Meg Eden’s work has been published in various magazines, including Rattle, Drunken Boat, Poet Lore, and Gargoyle. She teaches at the University of Maryland. She has five poetry chapbooks, and her novel Post-High School Reality Quest is published with California Coldblood, an imprint of Rare Bird Lit. Check out her work at: www.megedenbooks.com
(From Atlas Obscura. Link to the complete article given below)
Do children’s books need to be fact-checked to make them more true to nature?
Think of the best scene from your favorite children’s book. Easy, right? The Very Hungry Caterpillar emerges from his cocoon, now a beautiful butterfly that takes up two whole pages. Sal and the Mama Bear run into each other in the blueberry patch. The rascally mouse gets yet another cookie.
There’s a reason this particular page stuck in your mind. Maybe it surprised you, or taught you a lesson, or made you laugh. But have you ever wondered if it’s accurate?
Yes, children’s books are bastions of fantasy, the rightful homes of dragons and magic crayons and talking cheese. But as kids spend less time outdoors, and more time learning about nature through screens, some experts are taking a closer look at how well the lessons translate. The answer is often a resounding “Needs Improvement.” And fixing up picture books—those colorful gateway drugs to further education—might be a good first step.
Depending on who you ask, there’s a lot to be done, and some scientists have been holding grudges for decades. “When I was working with an entomologist on an insect book, he said that one of his pet peeves is that the editor for Eric Carle’s book about the hungry caterpillar did not vet it [with an expert],” says Donna German, General Manager at Arbordale Publishing. “He cringes to think at how many people, kids and adults, think that butterflies emerge from cocoons because of this one book.” (Butterflies instead come out of chrysalises.)
(From Publishing Perspectives. Link to the complete article given below)
At a recent seminar in New York City on Arabic literature in translation, several literary translators recommended Arabic authors they’d like to see published in English.
t last week’s Seminar on Arabic Literature in Translation, questions from the audience and discussions during the reception afterward revealed enthusiasm among the US publishers, agents, scouts, and others about getting to know Arabic authors and the literary scene in the Arab world.
The seminar was co-organized by the Frankfurt Book Fair New York, Publishing Perspectives, and the Sheikh Zayed Book Award.
“A lot of books that I’ve come to publish, I’ve heard about in a forum like this,” said John Siciliano, executive editor of Penguin Books and Penguin Classics, who was a speaker on the seminar’s panel discussion.
One audience member asked the panel to recommend Arabic authors to the publishers in the room, authors they felt should to be translated and published in English. Among the recommendations were several books that the translators have decided to start working on–even without an English-language publisher lined up yet.
To that end, we’ve put together a list of the books that were recommended by the panelists as well as some insights about publishing Arabic literature in translation.
Alex Elinson: Moroccan Authors
“I’m working on a book that I feel very strongly about,” said Alex Elinson, translator and associate professor Arabic at Hunter College. Elinson is in the process of translating Hot Maroc by Yassin Adnan into English.
Bold’, ‘Shameless’, ‘Siren’ were just some of the (kinder) words used to describe Qandeel Baloch. She embraced these labels and played the coquette, yet dished out biting critiques of some of Pakistan’s most holy cows. Pakistanis snickered at her fake American accent, but marvelled at her gumption. She was the stuff of a hundred memes and Pakistan’s first celebrity-by-social media.
Qandeel first captured the nation’s attention on Pakistan Idol with a failed audition and tearful outburst. But it was in February 2016, when she uploaded a Facebook video mocking a presidential ‘warning’ not to celebrate Valentine’s Day, that she went ‘viral’. In the video, which racked up nearly a million views, she lies in bed, in a low-cut red dress, and says in broken English, ‘They can stop to people go out…but they can’t stop to people love.’ The video shows us everything that Pakistanis loved—and loved to hate—about Qandeel, ‘Pakistan’s Kim Kardashian’. Five months later, she would be dead. In July 2016, Qandeel’s brother would strangle her in their family home, in what was described as an ‘honour killing’—a punishment for the ‘shame’ her online behaviour had brought to the family.
