Posts filed under 'multilingual'

Translation Tuesday: “Miss Chapati Queens” by Bino A. Realuyo

"Her accent sounds like it comes from the deepest part of a rock."

“Miss Chapati Queens” is part of a fiction manuscript titled The F.L.I.P Show, an interconnected collection of stories about the Filipino American community on the East Coast. The Philippines is an archipelago of 175 languages and/or dialects. Most of us are at least bilingual.  In my household alone, five major Filipino languages, including English, are spoken.  As a former colony of the United States, the Philippines has been using English as a lingua franca—the language of power, and of the media and the government—for over a hundred years, further complicating its multilingual tradition.

Although set in Queens, “Miss Chapati Queens” explores Filipino multilingualism. The protagonist, Rosario, is half-Indian, half-Filipino but grew up with a Filipino mother, and thus understands and speaks Tagalog. Her voyage into becoming more “Indian” coincides with her decision to join a beauty contest called Miss Chapati Queens. There are almost four million Filipinos in the U.S., some of whom are of mixed heritage, like the character in this story.  These households reflect the multilingual backgrounds of the Filipino people.  I speak English, Filipino (Tagalog), and Spanish, but understand Bicolano and Chabacano (language of my maternal heritage from Zamboanga City, a former Spanish port).   READ MORE…

Translation Tuesday: Multilingual Poems by Peter Wessel

Translated by Elena Feehan.



Select translation:

Bedstefar

 

Ma petite fille,

Salome, mit barnebarn,

mi nieta

para ti soy “Bedstefar”,

tu única palabra en danés.

Le meilleur père, père

de ta mere,

ton grand-père danois

en danois.

 

Cubana de padre, francesa

de madre

y yo, tu raiz nórdica.

doce por cien

y medio, lo que hay de danés

en mi poesía

ou d’alcool

dans une cépage de bonne qualité.

 

De moi t’as déjà herité

Plus que ta mere:

un mot, an

heirloom du nord:

“Bedstefar”

avec tout ce que celà

veut dire

y con todo lo que tu dirás

cuando me llames,

quand tu m’appelles.

 

When you call my name.

 

Blodets bånd, siger vi.

Barnebarn, grandchild, petit en–

fant,

blood of my blood

a bond which cannot be severed.

Más que un vincula, plus que un lien,

yet nada

nothing

rien

unless we invest it with meaning.

 

So, what sense

qué sentido tuvo para mí

tu nacimiento?

Hvad betød din fødsel for mig,

en far

der aldrig er blevet kaldt, har

hørt sig kalde

far

og kun sjældent

rarement

a pu agir, actuar,

como père?

 

¿Qué tal te sientes como abuelo?,

me preguntaban,

and I was at a loss, no supe contestar

comment je me sentais.

I didn’t feel any different, no notaba

ninguna diferencia

and could not see why I should have changed.

 

Pasaron cinco años, cinq ans

sans practiquement se voir

y solo ahora me doy cuenta,

only now,

gazing back at a gap of five years,

do I realise how you, ou plutôt

ta presence,

changed the perspective of my life,

gav mit liv

et dybere perspektiv

making both past and future unfold.

 

Probablement, je n’ai jamais occupé

la place du père,

dans la vie de tu mama.

Like a fool I offered her up

as a sacrifice for my love to her mother

y su abuelo, mi suegro, me la arrancó.

 

That man, tu bisabuelo, now dead,

rife with heirs and hardly mourned

stole my daughter and supplanted me

leaving me,

dejándome,

a childless, self-deceitful

papa chatré.

 

Salomé, nieta mía,

para ti soy todavía poco más

que una palabra, but a word which,

ahí dedans,

contains,

esconde,

gemmer et løfte, a

meaning and promise

that we both must explore:

 

din “Bedstefar”,

la meilleur père

de ta mere.

***

Offering

 

The pain,

el dolor de esas dulces disonancias.

Le ton aigu, den skærende

intonation

pa nippet til… a breath

from keeling over.

 

Et smertefuldt, jublende skrig.

 

Like Coltrane

we must squeeze the reed, estrujar

nuestra alma

hasta que la nota se quiebre, indtil

kernen spaltes, permitiéndonos

seguir fluyendo

 

indtil

sjælen kælver

og døden os skiller

 

until we cave in

and death do us part.

