Posts filed under 'erotica'

Weekly Dispatches From the Front Lines of World Literature

January 13, 2023  |  in Dispatches, News, Weekly Roundup  |  by Carol Khoury, Jiaoyang Li, and Sofija Popovska

Literary news from Macedonia, Palestine, and China!

This week, our editors report on controversial novels from the Macedonian, testaments from Palestine, and a pop-star-turned-writer from China. From a subversive eroticism to details on the lives of migrant workers, these writers are defying standarisations to illuminate the truth of their realities. Read on to find out more!

Sofija Popovska, Editor-at-Large, reporting from Macedonia

The last days of 2022 saw a controversial sensation return to the Macedonian literary scene; the publishing house Mi-An released an anniversary edition of Jovan Pavlovski’s provocative novel, Sok od Prostata (Prostate Juice).

As an author of almost fifty works, a member of the Macedonian Writers’ Association and PEN Center Macedonia, an editor of the prominent Macedonian newspaper Nova Makedonija, and the editor and publisher of the first Macedonian encyclopedia, Pavlovski (born in 1937 in Tetovo) has contributed a diverse body of work to Macedonian culture. Reaching beyond its confines, his work has been translated into more than twenty languages. Politically dissident and candidly sexual, Sok od Prostata, originally published in 1991, is one of Pavlovski’s best known oeuvres, and has received the title of Most Read Book in Serbia.

Telling the story of a young man desperate for love, Sok od Prostata is described by Mi-An as “not only an erotic novel, but also a deep lyrical story about loneliness and culture shock, passion and love…” Despite its lyricism, rebellion and irreverence remain at the core of the work: “(Sok od Prostata) strives to break through elitist, hardened attitudes about the decent/indecent, and to deconstruct the hypocrisy of ‘high literature’”. READ MORE…

Everything is Permitted in Dreams: Corinne Hoex and Caitlin O’Neil on Gentlemen Callers

May 26, 2022  |  in Book Club, Interviews  |  by Laurel Taylor

This book is more about feminine desire than erotic consummation, so it’s not pornographic at all.

Diving without abandon into the realms of sexual fantasy and desire, Corinne Hoex’s Gentlemen Callers is a series of vignettes that follows the erotic as it traverses into the pleasurable, the humorous, and the absurd. As our Book Club selection for the month of April, Laurel Taylor described Hoex’s text as “a truly astonishing outlier.” In the following interview, Taylor speaks to Hoex and her translator, Caitlin O’Neil, about the multi-layered operations of the epigraph, the difficult of translating wordplay and idioms, and writing with joy.

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, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.

Laurel Taylor (LT): The construction of Gentlemen Callers was really interesting—can you tell us a little bit about what your inspiration was for the novel?

Corinne Hoex (CH): Each time, it’s the situation—of the dreaming woman—that drives the inspiration. It always begins with the concrete, and from there on it’s a mixture of fantasy and reality; something comes from reality and introduces a rupture, an entry into dreams. Whenever the vignette was too realistic, or didn’t abandon reality through some kind of glitch or unexpected detour, I didn’t keep it.

There were texts with characters who were much too banal—a pizza delivery man, a doctor. . . There wasn’t that sparkle, that possible transformation, so I didn’t continue with those dreams. So even more than inspiration, it was an exercise in the material, in the writing process.

But a lot of the dreams, of course, correspond to anecdotes from my own life. For “The Astrologer,” for example, I had taken some astrology classes, and all of it—the books, the Ephemeris, all of those calculations—I found horrid, boring. I imagined this situation where she [the dreaming woman] is seated across from an astrologer, and this astrologer is trying to seduce her, but he’s tactless, he’s insufferable. He says: “My Mars is on your Venus,” and all that, but he isn’t pleasing her, so she waits and tries to find a way to escape. There have often been times in my life—at school, at conferences—when I would like to escape; in this fantasy, since we’re dealing with the stars, the comet comes in through the window and takes the woman away. It’s not the man who seduces the dreaming woman, but the comet.

Similarly, when the narrator’s with the geographer and he bores her, she sees a beautiful polar bear that’s much more pleasing to her. There are sometimes elements which are not human; everything is permitted in dreams. 

LT: Caitlin, how did you first encounter this text? And what made you want to translate it?

Caitlin O’Neil (CO): This is my debut book-length translation, so it was very much my own choice of what text to pursue. When I started, I got some very good advice, which was: for your first translation, make sure that it is a work that you love wholeheartedly. Because you’re going to be working more closely with this text than you have ever worked with any text before in your life, and you are going to work very hard for this text as well. There may be rejections, and you need to love this text so much that you are willing to work through all the rejections that come your way. When I first started, I was coming from an academic background, so this was really a chance for me to dive deep into the world of Francophone literature, and hunt down a book that wasn’t known in the US yet. READ MORE…

One’s Own Desire: Arab Women Writers Speak for Themselves in We Wrote in Symbols

June 23, 2021  |  in Reviews  |  by Mariam Diefallah

This anthology provides a glimpse into a world that has been constantly made invisible or policed within systems of domestication and abuse.

We Wrote in Symbols: Love and Lust by Arab Women Writers, edited by Selma Dabbagh, Saqi Books, 2021

As an Egyptian, Arab, and Muslim woman, love and lust have largely occupied two separate worlds in my life. While I yearned for the elusive idea of love in my youth and pursued it in relationships, I had also deeply internalized that it had to end in heartbreak; I believed that love, like many ideas, could never be fully comprehended. But lust was different. Lust was an action—an action to avoid and repress, because it leads to sex, and sex is dangerous. When I started reading We Wrote in Symbols: Love and Lust by Arab Women Writers, I thought of my upbringing, of the two separate worlds I have built for love and lust, and the difficulties of reconciling them in my adult life. This anthology, edited by the British-Palestinian writer Selma Dabbagh and published by Saqi books, includes one hundred and one pieces by seventy-five different women from the Middle East and North Africa region, as well as from the diaspora. Most of the pieces are translated from Arabic, many are originally written in English, and the minority are translated from French.

In the book’s introduction, Dabbagh explains that translating works about love and lust is difficult, though we do not learn about the ways in which the various translations could have impacted the anthology. This is especially pertinent in the cases of translations from Arabic to English, which represent the majority of the works in the text; Arabic can be seen as a unifying language, but the subtleties and differences between the dialects dictate different cultural specificities and reflect a stark diversity in both place and community. In other words, unless the place of origin is clear, the readers lose a sense of place with the absence of dialect, and different geographies and contexts start feeling neutral.

In the introduction, Dabbagh contextualizes the largely overlooked history of erotic female writers in Arabic literature. Although names of ancient goddesses of love and fertility in the Arab region—such as Isis and Ishtar—are well known, the topic of female Arab sexuality still comes as a novelty for many. Similarly, despite the fame of certain Abbasid poets such as Abu Nawas, female poets in elite Abbasid literary salons are not famous, if known at all. This lack of awareness is further complicated by the total disappearance of women erotic writings during the fall of Andalusia in 1492; Dabbagh clarifies that women writing on love and lust faced a blackout for almost half a millennia, reappearing only in the late nineteenth century. By then, authors and novelists—like Zaynab Fawwaz—began challenging common misogynistic practices such as arranged marriages, and therein paved the way for many women Arab writers to discuss sexuality in various literary forms today. Ranging over three millennia, the long span this anthology covers is indicative of the two interests of my review: what lies beyond the celebratory—especially in relation to difficult and/or painful lust—and the limitations of the narrative linking love and lust as two sides of the same coin.  READ MORE…