Scores of young women and men are killed in the name of honour every year in Pakistan. Many cases are never reported, and of the ones that are, murderers are often ‘forgiven’ by the surviving family members and do not face charges. However, just six days after Qandeel’s death, the Anti-Honour Killings Laws Bill was fast-tracked in parliament, and in October 2016, the loophole allowing families to pardon perpetrators of ‘honour killings’ was closed. What spurred the change? Was it the murder of Qandeel Baloch? And how did she come to represent the clash between rigid conservatism and a secular, liberal vision for Pakistan? Through dozens of interviews—with aspiring models, managers, university students, activists, lawyers, police officers and journalists, among them—Sanam Maher gives us a portrait of a woman and a nation.
The video from Murree has been viewed thousands of times. By the end of the year, the words ‘How I’m looking?’ would be the first phrase mentioned in an article about ‘10 notable quotes that defined Pakistan’s entertainment scene in 2015’. Qandeel would be called an ‘insta-celeb’. People are turning to Facebook and Twitter to find the ‘How I’m looking’ girl and they want more and more of her videos. They like to laugh at her.
Mec says he has never seen anything like it in all the years he has been in the industry. He would think about that video when she was no longer around and would wonder what people had seen in it. He would remember that Afghan woman who had been on the cover of a magazine in America and then became famous all over the world. ‘It was her eyes,’ he would say. That was it. ‘That’s what got everyone. Show people something different. They don’t want to see the same old stuff.’
Qandeel disagrees with him on how her career can progress. He takes her to every single event, books her for any show he can and introduces her to everyone they meet. Sometimes she complains that all of it is a waste of time. People take photos with her at these events, but she isn’t getting paid for that. She doesn’t just want to make friends—she is looking for connections.
She stumbles across the Facebook profile of a man in Karachi, Mansoor, who had been a model when she was just a girl in Shah Sadar Din. His Facebook feed is full of photographs taken at dinners and parties with girls Qandeel has seen on TV. She recognizes some of the names from his friends’ list. He seems to have the connections she needs. She sends him a friend request. He is used to these requests from strangers, usually women, who hope that he knows all the right people and will be able to help them break into the fashion industry. In fact, it happens so often that he now has a policy of asking any girl who sends him a friend request on Facebook for her phone number to confirm whether she is indeed an aspiring model or an actress, and not some man who is trying to fool him. The ones who willingly give their phone numbers are legitimate. Qandeel sends him her phone number.
‘Hi must talk to you,’ he texts Qandeel. ‘Call now.’
She is travelling. She is unable to speak with him then. ‘Let me come too then I talk.’ He notes that her English is not very good. ‘Take care.’
They continue to exchange messages and soon she is affectionately calling him ‘baby’ and ‘jaan’. When she tells him she is back in Karachi and feeling lonely, they meet for the first time and he takes her to a friend’s house so she can have some company. She messages him on WhatsApp late at night and asks, ‘What are you doing?’ He is usually fast asleep. She likes Dubsmash, an app that lets users lip sync phrases or songs, and sees that the video from Murree has also become popular there. She sees actresses and singers mimic her words in videos that they post to their social media feeds.
Ernst Ingmar Bergman (14 July 1918 – 30 July 2007) would have been 100 today. Film-making for much of the 20th century was dominated by Bergman along with the other greats including Akira Kurosawa, Antonioni, Federico Fellini and Satyajit Ray.
In this interview, first published on Senses of Cinema, Zafar Anjum pays tribute to the auteur whose corpus of work includes such films as Smiles of a Summer Night, Wild Strawberries, Scenes from a Marriage, The Silence, and the experimental film Persona, among many others.
Can you describe your condition when you learned that Ingmar Bergman passed away?
One morning I was generally trawling the internet and chanced upon the news of Bergman’s death. It came as a shock to me. I was sad for a while as unquestionably one of the towering figures of international cinema had passed away. In Bergman’s death, we saw the end of a great era of filmmaking. Perhaps he was the last of the greatest filmmakers the humanity has ever known. I loved the way Peter Mathews described his experience on Bergman’s passing away: “Cinephiles are a superstitious lot, so the recent deaths of Ingmar Bergman and Michelangelo Antonioni within hours of each other seemed laden with portentous meaning. It was as though blind chance had certified what many of us knew in our bones: that the great, visionary enterprise of cinema is over. Henceforth there are to be no more masterpieces–uniquely luminous works describing the finest vibrations of the creator’s soul. Instead we will get (have been getting for nigh on 20 years) an industrial cinema, streamlined, impersonal, marketable and crudely derivative” (A Cinephile’s lament, Sight & Sound, October 2007).
