Posts filed under 'COVID-19 crisis'

Weekly Dispatches From the Front Lines of World Literature

The latest news from Central America, Sweden, and Argentina!

This week, our writers bring you the latest news from Central America, Sweden, and Argentina. A poetry festival featuring Latin American heavy hitters has just wrapped up in Guatemala, where, in addition, a new YA title draws from a military coup and a reprint tackles guerrilla warfare; Sweden’s most prestigious literary prize has been awarded in the fiction, non-fiction, and children’s book categories, and the Swedish Arts Council is trying to keep the literary sector afloat; a series of sundry voices gathered at a non-fiction festival in Argentina, where they spoke about how hard it is to narrate the pandemic—and how easy it is to honor another viral phenomenon. Read on to find out more!

José García Escobar, Editor-at-Large, reporting from Central America

Guatemala just finished the sixteenth edition of the celebrated Festival Internacional de Poesía de Quetzaltenango (FIPQ). As a virtual festival, it included readings and presentations of notorious poets including Cesar Augusto Carvalho (Brasil), Isabel Guerrero (Chile), Yousif Alhabob (Sudan), Rosa Chavez (Guatemala), and Raúl Zurita (Chile). Relive FIPQ’s closing ceremony with a performance of the Guatemalan indie-pop band, Glass Collective, here.

Guatemalan novelist and translator David Unger just put out a new YA book. Called Sleeping with the Light On, it is based on how the author and his family experienced the 1954 US-backed military coup, which overthrew the democratically elected president Jacobo Arbenz. Sleeping with the Light On (Groundwood Books) is illustrated by Carlos Aguilera.

Finally, before the end of the year Catafixia Editorial will reissue two essential books of Guatemalan history and literature, Yolanda Colom’s Mujeres en la alborada and Eugenia Gallardo’s No te apresures en llegar a la Torre de Londres porque la Torre de Londres no es el Big Ben. READ MORE…

Translation Tuesday: Selections from A Woman Awaiting (The pandemic from a garret) by Agnieszka Taborska

When the world goes back to 'normal,' how quickly will we regain middle age?

Writer, translator, and scholar Agnieszka Taborska reflects upon the literary and historical precedents of the global lockdown in these excerpts from A Woman Awaiting (The pandemic from a garret), our selection for this week’s Translation Tuesday. In coping with the trauma and uncertainty of the current pandemic, Taborska offers a bookish yet personal perspective, one informed by an expansive breadth of literary knowledge as well as familial accounts of another historical tragedy: the Nazi occupation of Poland. Paradoxically, the speaker’s isolation takes us on a necessarily cosmopolitan journey through books, recontextualizing the pandemic through the lenses of Gabriel García Márquez, Joris-Karl Huysmans, Bram Stoker, and Spalding Gray, among others. With candid, irreverent wit, Taborska chronicles her daily thoughts about the absurdities, losses, and shared anxieties of our current global crisis.

What was a day, measured for instance from the moment you sat down to your midday meal to the return of that same moment twenty-four hours later?

Thomas Mann, The Magic Mountain [1]

Friday, April 3

With every passing day our activities take on more of the characteristics of ritual. In the morning we top up the humidifiers on our radiators, rolling up the blinds to let the plants soak up the sun from the first minute, and wiping down with a wet cloth the leaves that haven’t had time to gather dust since we last cleaned them. For the umpteenth time we move the flowerpots around to make their residents feel as comfortable as possible. The tiles, the bathroom, the bathtub, and sink have been scrubbed raw.  We recall with relief that there are still windows to be cleaned. We have shifted the furniture around, surprising ourselves with the audacity of our experimental solutions. Our new routine makes us laugh at the previous one. We strive to create hothouse conditions in our limited space. When all this is over, will we deliberately let our flat go to seed? Will we stick to a daily agenda or—on the contrary—will we turn day into night, drop in on our friends unannounced, wake up our neighbours by playing loud music at dawn, will we ditch every schedule?

The habit of checking the weather forecast is now a thing of the past. The degree of air pollution has also become irrelevant. A million dollars to anyone who, asked out of the blue, can name today’s date and day of the week without having to stop and think. On the other hand, we are getting expert at telling the hour. We have our hand on the pulse. We are aware of the days getting longer. We are familiar with the path of the rays of the sun as they move across the floor. We could tell the shadows out in the street where and how far to fall.

Our window looks out onto a small grocery store. We have noticed a pattern: young people go in wearing gloves and face masks, the old behave as if nothing was happening. Our activist neighbour picks up litter from the pavement as usual. A sight that takes me back to the past.

