Posts filed under 'trauma'

Translation Tuesday: Five Poems by Radmila Petrović

January 26, 2021  |  in Translations  |  by Jovanka Kalaba

some words are so tender / that we keep them in greenhouses

For this week’s Translation Tuesday, memories of a pastoral youth emerge as an urban woman’s coming-of-age in these selections from Serbian poet Radmila Petrović. Our speaker alternates between moments of bittersweet nostalgia for her erstwhile village life (“The Curse of the Woods”), and a reckoning with the violent patriarchal norms of her home (“Forest, Plow, Primrose”). This sequence of poems demonstrates a liberated wisdom beyond the stifling lessons of past generations, a voice which confronts the brutality of patriarchy—and even the alleged inefficacy of poetry itself—with an acerbic wit (“Above Your Collarbones,” “Just Checking”). Petrović’s verse masterfully bridges a bitter, world-weary narrative voice with moments of childlike vulnerability (see especially the power of maternal silence in “The Language of Plants”), and deploys bucolic images alongside moments of bodily destruction. Of particular note is the poet’s use of line breaks (here captured by the superb translation from Jovanka Kalaba and edited by Ellen Elias-Bursać) to almost mimic the process of gradual, episodic recollection—and the hesitation warranted by traumatic memory.

The Curse of the Woods

does never came near the households
we would see them when we headed uphill
to pick rosehips for jam

one summer while mowing a meadow
Father accidentally mowed a fawn
the mountain wailed at sunset

ever since that day I have always
walked in front of the mower
moved rabbit kits out of the way
catapulted snakes with a pitchfork

ever since that day I have carried the curse of the woods

your doelike heart sees yellow hunting dogs
in my eyes
my fingers feel like blades of a mower

You can’t do this anymore, you said

Mother put my legs out with the hay
this morning
for the cows READ MORE…

Announcing our November Book Club Selection: At the Lucky Hand, aka The Sixty-Nine Drawers by Goran Petrović

November 30, 2020  |  in Book Club, Reviews  |  by Lindsay Semel

One could spend a pleasant hour wandering inside nearly every evocative sentence of At the Lucky Hand.

As we inch towards the end of a year that has tested in turn the limits of our imagination, the capacities of our patience, and the extent to which we indulge our escapist tendencies, we have been encouraged to examine closely the narratives that perpetuate contemporary existence: narratives that not only exist within the pages of books, but that also thread our day to day, commanded by something as curious as it is unknown. So, in our second-to-last Book Club selection of 2020, we are thrilled to introduce a complex, mysterious, and commandingly beautiful novel by Serbian master Goran Petrović, which inquires into the infinity of literary invention in order to infer how fantasy contributes to reality.

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, you can join the online discussion on our Facebook page!

At the Lucky Hand, aka The Sixty-Nine Drawers by Goran Petrović, translated from the Serbian by Peter Agnone, Deep Vellum, 2020

Goran Petrović’s At the Lucky Hand, translated from the Serbian by the late Peter Agnone, flatters the sensibilities of those enamored with the written word—within its pages, we become romantic leads and daring detectives. Our quality of “mild presence or mild absence at the same time” becomes a virtue, nearly a superpower, highly valuable to various profiteering types. In fact, the novel is Petrović’s contribution to what might be considered the devastatingly nerdy genre that animates literary theory. And yet, this is only one face of a multifaceted work. Irresistibly engaging and virtuosically crafted, At the Lucky Hand marries high theory with high drama in spaces so quiet and invisible, that their liveliness takes one completely by surprise.

Petrović strikes a winning balance between imaginative extravagance and sober social criticism. Adam Lozanić, a somber, lonely philology student and part-time proofreader, receives a lucrative job offer from a mysterious couple; he must revise a memorial already long out of print. The book, expensively self-published, contains six hundred pages of description with no plot or characters to speak of. Adam and his employers are practitioners of a sort of reading analogous to lucid dreaming, in which they can meet other readers enjoying the same book at the same time and explore the universe of the text in all the richness suggested, not explicated, by the words. The elaborately described estate, imagined by the deceased author in a state of devotion to a love no less real for having never escaped the page, provides a ripe stage. Adam and the few other readers, thrown together by happenstance, fill in the vacuums where conventional literary elements were missing. Love, murder, mystery, power, and ambition electrify places that tremble on the edge of existence and people who, by all appearances, sit in chairs moving nothing but their eyeballs.