 ***

Django’s Lullaby

 

Toutes les chansons d’amour,

todas las flores de primavera y los

colores de otoño

que je t’aurais cueilli

se me han marchitado.

 

The songs that my thoughts of you

stirred in the wind

are now a dry rustle, an autumn lullaby

perhaps.

Fugle som trækker mod syd,

pájaros,

birds of passage.

 

Que venga la nieve, la

neige, la manta suave y blanda,

the sweet, forgetful snow

that will cover all the wounds

calmará el ardour de las heridas

and the broken stems

with its cool whiteness,

su fría blancura.

 

La neige de noviembre,

november

sur les petals bleus de mes pensées

de nous.

Bedstefar

My granddaughter,

Salomé – ma petite fille,

mit barnebarn,

mi nieta –

for you I am “Bedstefar”,

the only word you know in Danish.

The best father”, your mother’s

father,

the Danish for

your Danish grandfather.

 

Cuban on your father’s side, French

on your mother’s

and me, your one Nordic root.

12.5%:

like the Danish in my poetry;

or the alcohol content

of a fine wine.

 

You’ve already inherited

from me

more than your mother ever did:

a word, a Northern heirloom:

“Bedstefar”

and all that word means

and all that you mean

when you call me,

when you call me it.

When you call my name.

 

Blood ties, we call them.

Barnebarn, grandchild, petit en-

fant,

blood of my blood

a bond which cannot be severed.

More than a bond, more,

yet nothing,

nada,

rien

unless we invest it with meaning.

 

So,

what did it mean for me,

your birth?

What did your birth mean for me,

a father

who has never been called,

never heard himself called

father,

and has only

rarely

been able to act

as a father?

 

How do you feel about being a grandfather?

people would ask me,

and I was at a loss, I didn’t know how to answer,

how I felt.

I didn’t feel any different, nothing

tangible,

and could not see why I should have changed.

 

Five years passed

and we scarcely saw one another,

and only now do I realise,

only now,

gazing back at a gap of five years,

do I realise how you, or rather

your presence,

changed the perspective of my life,

made that perspective deeper,

making both past and future unfold.

 

I suspect I never really fulfilled

the role of father

in your mother’s life.

Like a fool I offered her up

as a sacrifice for my love to her mother,

and her grandfather, my father-in-law, tore her from me.

 

That man, your great-grandad, now dead,

rife with heirs and hardly mourned

stole my daughter and supplanted me

leaving me,

dejándome,

a childless, self-deceitful

papa chatré ­– a castrated father.

 

Salomé, little one,

for you I am still scarcely more

than a word, but a word which,

deep inside,

contains,

conceals,

holds a

promise and a meaning

that we both must explore:

your “Bedstefar”,

the best father

of your mother.

 

***

Offering

 

The pain,

the pain of this delicate discord.

The pitch set high, the intonation

cutting,

on the verge of… a breath

from keeling over.

 

A painful, joyful cry.

 

Like Coltrane,

we must squeeze the reed, wring out

our souls

until the note cracks, until

its core is cloven, so we can

keep on flowing

 

until

our souls cave in

and death do us part.

 

***

Django’s Lullaby

 

All the love songs,

All the spring flowers and

                  autumn colours

I gathered for you

have withered in my heart.

 

The songs that my thoughts of you

stirred in the wind

are now a dry rustle, an autumn lullaby

perhaps.

Birds that fly south for winter;

birds of passage.

 

Let the snow come,

its soft and tender blanket;

the sweet, forgetful snow

that will cover all the wounds,

soothe the stinging cuts

and broken stems

with its cool whiteness.

 

November snow,

on the blue petals of my thoughts

of us.

 

***

Illustration by Dinah Salama.

******

Peter Wessel is a Danish-born poet who has divided his life between his homes in Madrid and the Medieval French pilgrim’s village of Conques-en-Rouergue (which he considers his second birthplace) since 1981. He teaches a university course titled “Rooted in Song—the Role of African Americans and Immigrant Russian Jews in the Creation of the American Dream” and defines himself as a musician who expresses himself through poetry. Peter’s last two books Polyfonías (2008) and Delta (2014) are multilingual poetry collections both of which include recordings of his readings in dialogue with the musicians from Polyfonías Poetry Project. He blogs at www.pewesselblog.com.

