance. Here, Asymptote Assistant Blog Editor Allison Braden talks with Consiglio about how a befuddled immigrant, a surfeit of street names, and a relentless colony of ants propel the plot, and why English—and Charco Press—was the perfect home away from home for the Argentinian author’s fifth award-winning novel. This interview, translated from Spanish, has been edited and condensed for clarity.

Allison Braden (AB): You begin Fate with an author’s note that explains your central question: “fate or chance?” What was it about this novel that inspired you to include the preface? How do you think the note shapes readers’ experience of the story?

Jorge Consiglio (JC): I included the preface at the suggestion of Charco Press. The introduction is part of the collection’s design, and I was delighted at the suggestion. In Argentina, there used to be excellent publisher called Centro Editor de América Latina which had a collection that used the same idea. I remember I used to buy the CEAL books and always enjoyed reading the author’s reflections. They were useful for situating myself within the context in which the work had been produced, and it offered a window into the author’s aesthetics and point of view. It felt like I was allowed to attend the rehearsals before seeing a play. I think in this case, in addition to that, Charco Press takes care to allow the authors to introduce themselves in their own words in countries where readers probably have never heard of them. That’s a big plus.

AB: Philosophers have grappled with the question of fate versus chance for millennia, and they’ve proposed various approaches for dealing with the vicissitudes of an unpredictable life. (The Stoics’ recommendation to face everyday frustrations and furies with grace and patience certainly would have benefited a couple of the short-tempered characters in Fate.) How did philosophy shape your approach to the novel’s central theme?

JC: When I was struck with the idea to write Fate, I didn’t think about philosophy or anything like it. What came to me first was a scene in which two characters whose destinies had been tapping on each other missed the chance to exchange a glance of recognition only by a few seconds. That was the trigger for the text, but as I made progress in the writing, I suspect because of the evolution of the plot, I was presented with the question of fate versus chance. I’m not the first to arrive at this question, of course. There were—and are—many writers who create their fiction out of this counterpoint. I guess it’s inevitable that, by dint of our ephemeral nature, we’ll stumble into these existential issues at some point. It’s true that philosophy seeks to reflect on the vicissitudes of the unpredictable. Religion and magical thinking, too. The characters in Fate aren’t thinking about these questions. They act without much reflection, but the plot development, like a poor imitation of life, embodies these questions that will never be resolved.

READ MORE…

Honoring the Art of Translation: Carolina Orloff

September 29, 2020  |  in Essays  |  by Carolina Orloff

There is so much of us in the language we inherit, the language we’re nursed in. Our mother tongue defines us, whether we like it or not.

As National Translation Month draws to a close, so does our four-part special feature on the subject—a series of first-hand, original essays by key players in the translation process: an author, a platform, a translator, a publisher. And since translating also means shifting coordinates, we made sure to hit four different corners of the world. Over the course of the past few days, we’ve brought you a Romanian poet, a Chinese online literary hub, and a Turkish translator, all at the very top of their game. Today, we wrap it up by traveling from Buenos Aires to Edinburgh with Carolina Orloff, co-founder and publishing director of the award-winning Charco Press (we figured the trip was worth postponing our usual “Translation Tuesday” column, back next week).

In this thoughtful, moving piece, Carolina masterfully intertwines personal experience with theory. She dives into the challenges of living between languages (she’s a longtime Argentinian expat in the UK), explaining how that has influenced her own views of translation and, more broadly, Charco’s publishing philosophy. From missing dulce de leche to musing about Benjamin, she covers almost as much ground here as she’s done throughout her life as a bona fide globetrotter.

Those who have insinuated that Menard devoted his life to writing a contemporary Quixote besmirch his illustrious memory. Pierre Menard did not want to compose another Quixote, which surely is easy enough—he wanted to compose the Quixote.

‘Pierre Menard, Author of the Quixote,’ Jorge Luis Borges

When I think about translation, I’m seized by a host of thoughts and emotions—some varying, some constant. It goes beyond the years I’ve spent studying and writing theory, or the fact that I’ve been living between languages (‘entre lenguas,’ to quote the extraordinary Sylvia Molloy) for more than half my life now: there is something within my matrix, my emotional framework, that is made of languages, of gestures from different cultures, different geographies. As is the case with many compatriots, I’m a second-generation Argentinian (most of the country’s indigenous population was wiped out by a nefarious ‘whitening’ campaign during the late 1800s); like many in my generation, I have also emigrated from that southern land. All my grandparents were foreigners, and I use this word with the utmost care and precision. My parents fed off that simultaneously strange and normalised state of living in Buenos Aires while immersed in the echoes of Russian, English, Yiddish, Polish, and Andalusian Spanish. They soaked up these acquired traditions and dressed them up in new meaning—a meaning that they could call their own and that could be freer, albeit loaded with so many other foreign codes. In sum, they were constantly translating.