On the other hand, I was also a little angry as the local media had largely ignored the news. Soon after, when I saw his well-written obituary in my copy of The Economist , I felt a sense of relief. At least one of the world’s most respected newspapers had chosen to pay homage to this great philosopher-filmmaker who for decades had devoted his life to the examination of the human condition, plumbing the depths of human emotion and exploring the metaphysical questions of life and death.
Clearly from your blog, you admire Bergman. Can you talk about the things you admire about his work?
As a matter of fact, I got introduced to Bergman’s work quite late in life. I was born in a nearly isolated small town in northern India where there were two or three cinema halls that showed only B-grade Bollywood fare. When I started watching films in those cinema halls (video parlours soon emerged in the 1980s), I had no idea if a different, more artistic and satisfying cinema existed beyond the Bollywood kitsch.
In my 20s, when I arrived at a university near Delhi for higher education, and joined the university’s film club, I got introduced to Hollywood and Iranian films. My perspective on cinema began to change. I also began to read about the Indian parallel cinema movement, which was in its waning phase in the 1990s and began to go to film festivals that I got introduced to the greatest filmmakers of the world. That included Bergman, among other directors.
As a lover of cinema, I generally like all kinds of films, from the epic to the noir to surreal cinema, but what I like the most, the kind of cinema that is closest to my heart is the one that talks about human relationships and explores various shades of those relationships in a microscopic way. I think Bergman did that and much more. I like his brooding, philosophical cinema, done in an aesthetic way that is simply mind-blowing.
By Farah Ghuznavi
Let’s get down to brass tacks. Why do you write?
I write because I feel compelled to commemorate something that’s important to me, or communicate something that needs to be said, or grapple with some thorny issue that won’t otherwise let me rest. Making art of any kind (whether it’s poetry or paintings) is a way of creating order out of the chaos of human experience. That’s why it’s necessary.
Tell us about your most recent book or writing project. What were you trying to say or achieve with it?
I just recently published my first full-length collection of poems, titled Not Elegy, But Eros, which appeared simultaneously in the US (from NYQ Books) and in Bangladesh (from Bengal Lights Books). The book is in part about grief and loss, but also about moving beyond that and affirming life. It’s about the making and unmaking of the self, and the role of art and literature in helping us live.
Describe your writing aesthetic.
I would say my writing is ‘traditional’ in T. S. Eliot’s sense — i.e., my aesthetic is informed by the poets of the past. At the same time, what I learn from past masters is, of course, refracted by the prism of my own individual personality and life experience. The work that results is, I hope, something that is both personal and universal at the same time.
Who are your favourite authors?
Well, there are many. In the 20th century: Stevens, Yeats, Eliot, Crane, Moore, Auden, Sylvia Plath, Philip Larkin, Donald Justice. In the 19th century and before: Keats, Tennyson, Hopkins, Whitman, Dickinson, Donne, Milton, Shakespeare. Among living poets: certainly Frank Bidart, who was my first poetry teacher.
(From Lithub. Link to the complete article given below)
The first fiction I ever read in Chinese was a short story by Eileen Chang, titled simply, “Love.” I was in college at the time, and my Chinese language teacher had handed it to out to the class. After I finished reading it, I quietly began to cry.
I can’t tell this story without telling you what the language meant to me then. My parents are Chinese-American immigrants, and the first language I learned was Chinese. I spoke it almost exclusively until the very first day of pre-school, when I learned the sentence, “Can I have some juice?” From then on, I spoke in full English sentences. Chinese became the language I only spoke when compelled—with my family, who always spoke Chinese in the house, or when I was forced to practice it at Chinese school on the weekends. I struggled against it, partly because I didn’t possess the full range of vocabulary through which to express myself, and partly because it was a language in which I couldn’t address my emotions.
