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Poetry. Asian & Asian American Studies. Translated by Pauline Fan. TELL ME, KENYALANG is a collection of poems by Kulleh Grasi, a writer and musician from Sarawak, a Malaysian state on the island of Borneo. This groundbreaking book is one of a handful of contemporary works of poetry written in Malay to be translated into English and the first in decades to include Malaysian indigenous languages. Translator Pauline Fan brings the work into a thrilling, living English. Kulleh Grasi's poems are entirely new and yet intimate. They are entwined with myth and nature and yet are fully post-modern. They are outside the context of American poetry and also deeply inside the questions and experiences American poets are grappling with today: questions of identity in relation to nation and language and sexuality. Grasi, both a known poet and rock star in Malaysia, writes new rivers and islands into the landscape of identity. Grasi says: "I was reading all kinds of Malay literature. None of it spoke from the experience of Borneo's indigenous people, so I started keeping journals, writing about the lives of indigenous communities that I observed with my own eyes. This was the true beginning of my poetry." TELL ME, KENYALANG will change the way people think of contemporary poetry throughout the world and about the role of indigenous languages in global literature and in translation. The book is a powerhouse.
Translated by Joshua Edwards and Lynn Xu. Chinese writer Lao Yang's PEE POEMS go deep and dark--with deceptive lightness--into the metaphysical and the social, offering insight and humor along the way. Written over the past decade, this iconoclastic collection is the first of Yang's to be translated from Chinese into English. PEE POEMS is comprised of meditations, fragments, lyrics, and aphorisms, in dialogue with Chan hermit poets and Zen tricksters, with radical grassroots activism, experimental music, and Dada. Yang regards the body's most basic functions and desires as philosophical problems, restoring garbage and bladder-control to the field of politics, inhabiting both epochal and local time. In PEE POEMS vocabulary fights itself, while impossible opposites are lovingly conjoined. Joshua Edwards and Lynn Xu, poets both and friends of the author, translate Yang with brave tenderness, revealing a thinker whose observations are as simple and as rich as the languages we speak. In the mythos of Chinese ethnogenesis, the sage king Yu countered the great flood by diverting it into rural irrigation. The contemporary Chinese poet Lao Yang adopts a more irreverent strategy for liquid transport, urination (with an emphasis on the nation). This apocalyptic book reads like the waste journals of a survivalist on the run from carnivorous leviathans, God, and the Chinese state. Calling to mind the work of Raul Zurita and Kim Hyesoon, Yang's PEE POEMS consist of crystalline scatalogy, expressions of a profane piety. I can't quite recall reading another poetry book that felt simultaneously this elemental and funny.--Ken Chen In these irreverent poems, we see a fearless spirit in confronting the darkness and absurdity around the poet. An extraordinary collection.--Ha Jin Burrowing trinkets of sound and fury, these poems shoot inward like velvet claws, evoking a courageous loneliness and despair that spits out flowers in return.--Rob Mazurek These poems eat themselves. There's nothing for me to say. Nonetheless I send them to everyone I know. They're all shaking their heads saying this is so good. These poems are so good I can't point, I can only send them out. They are out there. Truly, yay.--Eileen Myles These crisp, lean and clean words of Yang conjure up a landscape situated in uncertain times and with movable spiritual boundaries. Determined to resist the powerful tides of propaganda from political and commercial life, Yang's poems here, like his struggle in the real world, intrigue, provoke and challenge simultaneously.--Zhang Er Poetry. Asian & Asian American Studies.
“Nauseous and queasy, my blood ran cold. I could no longer hold it back. As I further broke down in a cold sweat, tears uncontrollably rolled down my face. All I knew was pain. It didn’t stop coming; it never did anyway. Grappling with the suffocating and tormenting screams deep inside was exhausting enough. I didn’t need any more. I closed my eyes. I could no longer see a future. I saw the end. That was when I knew what Fear really was. “ For the past 18 years of her life, Emelyne had been facing multiple horrific medical diagnoses that kept surging at her one after another, nonstop. Fear, has weighed her treacherous life journey down even more over the years, forcing her to put up countless bone-crushing fights against it. As she embarks on a new journey to becoming Fearless, she continues to be struck with numerous unforgiving tragedies and tribulations that unabatingly haul her deeper into the abyss of misery, sorrow and despondency. The Journey To Becoming Fearless: A Story of Hope, Courage & Strength not only unveils to us her bravery and fortitude as she steps foot into this new journey, but also her gradual discovery of the genuine meaning of acceptance, embracement and hope.