The dogs waiting outside the shop are surprised that their two-legged friends have suddenly been spending so much time with them. Two Labradors who came with a gentleman on a bike kill time by simulating copulation, as always. They mount each other and make rubbing motions, too brief for ‘anything’ to really happen. The infection has not impaired their erotic fantasies. READ MORE…

Section Editors’ Highlights: Summer 2020

From Misty poetry to texts both visual and conceptual, our latest issue is bright with offerings.

As testament both to our times and to Asymptote’s ongoing commitment to accentuating the richness and value of global literature, our Summer 2020 issue is replete with texts that vary in their gifts but are unified in their resonance. To help you navigate this selection, our section editors are here with their top picks.

From Lee Yew Leong, Fiction Editor and “Vignettes” Special Feature Editor:

Less diverse than a typical Asymptote lineup, I’m nevertheless proud of the five pieces I curated for the regular Fiction section: Each one wrestles with despair—even if it’s a different timber of dread than the one we’re currently in. In Italian author Christian Raimo’s “No More Cult of the Dead for Twentieth-Century Italy,” two men, haunted by dreams of dead bodies, set out to find and bury one. It’s an exhilarating tale of redemption set against the backdrop of a financial crisis—rendered in Brian Robert Moore’s tonally perfect translation. Don’t miss Czech novelist Daniela Hodrová’s Puppets (Living Pictures); cotranslators Elena Sokol and Véronique Firkusny took home a 2020 PEN Translates Award for their masterful work. In the hypnotic excerpt that we were lucky to present, the reader is whisked across time via a jump-rope. Featuring translations from the Arabic, Chinese, Macedonian, Portuguese, Russian, and Telugu, our more diverse wildcard Special Feature shines a spotlight on the humble vignette. From conventional shorts to metafictional haikus, there’s truly something for everyone. My favorite is perhaps Marianna Geide’s People and Other Beings. Via translator (and past contributor) Fiona Bell, Geide conjures up bizarre creatures—insects shaped like bird droppings, predators shaped like human ears, uselessly decorative bugs, mushroom people—and examines each of her specimens with the precision of a jeweler.

From Garrett Phelps, Poetry Editor:

“Dead Sea” by Yang Lian feels about as close as a piece of writing can get to its subject. Even more impressive is that he does this in two hundred and seventy words, and that the subject is a country gripped by a modern plague. It’s a vision of hell illustrated with “a dense tessellation of images, often hard for the translator to disentangle, which build and build to powerfully symphonic effect,” in the words of translator Brian Holton. Despite the obscurity, however, it’s oddly tangible and even familiar at times, probably because this same hell has become global.

dead fishies drift with the tide     with no high hopes of escaping underwater
there is no underwater in your world

From Sam Carter, Criticism Editor:

In a review of Dmitri Prigov‘s Soviet Texts, Dan Shurley makes the Russian conceptualist writer’s work come alive by grounding an analysis of his work in broader trends both inside and outside the former Soviet Union. Prigov was, as Shurley explains, “a shape-shifter and a master of appropriating the lofty rhetoric of Soviet authority in whatever form it took,” and Shurley carefully guides us through the many offerings and intricacies of the collection that was published by Ugly Duckling Presse and translated by Simon Schuchat with Ainsley Morse.

Another collection, this time of work from multiple writers, is discussed in Ysabelle Cheung‘s review of That We May Live, which contains seven stories of Chinese speculative fiction that delve into alternate realities not entirely separate from our own. Cheung walks us through examinations of particular concerns that, taken together, allow this anthology to “reference global philosophical quandaries and anxieties.” READ MORE…

Translation Tuesday: “What I see” by Beatrice Cristalli

You see, even if I don’t see you / I know you’re breathing inside of us.

Love in the time of lockdown is given voice in Beatrice Cristalli’s “What I see,” this week’s Translation Tuesday selection. Written in response to the COVID-19 crisis in Italy, the poem’s speaker prefaces the piece with a philosophical declaration about fate—through subtle and clever enjambment (the power of the poem’s one punctuated line: “Right?”), this musing becomes the speaker’s guiding question. The poem flows through possibilities and memories, to and from that one pivotal inquiry. Seemingly mundane objects—a toothbrush, a comb, a jumper—are charged with new emotive meaning as they evoke the processes brought about by the lockdown: leaving. Absence. And remembering. The speaker, trapped in the moment when these objects were fixed in place by circumstance, longs for the safety of a missing love.

