Posts filed under 'migration'

Weekly Dispatches from the Frontlines of World Literature

June 16, 2017  |  in Dispatches, News  |  by Fiona Le Brun, Kelsey Woodburn, MARGENTO, and Paul Worley

Never miss a world literature update again.

We are back with literary news you simply cannot miss! This week we will take you to Romania where MARGENTO will help you discover the intricate networks of performance art. Also reporting from Europe is Fiona Le Brun who discusses the eclectic list of recent French literary prize winners, while subtly underlining the theme of migration that cuts across the various literary events. Far away from Mexico, Paul Worley and Kelsey Woodburn will highlight the increasingly important role of translation in its contemporary cultural landscape. 

Editor-at-Large from Romania and Moldova, MARGENTO, provides us with an insider’s view of the exciting world of Romanian artistic experimentation:

The Bucharest International Poetry Festival featured last month an impressive line-up of international writers and performers, among whom were Christian Bök from Canada, LaTasha Nevada Diggs from the US, Steven Fowler of the worldwide prolific Enemies Project, Max Höfler (the tireless organizer of the yearly Text-World—World-Text Symposium in Graz, Austria), the multilingual performance vocalist Maja Jantar of Belgium, the Bucharest-based American poet and translator Tara Skurtu, and many more, alongside local poets such as Claudiu Komartin and Razvan Tupa.  Organized by London-based Romanian poet and curator Simona Nastac, this annual event has grown more and more visible and central in a country where the tradition of performance poetry going at least as far back as Tristan Tzara’s DADA seems to be thriving more than ever, with festivals thrown from Craiova in the south to Brasov and Sibiu in Transylvania to Cluj and Iasi up north (some of them performance-driven events, other more standard literary ones with a strong reading or performance section).

Petrila is a one-of-a-kind venue among all of the above, both in Romanian and international terms.  The derelict milltown riddled with condemned coal mines and shutdown falling-apart factories has been transformed over the last two decades by visual artist, political caricaturist, and curator Ion Barbu into a mecca of non-conformist festivals (initially thrown in his own backyard), eclectic or scandalous arts events, and improbable post-communist absurdist or faux-kitsch museums (including one that has resonantly revived the memory of once-censored outstanding dissident writer I.D. Sirbu).  A competitor—or rather concurrent event—has been the CUCA Festival organized over the past couple of years in Cartisoara, up in the mountains of Sibiu County, where cutting-edge and indie performances and installations converge with Romanian traditional architecture restoration work done by international volunteers.  A long-feature documentary titled Planet Petrila casting Ion Barbu in the lead role and portraying his eclectic personality and work against the background of the (post)communist history of his hometown has recently been widely praised and awarded at the international film festival TIFF.

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An interview with Edil Hassan: Writing poetry rooted in migration, otherness and Somali heritage

June 1, 2017  |  in Interviews  |  by Claire Jacobson

When I write of those days now, there is something fuller and heavier

Edil Hassan is a poet of Somali background based in New England. Two of her poems appeared in Asymptote’s most recent issue in the feature on banned countries. Ms. Hassan graciously answered a few questions about her work and inspiration.

Claire Jacobson (CJ): Your poems are so grounded in deep family relationships and stories from the past. Can you talk about the inspiration for these poems? What drove you to write them?

Edil Hassan (EH): The Drought for a long time was only the last stanza. I had seen a picture of a capsized migrant boat in the Mediterranean on some news site—a new picture every week or month, never the same boat. It’s like those videos of Black girls and boys who are killed; I’m waiting to know the person behind the camera. I knew though that this poem was incomplete, and like all stories is layered. Migration comes with a loss of place, and mediating on family helps me track that disappearance.

