Search results for ""Tilted Axis Press""

From 1976 to 1989, Hai Fan was part of the guerrilla forces of the Malayan Communist Party. These short stories are inspired by his experiences during his thirteen years in the rainforest. Struggling through an arduous trek, two comrades pine for each other but don't know how to declare their love; a woman who has annoyed all her comrades finally wins their approval when she finds a mythical mousedeer; improvising around the lack of ingredients, a perpetually hungry guerrilla makes delicious cakes from cassava and elephant fat. The rainforest may be a dangerous place where death awaits, but so do love, desire and hope. Delicious Hunger is a book about the moments in and between warfare, when hunger is so palpable it can be tasted, and the natural world becomes an extension of the body. Deftly translated by Jeremy Tiang, Hai Fan's stories are about a group of people who chose to fight for a better world and, in the process, built their own.

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Miyah poetry is a literary movement of protest poetry by Bengali-Muslims living in the chars (low-lying islands prone to floods and erosion) of Assam. 20+ poets document stories of love, loss, and injustice, celebrating contemporary lives beyond mere victimisation.

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The first collection of Swahili fiction in English translation, No Edges introduces eight East African writers from Tanzania and Kenya as they share tales of sorcerers, Nairobi junkyards, cross-country bus rides, and spaceships that blast prisoners into eternity. Here we’re encouraged to explore the chaos of life on a crowded Earth, as well as the otherworldly realms lying just beyond our reach. Through language bursting with rhythm and vivid Africanfuturist visions, these writers summon the boundless future into being.

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A collection of twenty vivid, hilarious, and often unsettling stories that follow the misfortunes and misadventures of a cast of tragicomic characters striving to hold on to their cultural values while struggling to embrace the seemingly unstoppable advance of capitalism and globalization.

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In their stunning fiction debut, queer Indonesian writer Norman Erikson Pasaribu blends together speculative fiction and dark absurdism, drawing from Batak and Christian cultural elements.Longlisted for the International Booker Prize, Happy Stories, Mostly introduces "one of the most important Indonesian writers today" (Litro Magazine). These twelve short stories ask what it means to be almost happy--to nearly find joy, to sort-of be accepted, but to never fully grasp one's desire. Joy shimmers on the horizon, just out of reach. An employee navigates their new workplace, a department of Heaven devoted to archiving unanswered prayers; a tourist in Vietnam seeks solace following her son's suicide; a young student befriends a classmate obsessed with verifying the existence of a mythical hundred-foot-tall man. A tragicomic collection that probes the miraculous, melancholy nature of survival amid loneliness, Happy Stories, Mostly considers an oblique approach to human life: In the words of one of the stories' narrators, "I work in the dark. Like mushrooms. I don't need light to thrive."

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A contemporary, feminist take on a Heart of Darkness-esque tale of an upriver journey through a landscape scarred by ecological destruction, and a culture scarred by historical greed. A young girl is abducted and smuggled about a boat bound for the Indonesian interior. As her captors take her ever deeper into the jungle, her uncertain fate is compounded by the sense of her environment as a place of violence, destruction and jeopardy. A long poem accompanied by the author’s own ‘rainforest gothic’ artwork, the book is also a bold and necessary experiment in making a sight-impaired-accessible art book – it will feature Braille alongside conventional text, and tactile, textured images.

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In the city of Yong’an, a fiction writer and amateur cryptozoologist is commissioned to uncover the stories of its fabled beasts. These creatures, with their greenish stomachs or gills or strange birthmarks, live alongside humans in near-inconspicuousness, some with ancient forbears, others engineered as artificial breeds.Guided – and often misguided – by her elusive university professor and his scrappy sidekick-student Zhong Liang, our narrator finds herself on a mission to track down each species. And as she blunders from one implausible situation to the next, she comes one step closer to revealing her own multifaceted beastliness…Part detective story, part metaphysical enquiry, Strange Beasts of China addresses existential questions of identity, being, love and morality with whimsy and grace.