What I see 

They say all’s subjective
But things play parts in fate
Right?
READ MORE…

Blog Editors’ Highlights: Summer 2020

Oral poetry, plague journals, and surrealist masters: our blog editors are here with their selections from the Summer 2020 issue!

With our Summer 2020 issue, Asymptote has brought together new work from thirty-one countries drawn under “This Strange Stillness,” acknowledging all the fearful, sorrowful, and newly arriving things that are in great need of language. It is a timely collection, though we also hope that it is a lasting one, as the texts of this issue remains full of beauty, grace, craft, as well as a knowledge of these unnerving times. If you are in need of a place to start, let our blog editors be your guide.

In these varying todays that blend into one another, I am thinking of Audre Lorde: “seeking a now that can breed / futures.” With the daily cycles of news, statistics, and corresponding tides of political turbulence, the act of reading is accompanied by the weight of scrutiny into factual truths, and the attempts to form a set of principles out of them. All this in the hope that the formidable now will be rescued into a manageable, comprehensible future. As readers and thinkers, we find ourselves in the position of insisting on the importance that literature has always taken, yet literature that thinks only of its utility is powerless—any potency can only result from a craft that knows equally of its form as it does its function.

In perusal of the Asymptote Summer 2020 issue, I returned to indulging in the pure pleasures of reading—linguistic play, secret collaborations of words, and the mysterious harmony of object, image, sound, and divinity that culminates in the sublimity of poetry. I took a particular joy in the Iranian lickos, an anonymous collection of the indigenous, oral poetic form. They are brief, curious, and contain both the wideness and aliveness of a language meant to be passed between two people. The couplets and tercets, translated brilliantly and cohesively by Mahdi GanjaviAmin Fatemi, and Mansour Alimoradi, possess a fluidity and attention that draw the beauty of simple conversation, and the immensity of a single day’s emotions, sharply into view. From petty humour to profound loss, their visual simplicity are an entryway into the profound origins of a poetics.

There is also a great vivacity in Sanja Mihajlovik-Kostadinovska’s “(In)Finite Models of the Short Story,” in which the concept of narrative itself is taken on a wild spin throughout its wanderings into people, places, things, feelings, and myths. Too often we are distracted by semantics, and Mihajlovik-Kostadinovska, along with translator Igor Popovski, bring the reader back into the exhilarating disarray of imagining, reorienting the story back into control of itself. 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 Durian Sukegawa, Translation, and Literature in the Face of Crisis

He said, “I just line up the facts and add flashes of poetry.”

I started working with the educational arm team at Asymptote this past March, when COVID-19 was just declared a global pandemic. As I read through the spring issue, I also kept an eye on the news, watching the US government lurch from outright denial of the disease to a hodgepodge and feckless response—then I came across Alison Watts’s translation of an article based on Durian Sukegawa’s book, Cycling the Road to the Deep North. The piece is a series of vignettes about Sukegawa’s bike tour to Fukushima, in which he tells stories of the lingering destruction from the Fukushima Daiichi Nuclear Disaster, the tsunami and earthquake, and the people carrying on their lives in its wake. Stories of the contaminated soil, of trees with toxic leaves. Stories of burned-out schools and shuddered businesses. And—the story still unfolding—of the Japanese government’s response: its ineptitude and indifference to the wishes of its citizens. The similarities to the current COVID-19 crisis were, at first, depressing, but as I reread Alison’s translation of Sukegawa’s words, I was heartened by them. Because though both crises remain dangerously unresolved, it was evidence that there remain people who are asking the necessary questions, telling the stories we need to hear.

Each issue of Asymptote is accompanied by an educators’ guide, a valuable resource for teachers who are interested in bringing world literature into their classrooms. Offering thematic breakdown of the issue’s content, contextual information, lesson plans, and possible discussion questions, Asymptote for Educators is one of our most exciting and collaborative endeavours. Learn more about it here!

Kent Kosack (KK): When I was preparing a lesson plan for the Asymptote Spring 2020 Educator’s Guide, I chose the piece you translated—an excerpt from Durian Sukegawa’s Cycling the Narrow Road to the Deep North; it felt connected to what is happening now, to the COVID-19 crisis.

Alison Watts (AW): Yes, and next year is the tenth anniversary of the Fukushima Daiichi Nuclear Disaster. It’s a timely opportunity.

KK: In more ways than one.

AW: When I first read it in 2018, I knew I wanted to translate it, but I knew it’d be difficult to sell.

KK: How was it received in Japan?