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Indigenous Languages, Migration, and Multilingualism in Fall 2016 Canadian Poetry Special Feature

October 31, 2016  |  in News  |  by K.T. Billey

A country that takes pride in a mosaic model of multiculturalism becomes home to an abundance of languages

In “Verisimilitude,” the Fall 2016 issue of Asymptote, Assistant Editor K.T. Billey edited a stellar special feature on Canadian Poetry. Reaching far beyond the exchange between French and English, this section presents a diverse group of authors and translators that reflects a multitude of cultural and historical intersections and conflicts. Now, Billey situates and introduces the poets and translators. Delve into the special feature here.

Global readers likely are aware of Canada’s official French/English bilingualism. What the literary world may not know about—and what Asymptote is delighted to spotlight in our Fall 2016 issue—is the range of Aboriginal and First Nations voices that are fundamental to Canada’s evolving identity. The Special Feature on Canadian Poetry introduces readers to three of the approximately sixty distinct Indigenous languages spoken in Canada.

Multilingual poems by acclaimed poet Duncan Mercredi are a crystalline example of the verisimilarity that unites the Fall issue. Duncan’s brother Joe translated the English portions of Duncan’s poems into their native Cree, a language whose dialects nearly span the entire North American continent. Joe’s line-by-line translations became, and are recognized as, part of the poems rather than separate works. The poems are unified though their dual-linguistic nature, exacerbating and expressing the ambivalence of a First Nations poet writing in English.

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In Conversation with Gazmend Kapllani

August 10, 2016  |  in Interviews  |  by Gigi Papoulias

The desire to speak other languages invaded my mind. I, too, wanted to look strange, mysterious and attractive...

Gazmend Kapllani is an Albanian-born author, journalist, and scholar. He lived in Athens for over twenty years. He received his PhD in political science and history from Panteion University in Athens, with a dissertation on the image of Albanians in the Greek press and of Greeks in the Albanian press. In addition, he was a columnist for Greece’s leading daily newspapers. Kapllani has written his first three novels in Greek, which is not his native language. His work centers on themes of migration, borders, totalitarianism, and how Balkan history has shaped public and private narratives.

Kapllani’s first novel A Short Border Handbook (Livanis, 2006) has become a best-seller and has been translated into Danish, English, French, Polish and Italian. His second novel, My Name is Europe (Livanis, 2010), has been published into French. The Last Page (Livanis, 2012) his most recent novel, has been translated into French and was short-listed for The Cezam Prix Litteraire Inter CE 2016. Since 2012 he has been living in the US, where he was a fellow at the Radcliffe Institute for Advanced Study at Harvard University, Visiting Scholar at Brown University and Writer in Residence at Wellesley College. Kapllani currently lives in Boston and teaches Creative Writing and European History at Emerson College.  

Gigi Papoulias has a chance to sit down and talk to Kapllani on his work, language, and borders.

Gigi Papoulias (GP): You seem to have a passion for languages. You are fluent in five languages. Were you born into a multilingual family?

Gazmend Kapllani (GK): Actually I was born in a shack. My father’s family was persecuted by the communist regime and was driven out of their house in the countryside and punished—sent to live in a shack on the outskirts of my hometown Lushnje. They were considered “enemies of the regime” because they were wealthy landowners. Stalin did the same with the so-called “kulaks” in the Soviet Union.

I grew up surrounded by a large group of monolingual relatives whose discussions always led to the glory days of their aristocratic past. I grew up surrounded by joyful uncles and aunts—all of them impressively good looking. I’m amazed today that in my memories that miserable place comes as a place of joy and love. I remember the flowers that were planted all around. My grandmother was an extraordinary woman—she had lost three brothers in the war against the Nazis in Albania—she did everything possible to make life in the shack seem normal. What has remained with me is the extraordinary love that I was given in that shack. I also learned what resilience and human dignity mean. But I refused the rest: living with the glory of the past. I understood though that when people are denied a present and a future they take refuge in the past.

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Thank you, Britain

July 11, 2016  |  in Essays  |  by Ewa Stańczyk

I fear that the diabolical pas de deux of racism and xenophobia that we are now witnessing will escalate.