I recall a conversation I had with a fellow student once, when I was at the University of York. His porteño accent was much stronger than mine. I was twenty years old and had been living in English for three. When I asked him when he’d last been to Argentina, he said nonchalantly that he had actually never ‘crossed the pond.’ His mother was from Buenos Aires and yes, he had been born there, but when he was just one or two years old, they had left for Sweden in search of political asylum. They had never returned. It was an epiphanic moment for me. And now that I am a mother, an Argentinian mother living in Scotland with a daughter born in Edinburgh, I can’t help but re-signify it. There is so much of us in the language we inherit, the language we’re nursed in. Our mother tongue defines us, whether we like it or not, and I feel that there is no satisfactory way of translating that identity; it can only be transmitted. READ MORE…

Internal Harmonics: Fionn Petch on Translating Luis Sagasti’s A Musical Offering

August 20, 2020  |  in Book Club, Interviews  |  by Josefina Massot

It is a very delicate balancing act . . . Any discordant note, and the whole might collapse.

True to its title and Sagasti’s style at large, our July Book Club selection reads like a Bachian fugue: it features countless shifts in pace, genre, tone, and content, but it weaves them into soulful patterns; it’s filled with deliciously nerdy in-jokes, but it ultimately strikes a universal chord. How does one transcribe such a complex score into English, making sure its author’s voice still sings? Fionn Petch has done it twice (he translated Sagasti’s Fireflies to great acclaim in 2018), and here he talks about it at length. One of many priceless takeaways: don’t get lost in theory—get lost with the author in a maze-like garden crammed with sculpture-poems instead.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. 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! 

Josefina Massot (JM): Like Fireflies, A Musical Offering flaunts a striking variety of literary genres: narrative, essay, aphorism, the occasional script-like quotation, and even something like blank verse (e.g., a fragment on the Voyager probe towards the end of ‘Sky Ants’). You’ve translated fiction, poetry, drama, and children’s books, among other things; did your experience with these different genres come in handy when translating Sagasti? Is there a genre you particularly enjoy working with?

Fionn Petch (FP): First of all, I’d like to thank you for a wonderfully insightful and deeply thoughtful review in Asymptote. It’s no exaggeration to say it brought new perspectives to the book for me.

Yes, it’s true that the short sections that comprise A Musical Offering switch between styles very rapidly. Sometimes, readers barely have time to find their bearings before they are propelled onto the next one. Of course, this is also a reflection of the swift changes in pace in the Goldberg Variations—which rather undermines the story that it was composed as a cure for insomnia! So in translating, it was important to be alert to these abrupt changes in tempo and intensity, and to what Sagasti is trying to get across with each section: evoke a feeling, make a subtle observation, set up an unspoken echo with another passage, or just convey a piece of information. Even the disarmingly straightforward segments that read like a line from a biography or encyclopedia require careful attention to how they are structured, as they have a very deliberate weight and emphasis. These are what Sagasti describes as ‘poetic facts.’

So there’s no doubt that all the genres you mention are relevant to draw on. You need a poetic ear for the specific weight of single words, a dramatist’s attention to gesture and glance—Sagasti is very precise in describing these—and you also need the innocence and sense of wonder often found in children’s literature. Of all the genres you mention, this last is undoubtedly the hardest to translate . . . But they all have their pleasures and challenges. READ MORE…

Who Will Win the International Booker Prize?

August 19, 2020  |  in Essays, News  |  by Barbara Halla

One of my least favorite strands of Booker discourse [is that] . . . a particular book wins . . . because it ticks . . . marketing-friendly boxes.

The long-awaited announcement of the International Booker winner is finally around the corner, and with a shortlist explosive with singular talent, the gamblers amongst us are finding it difficult to place their bets. To lend a hand, Asymptote’s very own assistant editor Barbara Halla returns with her regularly scheduled take, lending her scrupulous gaze to not only the titles but the Prize itself—and the principles of literary criticism and merit.