Translation Tuesday: “Mal Paso” by Hugo López Araiza Bravo

Spanish/French/English—a multilingual Translation Tuesday, translated by criticism editor Ellen Jones



Select translation:

“But why do you want to go to Haiti?” they asked her in Santo Domingo. “You crazy?”

She only smiled like a naïve foreigner, mumbled something about a sociolinguistic interest in the borderlands, and went out of the department with her Lotman under her arm. While she waited for the bus to the coach station she looked over the timetable that her classmates had reluctantly given her. It was going to take the whole day. The first thing she had to do was leave the city by the Carretera Sánchez.

“I’m only going as far as Barahona,” the driver warned her when he heard where she was going. “From there, you’re on your own.”

She didn’t mind. She sat on the left hand side so she could say goodbye to the sea; she fixed her eyes on the waves while the vehicle moved over the concrete. The blue was giving way little by little to green. When nothing but mountains was visible, she fell asleep. She woke up just in time to see the Arco del Triunfo.

She had a hard time finding someone to take her the rest of the way. Finally she ended up with a lorry driver whose job was to supply sugar cane to the city’s sugar factory. He was loading his vehicle with big water bottles.

“There’s not enough water over there,” he explained. “I’m going to make more on this trip than I make in a month going back and forth like crazy.”

They set off when the driver was sure that he’d made use of every cubic metre of his hold. They left the city behind and went into the sugar plantations. The lorry’s cabin shook with a wave of vituperation against the sugar industry. How they were worked from sun up to sun down. How bateyes still existed. How people were dying from machete wounds. How even after everything slavery still persisted, it’s just that now they called it minimum wage. Then the Laguna del Rincón appeared, and the criticism was directed towards uncontrolled fishing and the loss of heritage as a result of greed.

“They extract gypsum from that mountain,” he concluded signaling towards the other side. “Don’t get me started on the mines.”

She didn’t. She wasn’t about to get involved in ethical debates with a man who was trying to sell water at the price of mercury to the victims of an earthquake. Besides, enough people had confided in her their misfortunes for her to know that all of Latin America was singing from the same song sheet: each country had its own versions of the same general ills.

They stopped in Duvergé for something to eat: rice and pigeon peas. As soon as their plates were clean her companion stood up.

“We’ve got to get to Jimaní before nightfall: it’ll be hard to find somewhere to spend the night.”

They could barely make out the city when it became clear that something was out of the ordinairy. It was seething. For the second biggest cité in the municipalité, there were too many people. And people in the streets. They had to réduice their speed to avoid running someone over. They soon understood that they were principalment refugees. They stopped in front of a house d’aspect humble.

“They’re distant relatives” her guide excused himself. “Tomorrow you can go to the border. It’s only two kilometres away.”

She passéd the nuit on a pallet in the cuisine.

She sortied early, with only a piece of manioc in her estomac. She calculated that she’d have to marche for three quarts of an hour. The streets were as full as the précéding nuit. The soldats from the Fortaleza looked suspicieusely at the people going past. She commenced to move between the multitudes, parfaitly aware that she was swimming à countercurrent. Quand she left the last houses behind, the route became more sauvage. Elle décida to walk on one side so it would be more facile to mouve. Those who were coming in the opposée direction looked like they hadn’t eaten in days. They came with almost zéro, with seulely the robes they were wearing quand tout had se passé. On her right était the Étang Saumâtre, et elle imagina that if the dominicain gouvernment had not permetted the réfugiés to entrer, these waters would now be full de illegaux swimming pour their survie.

Elle could déjà see Mal Paso. Le nom was apt: négliged constructions that spat out misérables, infernal portes. She made her way à travers the réfugiés et entréed a totalement chaótique square. There were pleine de gens en the mouve, here et là camions could be seen, still trying to continuer with their commerce. Among them were the improviséd campements for those who still pensaient que they pourraient retourn. Elle parcrossed le perimetre lentement, completely submergéed. Vraiment Mallepasse. Elle vint more proche à la frontière. Un point de contrôle de Casques Bleus garded le passage.

“Eh! La fille!”, lui hurla l’un des soldats. “Tu peux pas passer! Rien que de l’aide internationale y peut traverser! C’est pas du tourisme, une catastrophe pareille!”

Elle resta immobile. De l’autre côté, elle vit l’Ayiti. Tout te sanble diferan de lót bò a.

