“These literary works depict the political, social and religious realities of Syria before and after March 2011 in order to draw a more comprehensive picture of Syria’s culture. These cultural details lay the foundation and act as necessary components for the development of the narratives and their relation to the current situation in Syria.”
…..
The need for writing
It would be inaccurate to assume that the literature centering on Assad’s family regime only started with the outbreak of the 2011 revolution. Some Syrian authors and dramatists have always addressed Assad’s politics in their works despite the fact that their criticism was indirect. They employed historical figures and events, constructing allegorical works so that they met the expectations of the censor. For example, some works were crafted to revolve around an event in pre-Islamic, Islamic or medieval Arab history and they exposed the ways the Arab kings ruled the masses. Through the interactions between the masses and the king, the monopoly of power alluded to the current politics of Syria and its corruption. Authors such as Mohammad al-Maghot, Mamduh Udwan, Sadallah Wanus and Zakaryya Tamer did not miss a chance to criticize the Syrian regime. however, there were not any explicit attempts to condemn that regime or its head.
With the outbreak of the revolution, the allegorical style would be abandoned because of the flooding of news of demonstrations, attacks, shelling and most importantly, the daily killing of innocent Syrians. Such incidents brought a radical change to literature. Due to the pace of news coming out of Syria, the media had to handle it in a way that served the needs of its audience, delivering the most up-to-date news without necessarily pinpointing the background of the revolution or taking into consideration the different constituencies that supported the revolution.
In its 11th edition, Study in Europe (SIE) seeks to connect students in Singapore with universities in Europe and provide them access to information about institutions they might be interested in studying at, the application process together with details of various bond-free scholarships. Nations from across Europe will be represented at the annual Study in Europe education fair that presents the many diverse study programmes on offer throughout Europe and highlights a range of scholarship options that could make studying in Europe easier for students.
Study in Europe 2017 will be held in Suntec Singapore International Convention & Exhibition Centre. Organised by the European Union (EU) Delegation to Singapore, this fair brings together 13 European countries. The countries represented at the fair are Denmark, Finland, France, Germany, Ireland, Italy, Netherlands, Norway, Poland, Spain, Sweden, Switzerland and United Kingdom.
Before publishing his famous Chinese poetry translation “Cathay” in 1915, Ezra Pound apparently had no knowledge of Chinese at all. Instead, heworked from second-hand notes by another translator, boldly imposing his Imagist vision on classical Chinese poetry. Not surprisingly, he made quite a few errors in the process. And yet today, “Cathay” has become a deeply admired modernist classic; “The River-Merchant’s Wife: A Letter” appears in many poetry anthologies. The work is hardly considered a translation at all. A classics professor recently told me that he feels the same way about Pound’s “re-creations” of the elegies by the Latin poet Sextus Propertius: “I don’t even the think of the changes as errors,” he said. The translator’s version has become canonized.
Would Pound’s free interpretations have been just as praised had he translated novels? Or if he published his works a century later?
The question came to mind as I pondered the recent controversy in South Korea over Deborah Smith’s brilliant but flawed translation of Han Kang’s novel “The Vegetarian.” Originally published in 2007, Han’s work received critical acclaim but didn’t enjoy a particularly wide readership. Many South Korean readers initially found the novel to be bizarre: a dark, surreal tale of a woman who refuses to eat meat and descends into madness.
All that changed when “The Vegetarian” won the 2016 Man Booker International Prize. The award landed the book on American and British bestseller lists as media attention focused on Smith, a then-28-year-old British graduate student, making much of the fact that the translator had started to learn Korean only six years earlier.
Chapter Six MAINE NAZIRA, AA KHA? Memory as Women’s Resistance
Parveena Ahangar holds many sobriquets — from Iron Lady to Mother of Kashmir — but she is best known as the founder and chairperson of the Association of Parents of Disappeared Persons (APDP) — which makes her one of the most prominent Kashmiri women in resistance.