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In a pink-walled motel, a teenage prostitute brings a grown man to tears. A lovestruck young boy holds the dismembered hand of his crush, only to find himself the object of a complex menage a trois. A naked body falls from the window of a twenty-storey building, while two female office workers offer each other consolation in the elevator... In these wry and unsettling stories, Prabda Yoon once again illuminates something of the strangeness of modern cultural life in Bangkok. Disarming the reader with surprising charm, intensity and delicious horror, he explores what it means to have a body, and to interact with those of others.

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A woman arrives alone in Kolkata, taking refuge in a deserted apartment while she waits to undergo an unspecified surgery. In this disorienting city, everything seems new and strange: the pavement-dwellers outside her block, the collective displays of religiosity, the power cuts and alarming acts of arson. Her sense of identity already shaken, when she finds a stained pair of leopard print panties in the otherwise-empty wardrobe she begins to fantasise about their former owner, whose imagined life comes to blur with and overlap her own. Pairing manic energy with dark eroticism, Sangeeta Bandyopadhyay's writing has a surreal, feverish quality, slipping between fluid subjects with great stylistic daring. Credited with being 'the woman who reintroduced hardcore sexuality into Bengali literature', Bandyopadhyay is neither superficial nor sensationalistic, equally concerned with debates on religion and nationhood as with gender and sexuality.

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Frantz Fanon wrote in 1961 that 'Decolonisation is always a violent phenomenon,' meaning that the violence of colonialism can only be counteracted in kind. As colonial legacies linger today, what are the ways in which we can disentangle literary translation from its roots in imperial violence? 24 writers and translators from across the world share their ideas and practices for disrupting and decolonising translation.“For the past few years, I’ve written and rewritten this line in journals and proposals: literary translation is a tool to make more vivid the relationships between Afro-descendent people in the Americas and around the world.” - Layla Benitez James

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A young girl is sent away to school to save her from being declared the sexual property of the village’s upper-caste men. The village water tank laments to a passing child. A Brahmin boy is considered ‘polluted’ by the touch of a Dalit girl – the same action that saved his life. Rendered with idiomatic vitality, humour and lightness, these stories revel in rural childhood without nostalgia or romanticism, forcing the reader to question their expectation of violence in the representation of certain lives, and of what the short story can be and do. Shifts in tone and perspective reveal relationships – between the different castes that make up a village, between an individual and the wider community, between identities and the seasonal rhythms of the land. Imbued throughout with a Dalit feminist philosophy that is above all a philosophy of life, to be lived with wit, ingenuity, and defiance. “Shyamala does not moralise or overly politicise grief and suffering…the descriptions possess an astonishing clarity of visual and sensual delight”‘Luminous, moving and funny … almost deceptive in its lightness of touch, and deftness of language’—Tehelka‘That Shyamala avoids a bleakness of tone while leaving alive the possibilities of violence is a tribute to her mastery over the short story form’—Mint Lounge‘Gogu Shyamala uses her expressive prose to convert caste and gender oppression into stories about human dignity’—Outlook

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In 1930s Japanese-occupied Korea, Lee Woo-Cheol was a running prodigy and a contender for the upcoming Tokyo Olympics. But he would have had to run under the Japanese flag. Nearly a century later, his granddaughter is living in Japan and training to run a marathon herself. With the help of powerful Korean shamans, she summons the spirit of Lee Woo-Cheol only to be immersed in the memories of her grandfather, his brother, Lee Woo-Gun, and their neighbour, a young teen who was tricked into becoming a comfort woman for Japanese soldiers. A meditative dance of generations, The End of August is a semi-autobiographical investigation into nationhood and family - what you are born into and what is imposed. Yu Miri's distinct prose, rhythmically translated by Morgan Giles, explores the minutiae of generational trauma, shedding light on the postwar migration of Koreans to Japan.

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An eighty-year-old woman slips into a deep depression at the death of her husband, then resurfaces to gain a new lease on life. Her determination to fly in the face of convention – including striking up a friendship with a hijra person – confuses her bohemian daughter, who is used to thinking of herself as the more 'modern' of the two.At the older woman's insistence they travel back to Pakistan, simultaneously confronting the unresolved trauma of her teenage experiences of Partition, and re-evaluating what it means to be a mother, a daughter, a woman, a feminist. Rather than respond to tragedy with seriousness, Geetanjali Shree's playful tone and exuberant wordplay results in a book that is engaging, funny, and utterly original, at the same time as being an urgent and timely protest against the destructive impact of borders and boundaries, whether between religions, countries, or genders.