 

–¿Pero por qué tú quieres ir a Haití? –le preguntaron en Santo Domingo–. ¿Estarás tú loca?

Ella sólo sonrió cual extranjera ingenua, balbució algo sobre el interés sociolingüístico de la frontera y salió de la facultad con su Lotman bajo el brazo. Mientras esperaba la guagua hacia la central de autobuses repasó el itinerario que a regañadientes le habían dado sus compañeros. Le iba a ocupar todo el día. Lo primero que tenía que hacer era salir de la ciudad por la Carretera Sánchez.

–Yo voy sólo hasta Barahona –le advirtió el conductor cuando se enteró de su destino–. A partir de ahí, se ampara sola.

No le importó. Se sentó del lado izquierdo para poder despedirse del mar; clavó los ojos en las olas mientras la máquina avanzaba por el concreto. El azul fue cediendo poco a poco al verde. Cuando no se distinguía más que monte, cayó dormida. Despertó justo a tiempo para ver el Arco del Triunfo.

Le costó trabajo encontrar quién la llevara el resto del camino. Finalmente dio con un camionero encargado de abastecer de caña al ingenio de la ciudad. Estaba cargando su vehículo con garrafones.

–Allá hace falta el agua –explicó–. Voy a hacer más con este viaje de lo que gano en un mes dando vueltas como loco.

Partieron cuando el conductor estuvo seguro de que cada metro cúbico de su caja estaba aprovechado. Dejaron detrás la ciudad y se adentraron en los cañaverales. La cabina del camión se removió con un vendaval de vituperios al sistema azucarero. Que se trabajaba de sol a sol. Que seguía existiendo la raya. Que la gente moría de una herida de machete. Que después de todo se mantenía la esclavitud, aunque ahora le dijeran salario mínimo. Entonces emergió la Laguna del Rincón, y la queja se dirigió hacia la pesca indiscriminada y la pérdida del patrimonio por culpa de la avaricia.

–De ese monte sacan yeso –concluyó señalando hacia el otro lado–. No me haga comenzar con las minas.

No lo hizo. No estaba para meterse en debates éticos con un hombre que pretendía venderles agua a precio de mercurio a los damnificados de un terremoto. Además, ya había protagonizado suficientes confidencias de desgracias como para saber que toda Latinoamérica cojea del mismo pie: cada país tiene sus propias versiones de los males generales.

Pararon en Duvergé por algo de comida: arroz con guandules. En cuanto limpiaron el plato su compañero se paró.

–Hay que llegar a Jimaní antes que anochezca: nos va a costar trabajo encontrar dónde pasar la noche.

Apenas divisaron la ciudad se dio cuenta de que algo había fuera de lo commún. Bullía. Para ser la segunda ciutat más grande del municipio, le sobraba gent. Y gent en las calles. Tuvieron que diminuir la velocidad para evitar atropellar a alguien. Pronto comprendió que se trataba en su majoría de refugiados. Se detuvieron frente a una casa d’aspecto humilde.

–Son parientes lejanos –se excusó su guía–. Mañana tú podrás ir a la frontera. Está apenas a dos kilómetros.

Passó la noche en un catre en la cuisina.

Sortió temprano, sólo con un trozo de yuca en el ventre. Calculaba que devía marchar tres quartos de hora. Las calles estaban tan plenas como la noche précédente. Los soldats de the Fortaleza miraban méfiantes las gens que pasaban. Commenzó a moverse entre la multitude, parfaitamente consciente de que nadaba à contrecorriente. Quand dejó atrás las últimas casas, el chemino se devenió más agreste. Décidió andar par un lado, de sorte que le fuera más fácile déplazarse. Los que veníaent en sens contrairio paraîcían no aver mangiado en varios días. Veníaent casi sans nada, seul con las robes que portaban quand tout se avía passado. À su derecha étaiba el Étang Saumâtre, et se immaginó que si el gouverno dominicain no hubiera permis la entrée de refugiés, esas aguas serían ahora pleines de illegaux nageando pour la supervivencia.