Poetry. Women's Studies. Translation. Translated by Erín Moure. CAMOUFLAGE is a new collection of poems by the Galician poet and journalist Lupe Gómez. The poems in CAMOUFLAGE are sharp, tender elegies for a mother and for a rural village, its changing walks and ways and words. In CAMOUFLAGE, we see how one person can be "two sisters," with "two pasts." We learn about making cheeses, but also that "Death is a political project." Gómez's bold voice erases the line between the political and the domestic, the experimental and the sequential, and allows for celebratory insight. CAMOUFLAGE was published in Spain in 2017 and is Gómez's eleventh book of poetry but her first published in the United States. The poems were originally written in Galician, a language spoken by about 3 million people, primarily in Galicia, an "autonomous community" in the northwest of Spain. Translator and poet Erín Moure has translated the book into an intimate English with a vivid and tight "linguistic embrace." CAMOUFLAGE is a bilingual edition with a translator's introduction, and presents a new approach to designing work in translation.
This book explores the relationship between tourism/tourists and expressions of contemporary Asian art (for example, artists, objects, intangible artistic productions, digital manifestations, etc) in Asian and non-Asian tourist spaces/experiences. Although the nexus between art and tourism has not been neglected in the literature, work on contemporary art and tourism is lacking, and this is particularly true within the context of non-Western societies. This volume creates a timely counterpoint to the existing dominance of a Western-centric body of knowledge in the area. The book considers how encounters between tourists and expressions of Asian contemporary art may produce possibilities for challenging, re-evaluating or reasserting crystallized frames of understanding and, as such, is of value to a multi-disciplinary audience.
"A parable about memory, mythic characters, and confessional regrets . . . An ethereal, resonating literary gift" (Booklist, starred review) from the internationally bestselling author of Strange Weather in Tokyo. "On a summer afternoon, Tsukiko and her former high school teacher have prepared and eaten somen noodles together. “Tell me a story from long ago,” Sensei says. “I wasn’t alive long ago,” Tsukiko says, “but should I tell you a story from when I was little?” “Please do,” Sensei replies, and so Tsukiko tells him that, when she was a child, she awakened one day to find something with a pale red face and something with a dark red face in her room, arguing with each other. They had human bodies, long noses, and wings. They were tengu, creatures that appear in Japanese folktales. The tengu attach themselves to Tsukiko and begin to follow her everywhere. Where did they come from and why are they here? And what other invisible and unacknowledged forces are acting upon Tsukiko’s seemingly peaceful world?"
Poetry. Latinx Studies. LGBTQIA Studies. Cuban Studies. Translated by David Francis. Cuban writer Severo Sarduy was one of the most groundbreaking Latin American literary figures of the 20th-Century. His poems are acrobatic in content and form, innovative, and also part of a deep lineage and web of connection. David Francis translated the poems from Spanish into a gripping English. He writes, FOOTWORK is "a body of work that sings on its own, that celebrates the carnal life, the sensual experiences of dance, of painting, food, music, and sexual pleasure, but that also recognizes--in these pleasures--the imminence of one's passing." Although Sarduy's novels have been translated into English and received praise from such writers as Roland Barthes, Richard Howard, and James McCourt, this is the first collection of his poetry to appear in English translation. FOOTWORK represents work from throughout Sarduy's life, following the thrilling trajectory of a great thinker. Sarduy invents new forms to engage questions of identity, specifically how his own and Cuba's Spanish, African, and Chinese heritage is intrinsically intertwined with Cuba's history of slavery and indentured labor. As Francis writes, "Severo Sarduy was not known to follow convention. Nor did he think that conventional approaches to storytelling or lyrical composition could capture the complexities of human behavior or personal and national identity." The title, FOOTWORK, "recognizes how Sarduy's poems deliver devastating wit, which lands on its prototypical feet or adroitly maneuvers, purposefully, around naming objects, people, or body parts and toward unexpected endings," writes Francis. The poetry in FOOTWORK makes it clear why Gabriel García Márquez once called Sarduy the best writer in the Spanish language. "Baroque, yes, as we expect from the great Severo Sarduy: but these poems are also severe, mathematical, futurist, neoclassical, occasional, private, courtly, and lubricated. Some of the poems come from the heady world of poststructuralism, but most come from a Caravaggio-like sepulchral grotto, where a lush and explicit eroticism meets up with the sculpted and the shaped. Fixity is everywhere in this volume: fate fixes Sarduy, just as the seam between sex and language fixates his verse. David Francis's translations are a labor of love, executed with ingenuity and a voluptuary fineness."--Wayne Koestenbaum
A teenage orphan’s quest of self-discovery in Equitorial Guinea, and a "unique contribution to LGBTQ literature" (Kirkus Reviews). “Though I live a world away from Equatorial Guinea, I saw so much of myself in Okomo: a tomboy itching to be free and to escape society’s rigged game. I cheered her on with every page, and wished—for myself and all girls—for the bravery to create our own world.” —Maggie Thrash, author of Honor Girl The first novel by an Equatorial Guinean woman to be translated into English, La Bastarda is the story of the orphaned teen Okomo, who lives under the watchful eye of her grandmother and dreams of finding her father. Forbidden from seeking him out, she enlists the help of other village outcasts: her gay uncle and a gang of “mysterious” girls reveling in their so-called indecency. Drawn into their illicit trysts, Okomo finds herself falling in love with their leader and rebelling against the rigid norms of Fang culture.