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In his latest tragicomedy Hamid Ismailov interrogates the intersection between tradition and modernity. A former radio-presenter wrongly interprets one of his dreams and thinks that he has been initiated into the world of spirits as a manaschi, one of the Kyrgyz bards and healers reciting Manas – the longest human epic, consisting nearly of a million verses – who are revered as people who are connected with supernatural forces. Travelling to a mountainous village populated by Tajiks and Kyrgyzs, he instead witnesses the full scale of the epic’s wrath on his life. Following on from the award-winning The Devils' Dance and Of Strangers and Bees, this is the third and final book in Ismailov's Central Asia trilogy.

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I want to get rid of Kanoko/I want to get rid of filthy little Kanoko/I want to get rid of or kill Kanoko who bites off my nipples.A landmark dual collection by one of the most important contemporary Japanese poets, in a “generous and beautifully rendered” translation.Now widely taught as a feminist classic, KILLING KANOKO is a defiantly autobiographical exploration of sexuality, community, and postpartum depression. Featuring some of her most famous poems, Ito writes in a defiantly autobiographical manner: Kanoko is Ito’s oldest child. WILD GRASS ON THE RIVERBANK won the 2006 Takami Jun Prize, which is awarded each year to an outstanding, innovative book of poetry. Set simultaneously in the California desert and Japan, this collection focuses on migration, nature, and movement. At once grotesque and vertiginous, Itō interweaves mythologies, language, sexuality, and place into a genre-busting narrative of what it is to be a migrant.“Japan's most prominent feminist poet” – Poetry Foundation

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What was it they were battling? Their smallness, of course, their smallness. A delicate and arresting queer novel from one of Korea's most celebrated contemporary writers d, a nonbinary gig worker living in Seoul, briefly escapes the grasp of isolation when they meet dd, only to be ensnared by grief when dd dies in a car accident. Meanwhile, the world around them reckons with the 2014 Sewol ferry disaster that left more than 300 dead. As formally inventive as it is evocative, dd's Umbrella is composed of twin novellas. The first is told from the perspective of d, and the second from the perspective of a writer researching a book they may never write. Both figures dwell in society's margins-queer, working-class, and part of nontraditional family structures. As people across Korea come together to protest the government's handling of the Sewol ferry disaster, and to impeach the right-wing president in office, the novel examines how progressive movements coexist with social exclusion, particularly of women and sexual minorities, invisibilised in service of the 'greater cause'. dd's Umbrella is a meditative and off-centre novel about mourning and revolution.

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What is history, undocumented? How do we archive censored lives? A poetic reflection on authorship and erasure, *A Book, Untitled* is an intimate and innovative approach to autofiction and the act of remembering. In her first novel, Armenian writer Shushan Avagyan tells the story of a fictional encounter between Shushanik Kurghinian and Zabel Yesayan, two early twentieth-century pioneers of feminist literature, whose legacies have been obscured in Armenian history. Their fictive meeting is interspersed with conversations between the author and her friend Lara, who are researching the work of Kurghinian and Yesayan. While sifting through censored documents, unpublished works, and unfinished drafts, they linger in speculation and piece together lives that have been overshadowed by the Tsarist and Stalinist regimes. At once electric and ephemeral, *A Book, Untitled* is a story of re-cognition otherwise—posthumous, imagined, and intricately powerful.