It was on a May 2011 morning, with needle-fine rain falling incessantly, that I was first taken to Parveena’s home by the young journalist Junaid Rather. The grey sky had drained the landscape of all colour creating a mood of melancholia. Parveena, dressed in black, sat huddled with a kangri. She was unwell but strained her voice to recount her story. It was a tale she had been compelled to tell and retell and yet it had not lost its poignancy.
Parveena spoke of the 1990s. Her son, the seventeen-year- old Javed Ahmad Ahangar, had passed the tenth class and had gone to his uncle’s house in Batamaloo where he hoped to pursue further studies. For some days, Parveena was plagued by forebodings, natural perhaps in an era when crackdowns were rampant, but she was particularly disturbed by a black dog in her dreams.
It was the early hours of 17 August 1990. In the morning there was a knock at her door. Parveeena was told that her son, along with three other boys, had been picked up by the National Security Guard personnel and taken to the Hari Niwas interrogation centre. Parveena suspected that the troops were on the lookout for a militant who had the same name as her son and that they picked up Javed, who had a speech impediment, because he had failed to answer questions with alacrity.
More than twenty-six years later, the second-hand accounts of the anguish and terror that her young son underwent before he was taken away, still haunt Parveena. ‘I heard he had been stripped. That he was calling out for me and that he desperately wanted a glass of water.’
In the early days after her son’s disappearance, a distraught Parveena see-sawed between the hope that her son was alive and would be released, and the reality that he had failed to appear even as the other boys were set free. Finally, surfacing from extreme sorrow, she took the first step in the long odyssey of a mother in search of her son and a woman in pursuit of justice.
After an FIR was filed at the Shergari police station and persistent inquiries were made at the Batamaloo branch, Parveena was informed by the Deputy Inspector General that her son had met with an accident, was in the army hospital in Badami Bagh, and would soon be released. When there were no signs of his discharge, she approached the Director General of Police who, in turn, directed her to the Superintendent of Police, in charge of allowing family members to meet detainees. He provided a vehicle for her to visit the hospital. There, an exhaustive search yielded no results. It says much of her early political acumen that she saved the pass she had received at the hospital. This was later proof to show the way a cover-up had been attempted.
Finally, Parveena received crucial information by way of a witness who knew her son. Apparently, he had seen Javed getting beaten by three men near Hari Niwas. This witness went on to offer his testimony when an inquiry was ordered by thecourt.
What followed was a lengthy court battle over more than two decades in which four petitions were filed. Significantly, despite a court inquiry and report in March 1992 that indicted the alleged perpetrators, the Ministry of Home Affairs refused sanction for prosecution. In 1999, MHA indicated a charge sheet should be filed and sanction could be sought again. But till date no sanction has been given.
Even as legal proceedings dragged on, Parveena hunted for her son, personally, visiting jails and camps in Kashmir, Jodhpur, Hiranagar, Meerut and Delhi (Tihar) and the dreaded interrogation centres like Papa I and Papa II.
While she did not recover her son, she did get a profound understanding of the world of enforced disappearances and the institutionalized denial of justice and custodial violence. Parveena recalled, ‘I met so many parents whose sons had suffered enforced disappearances after they were taken away by security troops. I met wives whose husbands had left home and never returned. And I realized that I was not alone.’ Empowered by this discovery, Parveena began organizing the families of the missing. They met frequently at a friend’s place, in her kitchen and discussed a line of action—for both justice and social welfare. In 1994, the APDP was formed with the help of human rights lawyer Parvez Imroz.
Soon after this first meeting in Kashmir, I met Parveena in Mumbai where she had come to address a press gathering. I realized why she was called the Iron Lady. Looking pointedly at the audience, she asked why there were separate laws for crimes by Kashmiri civilians and those perpetrated by the army and why those responsible for enforced disappearances and custodial deaths were being granted immunity under AFSPA?
