Posts filed under 'Poetry'

In Conversation with Annie Zaidi

"...it became apparent at once that women have always used writing as a form of politics and activism."

In a conversation about a younger generation of Anglophone writers in India, Annie Zaidi’s name is bound to come up. From poetry to non-fiction to drama to a novella that is both ghost story and romance, her writing continually shifts forms, landscapes, and languages. Zaidi is the editor of Unbound: 2,000 years of Indian Women’s Writing and the author of Gulab, Love Stories # 1 to 14, and Known Turf: Bantering with Bandits and Other True Tales. She is also the co-author of The Good Indian Girl. Her work has appeared in several anthologies including Eat the Sky, Drink the OceanMumbai NoirWomen Changing India, and Griffith Review 49: New Asia Now. Zaidi spoke with me about her influences, process, and literary interests in an email interview. 

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Poorna Swami: Your grandfather was a well-known Urdu writer, and you have said in the past that literature was a big part of your childhood. How has that culture of language and literature influenced your career as a writer? Although you write primarily in English, does Urdu shape your work in any way?

Annie Zaidi: Literature was a big part of my childhood, but not in the sense of literature with a capital L. My family had some literary background, and there were a lot of books around but there were no literary discussions and for many years, I did not have access to a good library. But books were seen as a good thing and we were bought books and comics from an early age. Books were my main source of entertainment and, later, my main solace. I read almost all the time and that turned me into somebody who didn’t know much except the world of words and stories. Turning to literature as a vocation was a very short step from there. READ MORE…

Issue Spotlight: Interviewing Uyghur Poetry Translator Joshua Freeman

"A lot of what's really vibrant and interesting in Uyghur poetry right now is happening primarily on the web, and even on phone messaging apps."

 

Your translation of Merdan Ehet’éli’s poem “Common Night” is Asymptote‘s first piece from the Uyghur. I want to point out two words from the poem: “pig iron” and “hellfruit.” Can you tell us about these words and how you translated them?

The Uyghur word choyun (also chöyün) refers to pig iron or cast iron, and for me it calls to mind something hard and rough. The connotations are much less positive than the words tömür (iron) and polat (steel), both of which are used in Uyghur personal names. In speaking of “a night poured into our spines like pig iron,” Merdan Ehet’éli may be alluding to Tahir Hamut’s well-known poem “Summer Is a Conspiracy,” in which Tahir refers to fear’s “pig iron voice”, which “seeps into the marrow / and hardens.”  READ MORE…

5 Must-Reads from Our October Issue!

The October issue is live—and with so much good content, you might be overwhelmed. Take a deep breath, and dive in:

Hot off the digital presses! Asymptote‘s new October issue is live—and completely, utterly alive and alight with literary voices from around the world. This season’s issue is especially star-studded—featuring star writers like Yves Bonnefoy, Sjón, and Thomas Stangl—but it’s equally stuffed with brilliant, lucid literary voices you simply haven’t heard of . . . yet. That’s where translation (and Asymptote) comes in.

But with so many gems of fiction, poetry, nonfiction, we get it—you might be overwhelmed at the prospect of so. much. reading. So if you’re sneaking a read at work (psst—we won’t tell), here are five quick reads sure to make the time pass more quickly:

1. Roland Glasser on translating Fiston Mwanza Mujila’s Tram 83, by Roland Glasser

The difficulty of translating is something not only every budding translator but every writer can relate to all too well. The struggle of finding the right word, regardless of the language, is something that Robert Glasser iterates very clearly in the essay. Whether it’s a thin, overworked, minor-miner (known as a biscotte in French slang) or a slim-jim, as Glasser translates it—the right word at the right time can mean a world of difference.

Glasser understands this endeavor, and succeeds at illuminating the translation quagmires in Fiston Mwanza Mujila’s Tram 83. The scenes of “melting-pot” Parisian people, food, and culture flow throughout the piece, juxtaposing the worlds people have left behind with the world of the novel being translated. Reading this piece is a surefire way to get excited, not only about Glasser’s writing, but also his translation of Tram 83, released on September 8th, 2015, by Deep Vellum. —Allegra Rosenbaum, asssistant blog editor READ MORE…

Translation Tuesday: “We Are Trouble’s Obedient Children” by Lut Ming

"The army is the dreams we share / Our tent is the sky (we have nothing to hide) / Take a deep breath."

There are no city gates here

No city walls, no army, no tanks

There are the people, there are things they care about, there are tents

There is the night sky with no wind, an empty, empty sky

You can watch the TV, the one and only CCTV,

To learn about the world and

Watch live-edits of people hurting people,

The Tape Recorder looks stuck up

In his suit and tie. He’s getting ready to lie

But his eyes are flickering (tape’s stuck, won’t play)

READ MORE…

Translating Indigenous Mexican Writers: An Interview with Translator David Shook

"I suspect many casual bookstore readers might not know how many languages are still spoken in Mexico. The sheer diversity is astounding."