Elle veía déjà Mal Paso. Lui iba bien el nom: unos bâtiments négligéados qui escupían misérables, unas portes al enfer. Se ouvrió paso à travers de los réfugiés et entró en une plaza totalement chaótique. Étaiba pleine de gens en mouvemiento, aquí et là se apréciaban los camions que avían todavía essayé continuer con el commerce. Entre eux étaiban les campaments improvisés de los que pensaient todavía que pourraient retournar. Parcourrió le pérímétre lentement, duramente impressionée. Vraiment Mallepasse. Elle vint más proche à la frontière. Un point de contrôle de Casques Bleus vigilait le passage.

«Eh! La fille!», lui hurla l’un des soldats. «Tu peux pas passer! Rien que de l’aide internationale y peut traverser! C’est pas du tourisme, une catastrophe pareille!»

Elle resta immobile. De l’autre côté, elle vit l’Ayiti. Tout te sanble diferan de lót bò a.

***

Hugo López Araiza Bravo is a Mexican writer and translator. His first book, Infinitas cosas, won the 4º Virtuality Literario Caza de Letras. His second will be out soon, and he's been shadow-boxing with a novel for over four years. In 2012, he won the Concurso 43 de Punto de Partida in literary translation, with a fragment of a novel by Amélie Nothomb. He's currently studying for a Masters in Translation at El Colegio de México.   Ellen Jones edits the criticism section of Asymptote, and contributes the occasional translation. She has a B.A. in English literature and Spanish, and an M.St. in English Language from the University of Oxford. She is now a Ph.D. candidate at Queen Mary University of London, researching English-Spanish code-switching in contemporary fiction, and the particular challenges associated with reading, publishing, and translating this kind of writing.

Translation Tuesday: Multilingual Poems by Ann Cotten

In honor of our July Issue, a super-special multilingual Translation Tuesday—Ann Cotten translates Ann Cotten, and back again!

Ann Cotten is a multilingual poet based in Berlin. These poems hail from Fremdwörterbuchsonette, her first book of poems. Inextricably multilingual, maddeningly compelling, borderline cantankerous—her poems are all unique valences of self-translations that interrogate place and language in way that evokes both the familiar and the jarringly new.

Select translation:

nonesuch I (from Fremdwörterbuchsonette)

 

The ghost entered me like a kind of shirt.

It hung next to the dancefloor and was opposite

to all. That sounds a bit odd, not quite

credible, certainly I cannot say it right.

 

Something was backward in the whole construction

of what I happened to be working on.

Time seemed to have some purpose further on

with me, wrung me and couldn’t work it out.

 

And so I leant against the wall and smoked,

and watched the Russendisko on and on and smoked

too much. And I was much too bored to write.

Still not at all ill at ease, squandering my light

I thought of never going home to better-lighted dirt

and suddenly began to see the ghost in the shirt.

 

“O ghost,” spake I, “please understand my wonder!

I didn’t know that ghosts would deign to wander

casting their eyes perplexingly asunder,

in shirts, our fears and echoings to pander.”

 

The ghost just stared at me. A girl came over

and asked me for a light. My boyfriend came

and told me he was going home. It was the same

to me. I nodded, quite the midnight rover,

 

knowing myself to have become rather a dud,

my self’s long-empty shell, and how my words

rustled and shifted, like rice in gourds,

vague and conceited like smoke from a cigarette,

cold and precise like condensation.

 

And I awoke, as cold as ash, in my own tub.

***

nonesuch II (from Fremdwörterbuchsonette)

 

In my own tub I lay and dreamt of girls

who come around and ask you for a light.

Their little souls rotate inside their eyes

as my lighter renders them closer than the night

 

which is the reason why I love these rituals

in which the incomparables and I unite.

And all the while I know my cigarettes are all

exactly the same length, and they seem to invite

 

their and my own interconfoundability,

white, lightweight, full of discontent,

rattling and wheezing when they’re full of tea

and, taken, all desire just to be spent,

as air races through them, they wake the ghosts

and attract minutes, posted between the lips’ red boasts.

 

The ash upon the water forms a brittle film.

Mein Liebling, erklärst du dich zu meiner Giraffe,

verspreche ich, dass ich dich immer lachen mache.

The past has risen and is lapping at my chin.

Die Biber haben alle Bäume abgenagt, mein Lieber, sieh,

noch während wir hier stehen, beknabbern sie meine Knie.

 

The tap presses a lullaby into my nape,

the boiler hums a low and dismal tune,

I watch myself scratch myself like an ape,

and fall asleep into the arms of monster rune:

 

It isn’t realistic to be lying here.