***
Excerpted from Behold, I Shine: Narratives of Kashmir’s Women and Children by Freny Manecksha, published by Rupa Publications India.
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Set in Kashmir, Behold, I Shine focuses on the struggle of women and children in Kashmir, on what it means for them whose children are missing, who live the lives of half-widows; on what it means to stand up to authority, to ikhwanis and to the horrors unfolding everyday in their lives. It brings into focus activists like Parveena Ahangar who go through insurmountable losses yet fight back to start human rights organisations that help other women like her to fight for their rights. Behold, I Shine puts together the narratives of such women and their spirit in fighting against multiple odds.
About the Author:
Freny Manecksha is an independent journalist, published in the Himal Southasian and the Times of India and has reported extensively from Kashmir.
For most of her life, Ellen Pao did what you’re supposed to do to succeed. In her new book, “Reset: My Fight for Inclusion and Lasting Change,” Pao describes herself as a “dutiful daughter” of immigrants who excelled at Princeton and Harvard, where she picked up law and business degrees, and then headed west for the tech gold rush. Sure, she encountered some creeps along the way, and at times she felt underappreciated. But as she tells it, it wasn’t until landing at blue-chip venture capital firm Kleiner Perkins Caufield & Byers — which she famously, and unsuccessfully, sued for gender discrimination and retaliation — that she began to question whether she had been set up to fail.
“The culture, I began to realize, is designed to keep out people who aren’t white men,” she writes early on in “Reset.” That sort of systemic critique is heretical in Silicon Valley, where wealthy men talk a big game about a meritocracy and transforming the world through technology. Never mind that a 2015 survey of 200 women at tech companies found that 60 percent had experienced sexual harassment, twice the rate of a separate study across industries. As Pao’s book persuasively shows, men in the tech industry love to exalt the notion of “disruption,” but those at her venture capital firm chafed at a woman disturbing their comfort. She paid the price.
…
Pao’s book is most astute when it portrays a subtler form of discrimination. Pao writes, “When venture capitalists say — and they do say — ‘We think it’s young white men, ideally Ivy League dropouts, who are the safest bets,’ and then only invest in young white men with Ivy League backgrounds, of course young white men with Ivy League backgrounds are the only ones who make money for them (they are also the only ones who lose money for them, but who’s keeping track of that?)”
Asymptote’s Summer issue presents new writing from 27 countries. An exciting journey through stories and poems with master story-tellers and contest winners.
Asymptote’s blockbuster Summer edition features new fiction by master story-teller Mercè Rodoreda, interviews with Kafka translator Michael Hofmann and 2017 Prix Net Art winner Bogosi Sekhukhuni, as well as the first love poems by Nobel front-runner Ko Un, who poignantly captures the longing of “the world…in want of the world.”
Asymptote also announces — and showcases — the 2017 Close Approximations contest winners, picked from a total of 343 entries by David Bellos and Sawako Nakayasu.
Find out which six emerging translators walk away with a total of 3,000 USD in prizes by reading the judges’ citations here.
On the weekend of September 21, the streets of Chinatown will play host to a literary feast. On the menu is a collection of stories exploring the Canadian experience. Yet this isn’t the stereotypical western spread — attendees will be diving into an often-untold side of Canadian culture and history: the Asian Canadian experience.
LiterASIAN, an annual festival of Pacific Rim Asian Canadian writing, is the first Asian literature festival in North America. Founded by the late Jim Wong-Chu — his 1986 poetry book, Chinatown Ghosts, was one of the first published by an Asian Canadian — the four day-long festival is packed with panel discussions, workshops, and a variety of book launches from acclaimed writers like Jen Sookfong Lee.
“LiterASIAN is a grassroots festival that celebrates Canadian diversity,” says co-founder and Festival Director Allan Cho. “For a long time, literature has presented the Canadian experience as the British experience. This means that many of us have not seen the other side of Canada. Part of the festival is to showcase unique stories, stories that find their inspiration in Chinatown, Japantown, and Little India. It intends to give a full-bodied Canadian experience.”