Jelena, characterized mainly by her pleasant smell, fervent desire for escape, and careful companionship to an increasingly senile woman, unwittingly enchants the innocent Adam. But they are only the latest lovers to inhabit the home and garden. As the stories of their predecessors unfold, frustrated precisely because of the disjunction between the realities on and off the page, one yearns for Adam and Jelena to reconcile the two. However, the more decidedly a character chooses to exist inside the literary imagination, the more they develop a noble purity outside of it. Adam and Jelena learn what the more seasoned readers already know: that they neither need nor want anything of “real” life. The very food that nourishes them is cooked in fictional kitchens and the money they exchange in long-shuttered shops appears from memories of long-defunct banks. Using nothing, they are useful to no one, and the talismans that give them access to their imaginations are the only means one has to influence them. READ MORE…

What it Takes to Come Home Again: Nadia Terranova’s Farewell, Ghosts in Review

September 9, 2020  |  in Reviews  |  by Victor Xavier Zarour Zarzar

Terranova [. . .] foregoes the hyperbolic, opting instead for nuance and realism.

Farewell, Ghosts by Nadia Terranova, translated from the Italian by Ann Goldstein, Seven Stories, 2020

Nadia Terranova’s sophomore novel—her first to be published in English—is a carefully crafted meditation on familial ties and the pernicious effects of unprocessed trauma on a woman’s sentimental education. Originally published in 2018, Farewell, Ghosts tells the story of Ida, a thirty-six-year-old woman who lives in Rome and makes a living by writing stories for the radio. One morning in September, she receives a call from her mother, asking her to come home to Messina—a city that Ida has ceased to think of as hers—to help prepare their house for sale. In sorting through the objects of her childhood, Ida will be forced to revisit the trauma that defined her life: the sudden departure of her father when she was thirteen.

Although we are told that Ida’s father, Sebastiano, suffered from severe depression, his disappearance is never explained, nor is it clear if he is still alive. His fate, however, is of little consequence to the novel, which instead lingers with the living—those left behind in the wake of abandonment. Years after the event, Ida’s emotional growth has been stunted by the failure to come to terms with her pain, a failure exacerbated by the lack of a body to mourn, or even the certainty of death. As a result, Ida has grown into a woman who meticulously and egregiously avoids emotion, preferring to reroute her suffering via the “fake true stories” that she writes. She carries herself—and her relationships—with a composure that betrays a tumultuous undercurrent of repressed feelings, acquired through years of conscious disassociation.

There is, for instance, her marriage—described as a “lame creature”—to the dependable-if-too-bland Pietro, perfectly named for his rock-like reliability and immutability. As Ida remarks at some point, “our bodies had stopped functioning together, stopped fitting together in sleep and the waking that precedes it; we had become shields for one another.” Progressively, the novel reveals that this extreme reserve comes from Ida’s adolescent years, in which her mother entrusted her with the care of her father while she went—or, as Ida saw it, escaped—to work. The pain of these years and the culminating abandonment drove a wedge between the two women. “If there was an art in which my mother and I had become expert during my adolescence,” Ida says, “that art was silence.” Even decades later, their relationship is entirely modulated by her father’s absence, governed more by the things left unsaid than those they are able to utter.

It is to Terranova’s great merit that she is able to capture trauma’s potential to stop time in such a limpid manner. Among the novel’s many metaphorical figures (the house and its crumbling foundations, for one) is the alarm clock that belonged to Ida’s father, frozen at 6:16 a.m. on the day he left. “The alarm clock said six-sixteen,” Ida muses, “[and] would say six-sixteen forever.” Victorianists and fans of Dickens will sense a reference to Great Expectations, specifically to the morbidity of Satis House, where all the clocks had been stopped at twenty to nine, the exact time when Miss Havisham realized she’d been abandoned by her lover. Conjuring the specter of Miss Havisham makes abundantly clear just how high the stakes are for Ida, and the extent to which she risks being trapped in the prison of trauma. And while Dickens’s depiction of a woman ravaged by abandonment was inflected by his extraordinary gift for the grotesque, Terranova makes a similar claim about the dangers of remaining stuck in the circuity of grief, even if she foregoes the hyperbolic, opting instead for nuance and realism. READ MORE…

Translation Tuesday: “On How to Be a Good Immigrant” by Elvira Mujčić

June 30, 2020  |  in Translations  |  by Matilda Colarossi

Don’t worry about it, somebody had to cry. What the heck kind of story on immigration would it be if nobody cried?