In all the fog and damp time seems to override itself.

I cannot reach you, not with beer, nor animals, nor jokes;

everything runs out; the ghost of the night lives to side with itself, but chokes.

nonesuch I (from Fremdwörterbuchsonette)

 

Der Geist betrat mich wie eine Art Hemd.

Es hing am Rand der Tanzfläche und bildete

den Gegenpol zu allem. Das befremdet,

wirkt unerklärlich, wenn ichs schildere.

 

Es war etwas verkehrt an dem Gebilde,

an dem ich zu der Zeit gerade arbeitete;

die Zeit führte mit mir etwas im Schild,

wrang mein Gebein und kriegte es nicht raus.

 

Und so lehnte ich rauchend an der Wand,

schaute der Russendisko zu und rauchte

zu viel. Zum Schreiben war mir viel zu fad.

Ich war trotzdem nicht unzufrieden, dachte

entfernt daran, eher nicht heimzugehen,

plötzlich begann ich diesen Geist im Hemd zu sehen.

 

“O Geist,” sprach ich, “verstehe mein Befremden:

Ich wusste nicht, dass Geister auch in Hemden,

die großen Augen gegenteilig wendend,

Widerhall, Trost und Unbehagen spenden.”

 

Der Geist indessen starrte mich nur an.

Ein Mädchen kam zu mir und bat um Feuer.

Meine Begleitung kam und sagte, dass er heimgeht.

Ich nickte nur, als ging es mich nichts an:

 

Ich war schon lange nur mehr eine Panne,

die Schale meiner selbst, und ausgehöhlt

klimperten geistermäßig meine Worte,

vag und geziert wie Zigarettenrauch,

kalt und präzise wie Kondensation.

 

Ich wachte auf, wie Asche kalt, in meiner Badewanne.

***

nonesuch II (from Fremdwörterbuchsonette)

 

Ich badete und träumte von den Mädchen,

die herkommen und mich um Feuer bitten.

In ihren Augen rotiern ihre Seelchen

in meinem Feuerschein in kurzen Augenblicken.

 

Deswegen liebe ich ja diese Sitten,

in denen unvergleichlich sich vereinen

jene und ich. Und meine Zigaretten

sind glatt und alle gleich lang. Bescheinigen

 

sie ihre und meine Vertauschbarkeit,

weiß, leicht und voller Unzufriedenheit,

klappernd und rauschend, wenn sie altern,

und jung voller Verlangen, wenn der Atem

sie schnell durchzieht, so wecken sie die Geister,

binden künstelnd Minuten, an Lippen gekleistert.

 

Die Asche auf dem Wasser bildet einen Film.

My darling, if you will be my giraffe,

I’ll promise to do things to make you laugh.

Mir reicht Vergangenheit bis an mein Kinn.

The beavers, dear, have gnawed off all the trees,

and as you look at me they’re working on my knees.

 

Der Hahn drückt mir ein Schlaflied in den Nacken,

der Boiler summt den Bass betrübt und wüst,

ich schaue mir beim Dösen selbstgesprächig zu,

gleich wird das Brainmap mich mit den Tentakeln packen:

 

Es ist nicht realistisch, hier zu sitzen

im Dunst, im Nass hebt Zeit sich aus den Angeln.

Erreich dich nicht mit Tieren, nicht mit Witzen, es läuft aus und

der Geist der Nacht sitzt tief im letzten Gurgeln.

Ann Cotten, born 1982 in Iowa, U.S., grew up in Vienna, Austria and moved to Berlin in 2006. Her first book of poems—excerpted here—consisted of 78 double-sonnets and made waves in the German poetry scene. She then published her diploma thesis on concrete poetry (Nach der Welt, Klever Verlag 2008), a second book of poetry and prose ostensibly written by a palette of characters (Florida-Rooms, Suhrkamp 2010), a 1-Euro elegy (Das Pferd, SuKultur 2007), part of an underground-bibliophile "Schock" edition (Pflock in der Landschaft, 2011), and a book in English: I, Coleoptile (Broken Dimanche Press, 2011). In 2013, she published The Quivering Fan, a collection of short stories with erotic, philosophical and political content. In 2014, she started a project on mnemotechnical poetry working with Japanese Kanji. This year will see her second English-language publication, Lather in Heaven (Broken Dimanche Press).