AW: It did win the Japan Essayist Club Prize, but it’s not a huge bestseller or anything. It was published by a small publisher; it’s Fukushima literature. There’s this new genre that has evolved since the disaster in 2011, all kinds of poetry, music, and literature that resulted from Fukushima, and the tsunami and earthquake as well.

KK: I read your Words Without Borders essay about your own personal reaction to the crisis. It seems to have almost coincided with your transition to becoming a full-time literary translator.

AW: I became a full-time literary translator in 2016. In 2015, I was ill for a year and I couldn’t work. At the end of that, I decided that life’s too short. I’m going to do what I want to do, nothing else. Sweet Bean Paste—the novel of Durian’s that I translated—when I read it, I thought: I love this book, I have to translate it, I’m the only person who can translate it [laughs]. I did the synopsis and samples and gave it to the agent and said, please use this to sell the book. Eventually, I got the job to translate it. As it turned out, that was in the beginning of 2016, the year I had decided to devote myself to being a literary translator. It all worked out. Like the gods were sending signals.

KK: Fortuitous. And how difficult was it for you to transition to translating this work versus Sweet Bean Paste?

AW: Essentially, it’s the same style. Durian has a tight, minimalist style. It’s quite difficult to translate because it can come across as too simplistic in English.

KK: Is that from his background in journalism, that more pared-back style?

AW: There’s that, but he’s also a poet. When I asked him before I translated Sweat Bean Paste: “How would you describe your style?” He said, “I just line up the facts and add flashes of poetry.” READ MORE…

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

You see she has ginger and scallions stuck in her teeth, but still, you think how elegant and beautiful she is.

In this week’s edition of In This Together, a curated column bringing you literature in response to the COVID-19 pandemic, Asymptote is proud to present a short story by the Hong Kong writer, Wong Yi. Below, translator Jennifer Feeley discusses Wong’s work:

This story is part of Wong Yi’s ongoing fiction series Ways to Love in a Crowded City, which captures how ordinary Hong Kong residents compress and contort their love lives in the face of various constraints. Aside from the title story, the short pieces that make up this series have been published in her online columns for the Hong Kong periodicals Ming Pao Weekly and Fleurs des lettres, with a famous painting inspiring each story.

When Wong Yi began this series in March 2019, she was initially interested in exploring how physical space and work culture impact Hongkongers’ romantic lives, but as protests escalated throughout the city later that year, she began writing stories capturing people’s changing behavior and attitudes, highlighting their feelings of anxiety, fear, and anger. Wong Yi explains, “It was my way of coping with a very challenging period of time, and keeping record of the unimaginable things that were happening. Unusual circumstances and political events had become another category of constraints on people’s lives and love.”

In early 2020, the pandemic broke out, superseding the protests as the new “unusual circumstance” affecting Hongkongers’ lives, and she ended up writing “Patient” shortly after her friend moved back to Hong Kong from Australia during the height of the outbreak. As the virus spread throughout the world, people began referring to themselves as being in Edward Hopper paintings, prompting Wong Yi to pair her story with Edward Hopper’s Eleven A.M. Whereas being physically together typically is regarded as an act of love, the story demonstrates how during a pandemic, having the patience to stay physically apart becomes a new way to demonstrate one’s love.

Patient

by Wong Yi

(After Edward Hopper, Eleven A.M., 1926)

eleven-am

I’m back in town, you say. It’s good you’re back, she says. But it’s not good, you think. During the past two months, the virus has spread throughout Hong Kong. She and others who’ve been living in the city have moved past the initial frenzy of shock and panic buying, gradually adapting to daily life under the pandemic. They’ve even started letting down their guard, loosening their masks and venturing out on the streets again; you’d been in Australia, listening to her report such things for two months, always taking on the role of comforting her, constantly offering to send her hand sanitizer or a small gift to cheer her up, urging her to stay home as much as possible to avoid infection, and then, in mid-March, not long after White Day, the outbreak in Australia finally began to worry you both. When people all over the world started buying up toilet paper and advocating staying at home to fight the pandemic, your roles were reversed. Have you bought enough food? she asked. Can you buy masks in Australia? she asked. Australia’s customs restrictions are so stringent—I can’t send you any food. Please take good care of yourself, she said. You solemnly promised her, I will. I’ll make it through graduation, and then I’ll come back to Hong Kong and we’ll “sweep street,” hitting up all the good food places. I’m going to eat fried stuffed three treasures, mango pomelo sago, buttered pineapple buns, and rice noodle rolls with sweet sauce, you said. Okay, when the outbreak is over, we’ll go eat, she said. You talked to her over video, virtually hooking pinkies. A few days later, while you were still contemplating whether to be a dutiful daughter and heed your mother’s advice to buy a plane ticket back to Hong Kong, seeking refuge like other overseas students, she said she saw that confirmed cases in Australia were continuing to climb, and she was concerned for your safety, and so that very day, you made up your mind to pack up your belongings and booked a room in a Hong Kong hotel that previously had been used to quarantine university students returning to the city from the mainland. The next day, you cocooned yourself in a windbreaker, gloves, glasses, and a mask and flew back to Hong Kong, every nerve on edge, embarking on your life of fourteen days of hotel self-quarantine.