In this week’s Translation Tuesday, two immigrants bare the wounds of their respective traumas in this excerpt from Elvira Mujčić’s novel On How to Be a Good Immigrant. Our narrator, a Bosnian immigrant haunted by the atrocities that robbed her of her family and her home, finds kinship with an immigrant from Mali, who opens up about the systemic racism he endures in Italy. Colarossi’s superb translation captures the subtleties of Mujčić’s prose: the uncomfortable silences, the hesitant divulgences, and the quiet pain that follows when the narrator’s emotional walls break down. A meditation on the myriad ways immigrants face trauma and are expected to appease Western stereotypes.

Chapter X

“Can you light a fire wherever you like in Italy?” asked Mele, a friend of my brother’s whom I had met the last time I was in Bosnia.

“What do you mean?” I asked surprised by the sudden turn the conversation had taken from the surreal dissertation on the non-existence of God of just a few minutes ago.

“I mean: can a man light a fire wherever he likes and cook lamb on a spit?”

“No, you can’t.”

“Well, life isn’t worth living in a country like that!”

Why did everything have to take a folkloristic hue, I wondered, annoyed and uncomfortable, like some sort of Austro-Hungarian elementary teacher sitting on an Oriental futon. I was going to meet Ismail when I remembered the incident. It was probably because of our last discussion and the African proverb with which we had greeted each other: “When you don’t know where you’re headed, remember where you came from.” You should have instructions on how to be a good immigrant when you go back to your homeland, I thought. And suddenly I realized that the longing I had felt for tens of years was gone, replaced with a renewed curiosity for that country’s present. But I only loved it if it was set in the past, because it couldn’t harm me from that distant place. My curiosity was not, however, light and untroubled: it was often laden with overwhelming sorrow and paralyzing fear. It was a visceral bond I could do absolutely nothing about, an incessant alternating of thoughts that went from the conviction that I had left something there that I absolutely needed to find, and the realization that what I was looking for was made of the same substance as fog. READ MORE…

Textual Echoes: Elisabeth Jaquette on Translating Adania Shibli’s Minor Detail

June 25, 2020  |  in Book Club, Interviews  |  by Daniel Persia

In the novel, social and political commentary operate at the level of events, as well as at the level of language.

As thousands of Palestinians protest against Israel’s newly announced annexation plans for significant parts of the West Bank and Jordan Valley, Adania Shibli’s haunting, persistent novel, Minor Detail, seems especially potent as our May Book Club Selection. The text is written in two parts: the first is set in 1949 and details a horrifying act of violence committed by Israeli soldiers, while the second takes place during present day, in which another young woman discovers the crime and makes a place for it within her own life. As Palestinians continue to struggle in turmoil, Shibli’s masterful language transposes the past into now, in a profound recognition of violence and its intricate legacies. In the following interview, Daniel Persia speaks to the translator of Minor Detail, Elisabeth Jaquette, about how she has rendered this powerful narrative for English-language readers.

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, you can join the online discussion on our Facebook page!

Daniel Persia (DP): Time seems crucial to our understanding of Minor Detail, both in terms of its historical context and the passing of events. Can you talk a little bit about time in translation—how it’s expressed in the Arabic language, and whether this presents any challenges when thinking about English tenses or ways to recreate stillness and movement?