In my previous coverage of the International Booker Prize, I mentioned that there is always an element of repetition to the discussions surrounding it; quite honestly, there are only so many ways one can frame the conversation beyond mere summarizations of the books themselves. I find myself hoping that each year’s selections will reveal some sort of larger theme looming in the background, giving me at least the pretense of a cohesive thesis statement. I think that was definitely the case with last year’s shortlist and its explicit concern with memory, but considering how English translation tends to lag behind each book’s original publication by at least a couple of years, it was probably a coincidence. I’ve had no such luck with the 2020 shortlist; most of my attempts at finding a common theme have felt like a stretch.

In an attempt to avoid making this simply a collection of bite-sized reviews, I want to talk about one of my least favorite strands of Booker discourse: the tedious—sometimes almost malicious—assertion that if a particular book wins, it does so not because of its “literary merit,” but rather because it ticks a number of marketing-friendly boxes. Maybe it has been translated from a language that rarely gets published in English, or perhaps it seems particularly relevant to our present, directly tackling racism, homophobia, or misogyny. Regardless of the source of such a statement, it has this irritating “political correctness is ruining literature” thrust to it.

Now, in the past I have relied on “non-literary” clues to try and guess the Booker winner, and to some extent, I still do. However, in my mind, whenever I try to glean the winner using such external factors, I do so based on a few assumptions. First of all, while not all shortlisted books will necessarily be my favorite or even to my liking, the judges at least believe them to be great books, and the winner might indeed be different under different (personal) circumstances. In fact, despite what some detractors of contemporary fiction might say, there is plenty to love about the books being published today, and in the presence of so much good literature, taking into account “external” factors is only natural. After all, as translator Anton Hur recently tweeted, in response to an article arguing against a translated fiction category for the Hugos, “Literary awards ARE marketing tools, they should be used to solve MARKETING PROBLEMS.” READ MORE…

In This Together: Writers From Around the World Respond to the COVID-19 Outbreak

May 9, 2020  |  in Translations  |  by Carolina Orloff and Fionn Petch

With this new condition, intimacy can be created. A fertile kind of intimacy that, perhaps, opens up a path towards unexpected doors.

For this week’s edition of In This Together, we present a fiction text from the award-winning Buenos Aires based author and poet, Jorge Consiglio, whose novel FATE was recently published by Charco Press. Carolina Orloff, Consiglio’s translator and editor at Charco Press, introduces the piece:

It is not new to hear that Argentina is undergoing yet another crisis, be it financial, social, or political. This time, however, it’s different. Not just because the crisis is affecting the entire world, but also because the man running things in the country—Alberto Fernández, who only came into power in December 2019—is miraculously showing that, in the face of these unprecedented times, he is one of the most lucid politicians in the world—certainly more so than Argentina could have hoped for, especially in exceptionally challenging times.

Jorge Consiglio is one of the most talented and sensitive authors (and thinkers) publishing in Argentina today. He is also the master of detail. Perhaps because he is a poet as well as a narrator, his prose style is able to capture a world of philosophical meanings and a whirlwind of emotions and possibilities in a single object, a fleeting gesture, the description of how light enters the room. It is that mastery that makes his literature so engrossing and beautiful, and at the same time, injects his stories with refreshing freedom.

In his text today, written during the first days of a strict lockdown, Consiglio thinks about the resignification of the details around us, of the possibility to reformulate the space that now contains us, inviting us to pause and realise that what may seem irrelevant acts of survival may actually also be heroic deeds.   

Confinement

by Jorge Consiglio

The first thing confinement brings about is a paradigm shift. It is no longer possible to circulate freely, and this situation alters our relationship with our surroundings. From this newly cloistered perspective, public space has changed, yet private space has been reshaped too.

Four weeks have passed. I am confined. I head outside every two or three days. I buy provisions, smell the air in the way that deer do, and return home. In Argentina, the lockdown is strict. We are aware that if the virus is not contained, our health system would simply collapse. We are careful; we comply with what is required. It’s about preserving integrity, but also about showing solidarity. We are isolated and we are trying to keep our spirits up. It is a form of resistance; at least that is how a part of the population understands it.