It’s good you’re back, she says. You feel the same way when you close the hotel door. A few days later, Qantas goes as far as grounding all international flights—if you hadn’t already returned to Hong Kong, you probably would’ve had to swim back. At least now you’re both in the same city. Even if the whole world is caught in the same war-like disaster that’s turned the planet on its head with absolutely no end in sight, at least you’re back, and from now on you can live and die alongside her within the borders of the same city. She makes you promise her you won’t set even half a foot outside the hotel for fourteen days. She’d rather use up a mask shopping for the numerous Hong Kong snacks and soft drinks you told her are your favorites, dropping them off at your hotel and asking the staff to deliver them to your door, tucking inside a few extra goodies to brighten your hotel stay: a card to boost your spirits, hand sanitizer, Japanese sheet masks, and nail polish. When you open the overstuffed plastic grocery bag, you can’t help but sweetly smile and tear up at the same time: Doll pickled vegetable and pork instant rice noodles, Four Seas toasted seaweed, Sze Hing Loong dried seasoned cuttlefish, Vita lemon tea, and Garden Lemon Puff cookies—she’s remembered them all. She says, C’mon, of course I remember! You think your hunch is really spot-on; she must like you too, since she remembers every word you’ve said, and you remember every word she’s said. READ MORE…

Weekly Updates from the Front Lines of World Literature

Find out what's going on in the literary worlds of Japan and Italy in this week's update!

Our editors bring you the latest news in global literature from Italy and Japan this week as COVID-19 continues to make its presence known, the one-hundredth anniversary of Gianni Rodari’s birth is celebrated, and traditionally paper-dependant Japan starts investing in a virtual literary presence. Read on for the scoop!

Anna Aresi, Copy Editor, reporting from Italy:

As is well known to people in the industry, the COVID-19 pandemic has deeply impacted the publishing sector on many levels. In particular, the cancellation of most book fairs has deprived many of an important opportunity to meet fellow publishers, authors, translators and illustrators, to discover new releases to potentially translate, and set up those professional relationships that keep the industry alive. However, as we’ve seen over and over again in these months, the scope of the pandemic’s impact has often been countered with inventive, creative solutions to hold these same events in a different format.

One of the book fairs that had to be canceled was the Bologna Children’s Book Fair, one the most important events for children’s literature, taking place in Bologna, Italy, every spring. Originally scheduled to be postponed, it soon became clear that holding the BCBF in praesentia was not going to be possible, and the event happened virtually this past May.

One of the highlights of this year’s edition was the celebration of the one-hundredth anniversary of Gianni Rodari’s birth. Rodari is perhaps the single most important author of children’s books in Italy, having influenced and shaped generations of students, teachers, authors, and illustrators with his poems, short stories, books, and theoretical essays. The BCBF’s website hosts a virtual exhibition, Illustrators for Gianni Rodari, showcasing the works of many Italian artists who’ve illustrated Rodari’s books. In particular, Beatrice Alemagna, an award-winning Italian illustrator based in Paris, participates with her new illustrations for A sbagliare le storie (Telling Stories Wrong), in which an absent-minded grandfather keeps making mistakes when trying to tell the story of Red Riding Hood to her granddaughter, who has to continually correct him. As anyone who’s ever read to young children knows, consistency is key when telling them stories (over and over and . . . over again!), yet as the book shows, deviations from the norm might be as fun and rewarding as the canonical version. Alemagna’s beautiful new visual interpretation of this classic will hopefully be brought to other languages soon! READ MORE…

“It’s a floating world”: Yasuhiro Yotsumoto on Japanese Poetics

I’m very much interested now in the type of poet—not only in Japan but outside as well—who tries to cultivate resistance.