Elisabeth Jaquette (EJ): Time often poses challenges for me as a translator working from Arabic to English, but oddly enough this book didn’t pose particular conundrums in that regard. With other books, I’ve found that English publishing has a greater expectation that readers be able to place events on a precise timeline in relation to one another, whereas that’s somehow less crucial in the Arabic book. In Minor Detail, I felt that the reader’s sense of time was constructed less through events or tense, and more through repetition, pacing, and tone. In Part I in particular, there’s a somewhat paradoxical contrast between dates being directly stated: “9 August 1949 . . .Before noon, 10 August 1949,” and so on, and the way that the officer’s repetitive, enumerated actions make one day bleed into the next, creating stillness even though the passing dates are marked. In Part 2, I also felt that tone and voice, and especially narrative digression, were central to the reader’s sense of movement.

DP: The scene in which Israeli soldiers capture and hose down the young Arab woman is, I think, one of the novel’s most haunting. What was it like to translate this kind of trauma? Does a scene like this demand more of you as a translator—not only technical skill, perhaps, but something like emotional resilience?

EJ: In the face of such traumatic scenes, should we understand readers as bearing witness, or as implicated onlookers? Translators, like writers of course, are more intricately involved: a translator recreates the scene word-by-word in English, actively crafting it. The scene where the soldiers hose down the girl, and her subsequent rape, were certainly the most raw for me. There is tension between the emotional trauma of the actions and the matter-of-fact way in which they is narrated, and I consciously worked to maintain that impassivity at the level of language, following the Arabic’s choice of neutral words, even though the emotional impact of these scenes is high. In some ways I felt that the distanced style of narration amplifies the horror, because the girl is all the more isolated in what she endures. READ MORE…

What’s New in Translation: June 2020

June 15, 2020  |  in New in Translation, Reviews  |  by Alyea Canada, Eva Wissting, and Katarzyna Bartoszyńska

New publications from Brazil, Japan, and Poland!

This month, our selections of newly published literature from around the globe seem to cohere under the umbrella of trauma and memory, and the way they inevitably turn into narratives in the process of retrospection. From a Polish work of non-fiction that traces the sufferings of Poles during WWII, to the journals that document a Jewish immigrant in Brazil, to the strange and unspoken secrets of a small village in Japan—these works are of both documentation and imagination.

Logo-World-Editions-2018-black-white

A Little Annihilation by Anna Janko, translated from the Polish by Philip Boehm, World Editions, 2020

Review by Katarzyna Bartoszyńska, Educational Arm Assistant

It is a grim fact, one that acquires increasing urgency in recent years, that those who were alive to experience the horrors of the Second World War are getting older: before long, we will no longer be able to talk to people who have direct experience of those times. Thus, we are increasingly grappling with the problem of second-generation memory: with the matter of how the descendants of survivors preserve and pass on the stories of the past for future generations, and with questions as to whether, or how, those descendants inherit the trauma of their ancestors. Anna Janko’s A Little Annihilation is a powerful meditation on these issues.

In this reckoning with the past, Janko describes the destruction of the Polish village of Sochy by the German military on Tuesday, June 1, 1943: the inhabitants massacred and buildings burned to the ground over the course of a mere few hours. Nine-year-old Teresa Ferenc, Janko’s mother, was among the survivors. In recounts of conversations, her mother describes her memories of that day—most especially, witnessing the death of both of her parents. Janko also chronicles interviews with other survivors from the village, interweaving their stories and noting the discrepancies between them, while describing efforts to tabulate the exact number of lives lost. The impossibility of establishing precise details is a crucial reminder of the intertwined nature of history and memory, a refutation of the common notion of their opposition, as well as a reflection on the challenges of documenting a massacre.

For some English-language readers, Janko’s text may be the first work they have encountered that discusses the sufferings of non-Jewish Poles during the Second World War. For Americans especially, to learn about Nazi atrocities is generally to learn about their efforts to exterminate European Jews, without a detailed understanding of how their eugenicist ideology shaped their policies and strategies in a broader variety of ways. Confusion over the fact that Poland was occupied territory has led to mistaken statements about “Polish death camps” (most notably, perhaps, when President Barack Obama used the term during a ceremony awarding the Presidential Medal of Freedom to Jan Karski in 2012; he later apologized for the error)—as Janko angrily reminds readers. “In my opinion it would be best if Germany gathered up all the camps they left behind in Poland. So that no one would be mistaken any longer.” READ MORE…

Writing Orang-orang Oetimu, Writing Wounds

March 26, 2020  |  in Essays  |  by Felix K. Nesi and Lara Norgaard

Once I managed to accept that those stories had been invented, I started to enjoy writing. When else would I be allowed to lie to people like that?