David Shook is a poet, translator, and filmmaker in Los Angeles, where he serves as Editorial Director of Phoneme Media, a non-profit publishing house that exclusively publishes literature in translation. Their newest book is Like a New Sun, a collection of contemporary indigenous Mexican poetry, which Shook co-edited along with Víctor Terán.

Seven translators in total—Shook, Adam W. Coon, Jonathan Harrington, Jerome Rothenberg, Clare Sullivan, Jacob Surpin, and Eliot Weinberger—translated poets from six different languages: Juan Gregorio Regino (from the Mazatec), Mikeas Sánchez (Zoque),  Juan Hernández Ramírez (Huasteca Nahuatl), Enriqueta Lunez (Tsotsil), Víctor Terán (Isthmus Zapotec), and Briceida Cuevas Cob (Yucatec Maya). I corresponded with Shook over gchat to speak with him about the project.

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Today is Columbus Day, a controversial holiday in the United States. Several cities have recently adopted Indigenous Peoples’ Day over Columbus Day, clearly a victory for recognizing indigenous cultures in the United States. Which leaves me wondering: how are the indigenous Mexican writers recognized today in the Mexican literary landscape?

As someone who regularly visits Mexican literary festivals and also translates from the Spanish, I’ve observed the under-appreciation of indigenous writers firsthand. Mexico’s indigenous communities make up 10 to 14% of its total population, and you certainly don’t find anywhere near that percentage of literature being published in Mexico today. READ MORE…

Publisher Profile: Ugly Duckling Presse

"I think there’s an interest among the editors in finding new translators, allowing the work of new translators to shine."

Ugly Duckling Presse is a nonprofit publisher for poetry, translation, experimental nonfiction, performance texts, and books by artists. Matvei Yankelevich is the co-founder and co-executive director of the press, and Rebekah Smith is an associate editor who spent the summer in Buenos Aires. We chatted over Skype about the press’s origins, as well as two of its translation series: EEPS (the Eastern European Poets Series) and Señal, which Rebekah and Matvei both curate. 

Alexis Almeida (AA): I want to first ask about Ugly Duckling’s origins. I read recently that you started as a zine and over time evolved into a small press. Can you highlight a few major transformations that the press went through during in this time? What were you goals for the press initially, and how have they changed over the years, especially as you expand to include more collective members and publish new kinds of books?

Matvei Yankelevich (MY): Well, it’s important to say first that the press has very little to do with what the zine was, although the name stuck. When I moved to New York, I kept using the name for new collaborative projects with people I met. When we decided to actually do something more substantial, in the late 90s, we were just a group of writers, artists, and theater people. It wasn’t necessarily going to be a publishing house, but we decided to keep the name, Ugly Duckling Presse. What united us, or gave us the idea of working together, was that we were making books with each other, or for each other, so books were a common language. And the original idea was that we would publish things, maybe have a space, have performances and shows, but that was very difficult in late 90s New York. READ MORE…

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).

Thirst is the Force of Gravity: Ferreira Gullar’s “Dirty Poem” in Review

"The poem’s necessity makes me bitter."

Much has already been said about exile. Losing a country or losing a home is “like death but without death’s ultimate mercy,” “a kind of ripping apart,” “a condition of terminal loss.” Ferreira Gullar wrote Dirty Poem (newly translated by Leland Guyer for New Directions) in 1975 in Buenos Aires, while in political exile from the Brazilian dictatorship. Like the author himself, the speaker of Dirty Poem imagines his return home, an attempt to recover the São Luís do Maranhão of his childhood.

The opening stanzas of this 80-page poem are filled with gaiety and fond memories of youth in the northeast region of Brazil. But just a few pages later, the speaker “preaches subversion of political order” and is banished to Argentina. In a fine translation from the Portuguese, Leland Guyer captures the richness of language of Gullar’s poetry—from local idioms to the language of displacement. The book culminates in saudade, alienation, and decay. READ MORE…

Translation Tuesday: Poems by Irma Pineda

Love / my belly is now a dry tree / that once wanted to bloom stars for your nights.

On waking from your death
here you will see me
awaiting your hummingbird’s return
transformed into an old tree.

Al despertar de tu muerte
me verás aquí
convertido en un árbol viejo
que espera tu retorno de colibrí.

Dxi guibáni xquendagutilú
rari’ nga suuyu’
naa ma’ naca’ ti yaga yooxho’
cabeza’ guibiguetu’ sica ti biulú.

 

READ MORE…

Translation Tuesday: “Barefoot Through the Temple” by Albert Ostermaier

a sticky pressure / on my soles crusted / animal blood ash red blossoms / charred at the edges

nice shoes he pointed to
my shoes i took them
off i know you he smiled
you’re a movie star i
smiled back camera
switched on he rolled his
eyes you can take a
picture of me i counted
the money out he put the
notes in his breast pocket
bowed briefly &
took me by the hand
where do you come from
READ MORE…

Translation Tuesday: Poems by Ronny Someck

"In his painted eyes you can see a whole herd, / the prey in his dream’s forever-forest."

