I had the honor of speaking with Dr. Mutlu Konuk Blasing and Randy Blasing, the formidable translators of Nazım Hikmet. The Blasings have translated six books of Hikmet's poetry together, and on their own they have a long record of contributions to scholarship and poetry.
"I found it touching and also rare to read about awe. It made me want to write because so much of my experiences, the ones I remember at least, involve appreciation. Or maybe I just confuse seeing with appreciating?"
Editorial Argonáutica is the brainchild of Efrén Ordóñez and Marco Alcalá, both accomplished writers and translators in their own right who decided in 2015 that the world needed a publishing house that would be global in its outlook and that would celebrate the translation and promotion of writers whose
The Western canon has no objective nomination process, which is why it is both axiomatic and controversial. But why have APIA voices been erased from the so-called “Great Books” for so long, and how should APIA writers respond to this longstanding erasure?
Elizabeth Onusko’s poems are sharp-edged, sometimes bleak, but also very funny; they feel timeless, but also of the moment in their portrayal of the complicated emotions surrounding infertility, pregnancy and impending parenthood. We caught up to talk writing, editing, parenting, and how that third activity reshapes the other two.
Clare’s writing is radical in its refusal to condense to a prescriptive right or wrong without ever sliding into passivity. His book, The Marrow's Telling: Words in Motion, was a 2008 Lambda Literary Award finalist. His 1999 essay collection, Exile and Pride: Disability, Queerness, and Liberation, was reissued by
Amy Spangler is the co-founder of the Turkish literary agency, AnatoliaLit, and a translator of several novels from Turkish to English. Amy's latest translation, Noontime in Yenişehir, was published by Milet Publishing last year.
Marianne Boruch’s poems delve into the quirks and oddities of our daily lives. We caught up at the end of a busy semester (or maybe it was the start of a new one) to talk about how poems happen, how books come together, and the quiet rituals of her
Inside the craft-obsessed, time-warped fiction workshop where literary realism has reigned supreme forever, the Show-Don’t-Tell maxim serves an important function in critique.
Faizal Deen seeks to address the ways in which the cultural production of Caribbean populations in Canada—in particular, the work of poets—encourages us to rethink existing notions of diasporic identity.