The day after the EU referendum I woke up early to check the results. It was 5am and already clear that the Leave camp would win. I hadn’t expected that. Despite the growing popularity of right-wing populist parties such as UKIP, to the outsiders (and a large portion of liberal Britons too), this divisive brand of Euroscepticism seemed like the voices from the fringes. It is true that UKIP employed dramatic scaremongering as its major political strategy, using migrants as the folk devil on whom to blame Britain’s economic and social problems, both present and future. But to me their tactics stood in sharp contrast to what I have always admired about the British, that is to say kindness, tolerance and openness. Not surprisingly, the Leave win left the country in turmoil. Those on the Remain side are bewildered by the prospect of being torn away from an identity they have eagerly embraced as their own and, increasingly, many of the Leave voters express a similar sentiment. But the Brexit referendum also mobilized an indignant minority that had been previously silent, and galvanized blatant xenophobia, racism and bigotry. It is the latter that saddens me most.

I myself was an EU migrant who settled in the UK following the first eastern enlargement in 2004, although I had first arrived in Britain in the summer of 2003, eight months prior to Poland’s accession to the EU. I was an undergraduate student on a gap year in Liverpool, away from home for the first time. Despite its long tradition of multiculturalism, the city saw very few migrants from Eastern Europe and people knew very little about Poland. Often, on hearing my nationality, they would recite in one breath: Lech Wałęsa, John Paul II, vodka, and engage with me in long conversations about the Pontiff’s poor health. I felt welcomed, and I immediately fell in love with the city and its people. I loved how they talked and joked, how women wore strapless dresses on cold nights out and how families went on the ferry across the Mersey on Sunday afternoons. I myself spent countless hours in the FACT cinema on Wood Street and I can still remember films I saw that year: Young Adam, Sylvia, Calendar Girls and, my absolute favourite, Love Actually. I went to see art exhibitions in the Walker Art Gallery, learning about British painting, from Pre-Raphaelites, through the Stuckists to the Singh Twins. On the 1st of May 2004 I celebrated Poland’s accession to the EU with a group of English friends. The mood was jubilant and hopeful. We drank sparkling wine and, as naïve as it may sound, it felt like Europe was united again.

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European Days of Literature 2015, “The Migrants:” A Dispatch

November 18, 2015  |  in Dispatches  |  by Julia Sherwood

"When people are in a 'swarm,' they aren’t people."

Every year since 2009, writers, critics, and literature lovers have been flocking to the Austrian region of Wachau for the European Days of Literature. Late this October, I was fortunate to spend three glorious autumn days surrounded by vineyards in Spitz and Krems on the Danube, to talk about all things literary and listen to authors read from their works, all liberally sprinkled with local Grüner Veltliner. Literature was center stage throughout—and there was a perfect balance between readings, panel discussions, informal chats and the picturesque setting—no wonder many of the participants have been coming year after year.

The overarching theme of this year’s gathering—The Migrants (Die Ausgewanderten)—was chosen with a view to discuss the ways European literature has been changing through and along with the increasing migration of authors. Little did the organizers know that the symposium would take place at a time when migration dominates the media headlines as thousands of desperate refugees risk their lives to cross the Mediterranean and trek through Europe seeking sanctuary, putting the old continent’s humanitarian values, tolerance and unity to a test and threatening the very foundations of the European Project.

“Some of the best writing in Europe today is migrant writing,” said writer AL Kennedy, who tries not to define herself as having a specific nationality. In her powerful keynote speech (podcast recording here) she tackled the current migration crisis head on: “Between my first draft and my last a photograph of a small boy made it to headlines of many newspapers which had, only hours before, been pouring out hatred at refugees as a moral, cultural, biological and spiritual threat. As David Cameron put it: ‘a swarm of people.’ When people are in a swarm, they aren’t people. They are both of an alien species and a danger. When words put them in a swarm, they don’t receive the real world’s help.”

Practising art alone is not enough at times like these, she argued in her impassioned address, for “true art is not an indulgence but a fundamental defence of humanity.” She challenged writers to take on a more activist stand, using tweets, poetry, and bestselling novels, to create “50 shades of refugee.“

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