The first few days I had the illusion that I was going to be productive. I’d make the most of this time to read and write. The period of isolation would be fruitful, I thought. I soon confirmed that this idea was a pipe dream. The seclusion—like the cold or the damp—had permeated my body without me realising. It snuck into my brain cells (it was a negative charge on my dendrites) and began to tenderise them—an immediate effect that translated into anxiety and worry. Outside, the virus was wiping out humanity, while I was at home, fighting my demons. I thought about how I was going to survive the pandemic, and about my financial situation, which was looking ricketier every minute. My concern for those close to me was also getting deeper: my loved ones, given the situation, remained far away. READ MORE…

What’s New in Translation: July 2019

July 15, 2019  |  in New in Translation, Reviews  |  by Alyea Canada, Barbara Halla, Helena Fornells, and Lindsay Semel

Four reviews of translations you won't want to miss this month!

From translations by heavyweights like Ann Goldstein and Jennifer Croft to novels by writers appearing for the first time in English, July brings a host of exciting new books in translation. Read on for coming-of-age stories set in Italy and Poland, a drama in rural Argentina, and the tale of a young man and his pet lizard in Japan. 

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A Girl Returned by Donatella Di Pietrantonio, translated from the Italian by Ann Goldstein, Europa Editions, 2019

Review by Lindsay Semel, Assistant Editor

In A Girl Returned, Donatella Di Pietrantonio’s award-winning novel, a nameless young woman retrospectively narrates the defining event of her adolescence—the year when the only family she has ever known returns her to her birth family. From the title, the reader can already sense the protagonist’s conundrum. A passive object of the act of being returned, her passivity in her own uprooting threatens to define her identity. Ann Goldstein’s searing translation from the Italian inspires the reader both to accompany the narrator as she wades through the tender memories of that time and to reflect on her or his own family relationships through a new lens.

READ MORE…

What’s New with the Crew? A Monthly Update

February 7, 2019  |  in News  |  by Sasha Burik

Catch up with the latest from our very international staff!

Curious about what our team has been up to in 2019? Read about our staff’s many achievements in the new year, including publications, art exhibitions, and reviews. 

Writers on Writers Editor Ah-reum Han received a distinguished mention in The Best American Short Stories 2018 for a story of hers originally published in StoryQuarterly.

Communications Manager Alexander Dickow’s latest book, Appetites, was reviewed on The Blunt Post by Linda Rijel.

READ MORE…

Weekly Dispatches from the Frontlines of World Literature

July 6, 2018  |  in Dispatches, News, Weekly Roundup  |  by Barbara Halla, Lara Norgaard, and Sarah Moses

Our weekly roundup of literary news brings us to France, Brazil, and Argentina.

It’s never a slow news day on Fridays at Asymptote. This week we bring you the latest publications, events, and news from France, Brazil, and Argentina.

Barbara Halla, Editor-at-Large, reporting from France

Is it perhaps time to talk about a renaissance for French literature in English translation? More classic French literature has always had an audience in the English-speaking world, but in the past few months new authors are taking the literary world by storm. Édouard Louis is only twenty-five but already a public figure in France. His latest book, a semi-autobiographical work, History of Violence (translated by Lorin Stein) was published to great acclaim in late June. Alison L. Strayer translated for Seven Stories Press Annie Ernaux’s The Years (published in the UK by Fitzcarraldo Editions), an innovative collective autobiography that is both memoir and social critique of our times. To continue the trend, in June came also the publication of Gaël Faye Small Country (translated by Sarah Ardizzone), a coming-of-age story that tackles hard issues, including the Rwandan genocide and Civil War in Burundi. The Guardian went so far as to call Faye “the next Elena Ferrante.”

READ MORE…

In Review: Fish Soup by Margarita García Robayo

July 2, 2018  |  in Reviews  |  by Sarah Booker

This is a text written from within the belly of the beast.

Fish Soup by Margarita García Robayo, Translated by Charlotte Coombe, Charco Press, 2018

Margarita García Robayo’s Fish Soup (lovingly translated from the Spanish by Charlotte Coombe) opens with a poem from Shel Silverstein: “I am writing these poems / From inside a lion, / And it’s rather dark in here. / So please excuse the handwriting / which may not be too clear.” Silverstein’s poetry was largely written for children, but its language and ideas appeal to readers long into adulthood. These lines fittingly define the voices in García Robayo’s story collection, while making clear the particular challenges of writing about a world while also being trapped inside it. This sense of a multi-layered voice, entrapment, dark atmosphere, and liminality largely defines the latest publication coming from the new and exciting Charco Press.

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