Commonwealth Writers is delighted to announce the regional winners for this year’s Commonwealth Short Story Prize. The five outstanding stories were successful in a year of fierce competition when the Prize received a record 6,000 entries from across the Commonwealth.
“It speaks to the high quality of the shortlisted stories that the judges’ decisions were rarely straightforward – and it speaks to the high quality of the winners that none of the judges left the conversation unsatisfied by the choices we ended up with. These are engaging and moving stories that honour and understand the potential of the short story form to burrow in on intimate stories and also to give you vast canvases painted with precise strokes. They also reveal the extent to which human concerns cross borders while the ways in which those concerns are played out are always individual and specific.” Kamila Shamsie, Chair, 2017 Commonwealth Short Story Prize.
Commonwealth Writers has partnered again with Granta magazine to give regional winners of the Commonwealth Short Story Prize the opportunity to be published by Granta online.
The stories will be published on www.granta.com every Tuesday from 30 May until 27 June, in order from East to West across the Commonwealth:
‘The Death of Margaret Roe’, Nat Newman – 30 May
‘Drawing Lessons’, Anushka Jasraj – 6 June
‘Who is Like God’, Akwaeke Emezi – 13 June
‘The Naming of Moths’, Tracy Fells – 20 June
‘The Sweet Sop’, Ingrid Persaud – 27 June
The overall winner will be announced in Singapore on Friday 30 June. Read more
Jaipur Literature Festival, the world’s largest literary festival of its kind, will make its mark at a number of literary and art events in USA this fall. The festival has entered into a collaboration with New York based Museum of Modern Art for hosting three art performances during the Fall 2017. These events will be held prior to the three-day Jaipur Literature Festival scheduled to be held in Boulder, CO, from September 15 to17.
Sanjoy Roy, producer of Jaipur Literature Festival, made this announcement at an event organized by Hindi Sangam Foundation; a New Jersey based educational and cultural organization. The event was held at the Consulate General of India in New York on Tuesday, May 9.
“Our focus is to make literature in all languages accessible to the common man. More than 60 percent of the JLF audience is comprised of young people, who are empowered by such events. We believe in sharing knowledge democratically. It helps us connect with the younger generation who are capable of bringing social change”, said Roy in his address adding that it was an uphill task to popularize literature through festivals. Read more
Celebrating 60 years of the European Union (EU) and 40 years of EU-ASEAN ties, the EU together with LASALLE College of the Arts will launch its inaugural European Union Writers Festival to deepen its cultural connections with Singapore. The festival is a celebration of culture and literature that transcends borders.
With an opening event and full-day of panel discussions on May 26, the festival explores the themes in European contemporary literature and shares the insights of Singaporean authors who have travelled to Europe and written pieces in response to their journey. You can look forward to a series of talks by industry experts from arts, film, and writing backgrounds as they offer contextual understandings into the overseas and Singaporean literary scenes.
It will create a platform for European writers and publishers based in Singapore to discuss their work and ideas which inspire writing in many forms. Highlights include German writer and filmmaker Michael Schindhelm who will present his latest publication, Happy Tropics I and discussions on topics such as Art Writing, The Craft of Film Writing, The Fine Art of Publishing, and Writing in the Age of Social Media.
Mercè Rodoreda, interviews with Kafka translator Michael Hofmann and 2017 Prix Net Art winner Bogosi Sekhukhuni, as well as the first love poems by Nobel front-runner Ko Un, who poignantly captures the longing of “the world…in want of the world.”
Celebrating 60 years of the European Union (EU) and 40 years of EU-ASEAN ties, the EU together with LASALLE College of the Arts will launch its inaugural European Union Writers Festival to deepen its cultural connections with Singapore. The festival is a celebration of culture and literature that transcends borders.