Bloody Mary 

                   

And poetry is a gun moll

in the back seat of an American car.

Her eyes pressed like triggers, her pistol hair firing blond

bullets down her neck.

Let’s say her name is Mary, Bloody Mary,

words squeeze out of her mouth like the juicy guts of a tomato

whose face was knifed just beforehand

on the salad plate.

She knows that grammar is the police force of language—

her earring transmitter

detects the siren at a distance.

The steering wheel will shift the car from question mark

to period

when she’ll open the door

and stand on the curb as a metaphor for the word

prostitute.

READ MORE…

In Conversation: Alex Cigale, Guest Editor of the Atlanta Review’s Russian Poetry Issue

An interview with Alex Cigale on editing the Atlanta Review's Russian Poetry Issue

 

I interviewed Alex Cigale, guest editor for the Russia issue of the Atlanta Review, to pick his brain about the editing process, the special issue, and the state of Russian poetry at-large.

Alex Cigale (former Central Asia editor-at-large for Asymptote!) has collaborated with the editors of the anthologyCrossing Centuries: the New Generation in Russian Poetry (2000), and more recently, the online Twenty First Century Russian Poetry (Big Bridge 16, 2014). Independently, he has presented a score of contemporary Russian poets to Anglophone readers. This year, Cigale was the recipient of an NEA in Literary Translation for his work with poet of the St. Petersburg philological school, Mikhail Eremin.

The Atlanta Review is known for its long-established and respected annual contest, offering publication in each of its fall issues, with a $1,000 top prize and 20 publication awards for finalists (including 30 merit awards for semi-finalists). In its 20-year history, it has published a long list of established poets, including Seamus Heaney, Rachel Hadas, Maxine Kumin, Stephen Dunn, Charles Wright, Billy Collins, Derek Walcott, Paul Muldoon, and so on.

PN: What did the Atlanta Review ask from you for its Russia Issue? How did you approach the editorship and solicit contributions?

AC: My directions were quite open: curate an 80-page section of contemporary Russian poetry. In every Spring issue, the Atlanta Review includes an international feature. In recent years, it had shone a spotlight on international hotspots (Pakistan, Afghanistan, Iran, etc.) as well as on Anglophone or partly-Anglophone nations in the news (India, Ireland, and Scotland, the latter forthcoming in 2016).

While each is planned two years in advance, the editorial phase itself is quite brief: in my case, I only had this past late fall/early winter to work on the curation, so its contents were largely determined by what unpublished work in translation was available at the moment. As I noted in my introduction, above all else, the issue is a “slice of life”—what (primarily American) translators of Russian poetry are working on right now. The world of Russian poetry translation is a fairly small community, so I was able to put out early word of the issue on social media and correspond with nearly each translator personally to discuss their projects. READ MORE…

Translation Tuesday: “Sketch” by Zerina Zahirović

Translated by our editor-at-large Mirza Purić

She died quietly, she died the death of those who love stubbornly, angrily, jealously, secretly, and

elephantishly. At a neighbour’s urge, she treated rheumatoid arthritis with crude oil. The therapy resulted in second-degree burns. On the inside of my eyelids I sketch her knees – two magical orbs of glass – and I rub them with devil’s claw unguent. Prayer and displeasure spill softly in the room in which we are alone and furtive, for

where, why, and for whom does the devil

make unguent from his claw? She died quietly, to render loud some mornings that had tumbled down and stuck into me like hedgehogs. I sketch those mornings as a

 

crooked bicycle tyre. I push the bicycle uphill into the whitish dawn, I hurry to spill before her the smell of the lead from the newspaper, the smell of the pastry which is a crumbled sketch of her face on the inside of my eyelids. The way I close the distance between us is like the way her eyebrows come together in a frown, she pushes hard sugar cubes into my mouth, and I buzz in the garden for hours and I sip the sap of a liquorice. I sketch her as READ MORE…

Translation Tuesday: Poems by Boris Vian

Translated by Jeremy Page

THE SPIDERS 

To Odette Bost

 

Into the houses where children die

Go some very old people.

They sit down in the antechamber

Their sticks between their black knees.

They listen, nod their heads.

 

Every time the child coughs

Their hands clutch their hearts

And make big yellow spiders

And the cough, rising through the furnishings,

Is shredded, listless as a pale butterfly.

 

They have vague smiles

And the child’s cough stops

And the big yellow spiders

Rest, shaking,

On the polished boxwood handles

Of the sticks, between their hard knees.

 

And then, when the child is dead

They get up, and go elsewhere…

READ MORE…