Two years ago, in 2018, a book by a little-known author won the Jakarta Arts Council annual award for best novel and became one of the most widely discussed texts in contemporary Indonesian literary circles.

Orang-orang Oetimu (People of Oetimu) by Felix K. Nesi is a portrait of a small fictional town on the island of Timor in eastern Indonesia. The book clearly stands out for its satirical wit, cyclical structure, and cohesive navigation of myriad perspectives. However, also remarkable is the way in which Nesi – himself originally from Timor—depicts the province of East Nusa Tenggara, a peripheral region that is seldom represented in Indonesian literature. His is a humorous yet fully heartfelt depiction of life in the context of pervasive violence in Timor. From 1974 to 1998, the Revolutionary Front for an Independent East Timor (Fretilin) led a fight for East Timorese independence, and the Indonesian state in Jakarta attempted to crush the separatist movement at all costs, committing gross violations of human rights against members of the revolutionary movement and civilians alike. In representing the reality of Timor, Nesi also exposes political and social ills from across the Indonesian archipelago.

Today, Nesi continues to command attention in Indonesia as one of the country’s emerging literary voices. In the first weeks of 2020, the author spoke on his process for writing Orang-orang Oetimu in Yogyakarta, a university city on the island of Java. He began by expressing the motivations behind writing one of his characters: Laura, a young woman who, in the novel, is kidnapped, separated from her parents, detained without trial, tortured and abused, before finally escaping into the forest and stumbling upon a small kampung. From Nesi’s powerful, personal anecdote on Laura’s character arose a reflection on the main concerns embedded in his novel: trauma, both personal and collective; politics of identity and representation within Indonesia; and the simultaneous power and futility of storytelling. The following translation of the essay he read aloud acts both as an important exploration of those themes and as an introduction to the work of this compelling new voice in Indonesian literature. READ MORE…

Imagining Truths: In Conversation with Gabriela Ybarra

June 20, 2019  |  in Interviews  |  by Sarah Timmer Harvey

I always feel that I’m a detective of my own life.

“The story goes,” begins Gabriela Ybarra’s novel The Dinner Guest, “that in my family there’s an extra dinner guest at every meal.” This guest, Ybarra writes, occasionally “appears, casts his shadow and erases one of those present” and forms part of the complex family mythology that Ybarra seeks to unravel in her stunning documentary-style debut. The Dinner Guest is a free reconstruction of the events surrounding the kidnapping and murder of her grandfather in 1977 and the death of her mother in 2011. Ybarra deftly combines collective memory, media reports, photographs, Google search results, and instinctive imaginings to unearth her family’s traumatic past. Longlisted for the 2018 Man Booker Prize, The Dinner Guest, flawlessly translated by Natasha Wimmer, has just been released in the U.S. by Transit Books. On the eve of publication, we spoke with Gabriela Ybarra about writing grief, playing detective, and finding freedom in a photograph of Robert Walser.

—Sarah Timmer Harvey

Sarah Timmer Harvey (STH): When did you start writing The Dinner Guest, and was it always intended to be the novel it became?

Gabriela Ybarra (GY): I started to work on The Dinner Guest shortly after my mother died in September 2011. Her illness went by so fast that, when she passed away, I felt the need to write down what I had lived through during the previous months just to make sense of it all. During the process, I got stuck several times. In the beginning, I thought that this was because I was a novice writer and still lacked experience, but as time went by, I realized that there were some behaviors in my family that I couldn’t explain. For example, during my mother’s illness, my father kept talking about a rosary covered in blood, which I thought was very weird, but couldn’t find an explanation for it. As I started to look back, I realized that many of these behaviors were related to the kidnapping and murder of my grandfather by the terrorist group ETA in 1977. In grieving my mother, I stumbled upon the unresolved grief related to my grandfather.