The life and work of poet Yasuhiro Yotsumoto is a testament to the conviction and omnipresence of poetics, profuse in every aspect of human life. In nearly twenty volumes of poetry and criticism, he has interrogated, in verse and prose, the reality and abstractions of family, romance, corporate fiscal structuring, Japanese linguistics, culture both global and insular, a struggle against cancer, and, in doing so, has revealed something essential about poetry as it coheres with all other ideas and facts. Having displaced himself from Japan by the means of an extremely successful career in business—something he calls his “real” job, despite every indication in his manner of speaking that he considers it a mere occupation—Yotsumoto has lived in Munich since 1994, and at the time of our meeting, has just begun a very tedious and significant transition back into Japanese daily life and society.

Despite meeting all the qualifications for a writer defined by (self-imposed) exile and exodus, Yotsumoto has cultivated a significant reputation in Japanese letters. As editor of the admired literary quarterly Beagle, host of the poetry podcast Poetry Talks, Japanese national editor of Poetry International, and diligent translator of poets ranging from Li Bo to Simon Armitage, he admitted casually, without any pretension or arrogance, that he is now considered somewhat of an insider (a word that he would go on to elaborate upon) within literary circles. We conversed in English, which he professed that he is able to “speak for about two hours, then the battery runs out and I start speaking nonsense.”

I met him on the very day the state of emergency—enforced within Japan due to the COVID-19 epidemic—was due to be lifted. In Yamashita Park, plentiful with roses and the bare shoulders and legs emblematic of spring-turning-summer, we ate ice cream cones overlooking the waters of Tokyo Bay. The conversation was peppered with his generous laughter, silences full of thought, and interruptions typical of the world, busy and vivid, brilliantly alive.

Xiao Yue Shan (XYS): It’s impressive to be able to balance—what I imagine to be—a very heavy workload on your day job with such a prolific poetry career.

Yasuiro Yotsumoto (YY): That’s right. I wouldn’t be able to do that if it was prose—novels, or something. But poetry is okay; I can finish it before breakfast every morning. And I write everyday.

XYS: I find that most Japanese writers have this very regulated schedule.

YY: Well, I always wanted to keep this balance. It was a challenge I put upon myself, the balance between “real life” and writing. And I made that conscious decision as I graduated from university, that I could take a very cultural job—copywriter, or something—but I somehow decided not to do that, and instead I pursued two separate worlds.

XYS: Mutually exclusive.

YY: Well, mutually exclusive in terms of lifestyle, but my first book was about corporate finance theory. I went to the University of Pennsylvania and got my MBA in corporate finance in my twenties, and I wrote a book of poetry by applying such theories of the Black-Scholes option model, etc., to describe Japanese society at that time—which was peaking economically, and everyone was sensing that the burst of the bubble was not so far away, yet we kept going and going and going. That was an overlap. So I had always been an outsider amongst Japanese poets; I live outside [of Japan], and I write about things that have never been touched before. I try to bring in this kind of prosaic, very banal, everyday subject into the domain of poetry. READ MORE…

Weekly Dispatches from the Front Lines of World Literature

Bringing you the latest in literary news from Sweden, Iran, the UK, and Spain!

This week, our writers bring you the latest news from Sweden, Iran, and the UK. In Sweden, a new translation of Albert Camus’s The Plague is on its way, and the annual children’s book award ALMA has announced Baek Heena as its winner; in Iran, sales of The Enlightenment of the Greengage Tree have surged after its nomination for The International Man Booker Prize, and readers have welcomed a Persian translation of Italian writer Paolo Giordano’s new non-fiction work about contagion; in the UK, authors and publishers are proving resourceful after the cancellation of key literary festivals; finally, people around the world have been mourning the death of best-selling Chilean author Luis Sepúlveda, who sadly passed away this week in Spain.  

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

Easter in Sweden is usually a time when people have a few days off and either go skiing or open up the country cottage after the winter. This year, however, like in a lot of other places around the world, people have had to alter their plans as traveling was discouraged, even within the country. Unlike most of its neighboring countries, Sweden still allows bookstores as well as most other stores to remain open. Nevertheless, changed habits in a time of social and economic uncertainty has led to a decrease in sales of physical books by 35%. Although sales of e-books have increased by over 10%, bookstores have started plans to lay off employees and renegotiate rent costs, in order to manage a possible prolonged decline in book sales.

One book that nonetheless sells like never before in Sweden at this time, is French Algerian author Albert Camus’s The Plague from 1947. Swedish readers have the book today in a translation by Elsa Thulin from 1948, but a new translation is on the way, by Jan Stolpe, and will be available in stores by the end of April. READ MORE…