My parents did not like emotional conversations. They did not say I love you. On parents’ visiting day at school, other kids’ parents left them notes that said “We’re proud of you!” My note said, “We hope you will continue to improve this year. Please read books other than the series, The Baby-Sitters Club.” The closest they had come to addressing the issue of emotion were the times they asked me, “Why are you crying?” By which they meant, Stop crying. And so I tried never to cry in front of them. I held my tears through dinner. I cried only alone, in my room, or on the phone with friends. It seemed to me that the heart was a dangerous territory for Chinese and so I kept the two apart. It was in English that said I love you to a boy for the first time, English in which I cursed aloud. In books written in English, the intricacies of feeling and mysteries of human existence were explored. It was in the love of this language that, early on, I found the determination to become a writer.
Indian Instincts by Miniya Chatterji was launched at the Google headquarters, Singapore on June 29, 2018. The launch included a panel discussion with authors Eunice Olsen, Miniya Chatterji and Zafar Anjum, journalist, filmmaker and chief editor, Kitaab, Singapore. Indian Instincts is a collection of 15 essays that offer an argument for what the book describes as ‘greater equality and opportunity in contemporary India’. The essays cover issues of paramount importance to India and its residents, from what could be the possible beginning of human advent in India to love, sex, culture, money, values, current ideas around nationalism, democracy – in short, it seeks to address all things Indian in the current scenario.
The book is readable and accessible to everyone while simultaneously retaining its intellectual rigour and philosophical depth. Here is contemporary India and its myriad hues from a writer who explores the institutions we have created and their stranglehold on our lives, or what we have allowed them to become.
The panel discussion covered many burning topics including social impact of economic development, nationalism, gender equality and violence against women, education and its role in developing rational thinking among the masses. Olsen emphasised that there is need of more awareness on gender equality in Asia. Chatterji advocated women in India should not be seen or judged through parameters of males. She said that an education system that encourages critical thinking, rationality and debate is the key to many of the problems plaguing India.
(From The Hindu. Link to the complete article given below)
Twenty-nine years after the brutal murder of Tamil human rights activist and feminist Rajani Thiranagama in Jaffna by an assassin allegedly deputed by the Liberation Tigers of Tamil Eelam (LTTE), a powerful Malayalam literary work chronicling her struggle is breaking the language barrier to reach readers across the globe who continue to remain concerned about the cascading effect of the decades-long ethnic strife in Sri Lanka.
T.D. Ramakrishnan’s Malayalam work Sugandhi Enna Andal Devanayaki created a sensation when it was published three years ago. Now, HarperCollins is bringing out its English version on July 25, targeting a wider audience outside Kerala.
Crusader for justice
The novel is a powerful account of the life and times of the then head of the department of anatomy at the University of Jaffna, who broke religious and ethnic barriers to marry a social activist with Sinhala Buddhist background, and dared to become a distinct human rights activist in Sri Lanka by criticising both Sinhala chauvinism and the narrow nationalism of the LTTE as well as the alleged brutalities of the Indian Peace Keeping Force.
(From The Paris Review. Link to the complete article given below)
In Virginia Woolf’s Mrs. Dalloway, Clarissa Dalloway picks up the phone and receives a solo lunch-party invite intended for her husband, from another woman. Clarissa puts down the phone and reels over “the dwindling of life; how year by year her share was sliced; how little the margin that remained was capable any longer of stretching, of absorbing, as in the youthful years, the colours, salts, tones of existence, so that she filled the room she entered.”
Mrs. Dalloway, a book about an aging woman who is no longer valued by society, has increased in value as it has aged. The corrected 1928 typescript, with Woolf’s musings scribbled on its pages, now sells for £27,500. What is a woman worth as she ages? What is a book by a woman worth as it ages? The answers are braided into the realities of the book trade, which is still an old boys’ club. As you’d expect, the expensive books are by men: Joyce, Fitzgerald, Faulkner, and Hemingway. “No twentieth-century women command those prices,” said Heather O’Donnell, owner of Honey & Wax Booksellers. “Woolf tops out in the mid five figures, and Gertrude Stein and Zora Neale Hurston are relatively cheap.”
Although it’s true that old white men have always run the large, moneyed, century-old rare-book trade—buying and selling books for a living—women have made enormous inroads as private and institutional collectors. Things started shifting in the seventies. Second-wave feminism gave women a voice, and female collectors started patching the historical holes by seeing value and relevance in objects that men had ignored. When you put your gaze on a manuscript and call attention to it, you create value in the eyes of others. Curiosity creates a market.