STH: The Dinner Guest is a fascinating blend of fact and fiction. The framework of the story is undoubtedly factual; the kidnapping and death of your grandfather, your mother’s illness, and her subsequent passing are all real, and yet, there are also parts that are pure fiction; imagined events, conversations, and connections. Is it important for you that readers view The Dinner Guest as a novel?

GY: Genre isn’t so important to me. I consider the book a novel because I believe that memory is always fiction and, in the case of my grandfather, I had to make up big parts of his kidnapping because nobody in my family would tell me anything about it. For many years, my family lived as if these traumatic events had never happened. I could infer their pain through their silences, but lacked a story; the only information that I had came from the newspapers. In the case of my mother, I did know the events quite well, but reality is often too complicated to make believable, so I had to twist it.

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Tracing Szilárd Borbély’s Poetry in The Dispossessed

January 10, 2018  |  in Essays, Reviews  |  by Diána Vonnák

To lay bare the inarticulate self as it is thrown into the violent mould of the world—and to uphold the captured encounter without commentary.

Because language is like night-time. Moist,
an indecipherable series of grunts. Pure dread, and
inchoate visceral shrieking. It is inhuman.

from “On the wings of freedom“

The Dispossessed, Szilárd Borbély’s first novel (translated by Ottilie Mulzet), was published in Hungary in 2013, just a year before he took his own life. Its reception was exalted, the scope of its success overwhelming and somewhat unexpected. Until then, Borbély had been primarily known as a poet, whose voice stood starkly apart from the literary mainstream’s travesties, veneration of subjectivity, and l’art pour l’art games with language. Instead, Borbély reached back to Baroque liturgical forms, motives of Hasidic folklore, and he crafted a depersonalised voice so as to hone in on the roots of the self: the stuttering of fear, grief, hope. In other words, he fused the interpersonal and the formalised with barely articulate and verbal intimacy. The relationship between language and the body was at the heart of this fusion: he wrote about the physicality of speech, the sequence of aging that connects birth and death, about the immediacy of sensory life and the brutality of this immediacy.

This poetic voice was not simply an aesthetic choice for him. Rather, it stemmed from a realisation that the world is fundamentally different from “the language we live by” and that much of it “cannot even be expressed as questions, or formulated as problems.”[1] For him, the world existed in a rawness that defied legal and moral constructs, be they about human rights or divine redemption. It defied the very rules of language. Crime—raw and immediate—is only arbitrarily linked to punishment, and only when it is too late. Law alone could never prevent the killer from entering the room. Imre Kertész—the Holocaust survivor novelist who won Hungary’s only Nobel in literature—saw no reason not to expect that you can be shot anytime, anywhere. Similarly, Borbély was acutely aware of how thin the coat of law was and how in vain it existed in the face of brutality, especially after the house-break that led to his mother’s homicide.

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What’s New In Translation: October 2017

October 9, 2017  |  in New in Translation, Reviews  |  by José García Escobar, Lara Norgaard, and Norman Erikson Pasaribu

Looking for your next novel? Here are three of the most exciting new releases from around the world.

Every month, batches of books arrive fresh on the shelves of bookstores around the world. Our team has handpicked three exciting new reads to help you make up your minds on what to sink your teeth into, including novels from Italy, Brazil and Norway. 

Dust-MC

Dust by Adrian Bravi, translated from the Italian by Patience Haggin, Dalkey Archive Press.

Reviewed by Lara Norgaard, Editor-at-Large, Brazil.

“‘How long will I have to flail about, drowning in the world of the microscopic?’”

This is one of the many questions that the narrator, Anselmo, of Adrian Bravi’s novel Dust anxiously asks himself while coping with his total phobia of dust. The depth of his internal interrogation hinges on the word “microscopic”: Anselmo faces not the literal question of clean living, but instead the concept of infinite accumulation and infinite loss—of seconds and minutes, of words and ideas, of skin and hair and other shavings of the physical self.

To read Patience Haggin’s forthcoming English translation of Dust (Dalkey Archive Press, October 2017) is to slowly sink into an ocean of everyday minutiae. The book centers on Anselmo, a librarian living with his wife Elena in the fictional city of Catinari, Italy, and his daily routine of cataloguing books, obsessively dusting surfaces, and frequently writing letters that invariably never reach their destination.

What gives this novel its power is not the literal subject matter of the book, which often threatens to overtake the prose in its tedium, but instead the artful language that invites us to meditate conceptually on the simple life represented. Anselmo, at one point, compares his monotonous work cataloguing books to that of a “simple mortician sorting bodies for burial according to their profession”; at another moment, his wife Elena says that reading newly published books is akin to, “‘studying smoke your whole life when you’ve never seen fire.’” These metaphors broaden a seemingly narrow scope, bringing us closer to fully imagining humanity’s constant and immense decay.

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Remnants of a Separation: Translating Intangibles into Tangibles

August 14, 2017  |  in Profile  |  by Sohini Basak

Seventy years after the largest migration in history, a visual artist is recording the objects and languages that tell stories of longing.

Seventy years ago today the British left the Subcontinent, and India and Pakistan became separate sovereign states. The Partition is often represented in terms of numbers—one million people were killed and twelve million became refugees. Visual artist Aanchal Malhotra has been making the migrants visible by recording the stories behind the objects the migrants brought to their new homes. One of the intangibles they carried were their languages. Asymptote Social Media Manager Sohini Basak sat down for a long chat with Malhotra to discuss her latest book that records these remnants. A very happy independence day to our Indian and Pakistani readers!

2017 marks not only seventy years of Independence of India and Pakistan, but also of the 1947 Partition, which saw one of the greatest migrations in human history. Close to fifteen million people were uprooted and had to migrate to or from India and the newly created nation, Pakistan.

In her book, Remnants of a Separation, artist and oral historian Aanchal Malhotra looks at the Partition narrative through the lens of the objects that the refugees brought with them as they made the journey. These objects were either the first things they could grab when they found themselves suddenly engulfed by communal riots, or things they considered essential or valuable as they prepared to settle in an unfamiliar land. Aanchal has also founded the Museum of Material Memory, “a digital repository of material culture of the Indian subcontinent, tracing family history and social ethnography through heirlooms, collectibles and objects of antiquity.”

I meet Aanchal in a café on a rainy afternoon in Delhi to talk about the languages she encountered while undertaking this curatorial project. After moving back to India from her studies abroad in 2013, Aanchal realized that in its race to be modern and in tune with the times, her generation—young, urban Indians in their twenties and thirties—often forgot to care about the items of the past. She started visiting historical sites every weekend and, from those visits and discoveries, extended the Partition project, which she started documenting on her blog. “I wanted to share the things I learned from people,” Aanchal says, when I ask her about the impulse that started it all.

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Theatres of Conflict: A Conversation with Susannah Tresilian of Project ARIADNE

November 19, 2015  |  in Interviews  |  by David Maclean

"Because we all learn from role models, and these are women who are worth following and learning from and who are eager to pass that on."

Project ARIADNE is a revolutionary global arts movement promoting woman-led theatre in current and former zones of conflict. Their mission is to provide a stage to women across the world making theatre either because of the wars they have lived through, or in spite of them.

Susannah Tresilian is a founding member of the project and its current Artistic Director, collaborating with theatre-makers around the world, including Hope Azeda (Rwanda), Dijana Milosevic (Serbia), Frédérique Lecomte (Burundi), Iman Aoun (Palestine), Patricia Ariza (Colombia) and Ruwanthie de Chickera (Sri Lanka).

Her corpus of work focuses predominantly on the promotion of gender equity within international theatre. Recently, her work has seen her collaborating with the Belarus Free Theatre in London and Minsk on Soul Power: The Opera. The Belarus Free Theatre is an underground theatre troupe banned in their home country by the presiding Lukashenko regime, often described as the last dictatorship in Europe. The artistic directors of the group are currently in political exile in London, and are residents of the Young Vic Theatre. The Arts Council offers a bursary for actors and theatre-makers to travel to Minsk and work with the troupe in lieu of their exiled members. Tresillian is covertly working with them, enabling other actors and theatre-makers such as Jude Law, Michael Attenborough, and Sam West to make the journey.

*** READ MORE…