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On a Woman's Madness tells the story of Noenka, a courageous Black woman trying to live a life of her own choosing. When her abusive husband of just nine days refuses her request for divorce, Noenka flees her hometown in Suriname, on South America's tropical northeastern coast, for the capital city of Paramaribo. Unsettled and unsupported, her life in this new place is illuminated by romance and new freedoms, but also forever haunted by her past and society's expectations. Strikingly translated by Lucy Scott, Astrid Roemer's classic queer novel is a tentpole of European and post-colonial literature. And amid tales of plantation-dwelling snakes, rare orchids, and star-crossed lovers, it is also a blistering meditation on the cruelties we inflict on those who disobey. Roemer, the first Surinamese winner of the prestigious Dutch Literature Prize, carves out postcolonial Suriname in barbed, resonant fragments. Who is Noenka? Roemer asks us. I'm Noenka, she responds resolutely, which means

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One of The Observer’s fiction picks for 2022 and winner of a PEN Heim award.To deter me, my uncle spoke to me about roots. A line of argument that I found absurd. Even plants are intelligent enough to grow around stones, seeking the best soil for their roots underground.Jeanphi, a young man from the fictional West African city Ouabany, has one obsession that will determine the fate of his life – migration. He scrapes together money to take the illegal route across the Sahara, making it as far as Morocco before being repatriated. Increasingly desperate, Jeanphi meets an elegant French widower who for his part is despairing at the insurmountable bureaucratic hurdles for his charitable endeavour in Jeanphi’s country. A window opens to opportunity – but it will also bring tragedy.Burkinabé author Monique Ilboudo’s novel offers a compelling and complex portrait of migration, one of the defining global concerns of the twenty-first century, and a sharp critique of both the NGO-isation of African countries and the currents of shame that divide communities and families. Yarri Kamara has rendered Ilboudo’s text in an idiom that conveys the sharp humour, lucid descriptions and urgency of the original.

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In thirteen stories that investigate ordinary and working-class Thailand, characters aspire for more but remain suspended in routine. They bide their time, waiting for an extraordinary event to end their stasis. A politician’s wife imagines her life had her husband’s accident been fatal, a man on death row requests that a friend clear up a misunderstanding with a sex worker, and an elevator attendant feels himself wasting away while trapped, immobile, at his station all day.With curious wit, this collection offers revelatory insight and subtle critique, exploring class, gender, and disenchantment in a changing country.

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Winner of an English PEN award With her days split between a passionate marriage and a high-octane television studio job, Homi is a thoroughly modern young woman – until one day she is approached by a yogi in the street. This mysterious figure begins to follow her everywhere, visible only to Homi, who finds him both frightening and inexplicably arousing. Convinced that the yogi is a manifestation of fate, Homi embarks on a series of increasingly desperate attempts to prove that her life is ruled by her own free will, much to the alarm of her no-nonsense husband and cattily snobbish mother. Her middle-class Kolkata life, and the relationships that define her identity, are disturbed to the point of disintegration. Following the inexorable pull of tradition, the mystic forces that run beneath the shallow surface of our modern existence like red earth beneath the pavements, Homi ends up in Benaras, the holy city on the banks of the Ganga, where her final battle with fate plays out.

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In the latest thrilling multi-stranded epic from the award-winning author of The Devils’ Dance, an Uzbek writer in exile traces the fate of the medieval polymath Avicenna, who shaped Islamic thought and science for centuries. Following a strange dream Uzbek writer Sheikhov is convinced that the medieval polymath Avicenna has been condemned to roam the world for centuries. The novel follows Avicenna in various incarnations across the ages from Ottoman Turkey to medieval Germany and Renaissance Italy. Sheikhov plies the same route, though his troubles are distinctly modern as he endures the petty humiliations of exile. Drawing from his own experience as a writer in exile, Hamid Ismailov has crafted another masterpiece, combining traditional oral storytelling and contemporary global fiction in a modern reincarnation of a famous Sufi parable.

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'And I struggle to find my place in this dark novel. I yearn for passion and despair – for that is what makes good literature – while Ishwari seeks a life of joy for herself and her son.’A powerful novel from the author of Panty about a woman who runs away from home, seeking to free herself from the shackles of society and familial attachments, and instead devote her attentions to writing a novel. When she realises that her five year old son Roo has followed her, Ishwari struggles with her identity as a mother and the responsibilities that brings, versus the guilty knowledge that she cannot want her own child when his existence requires her to suppress her own dreams.Ishwari and Roo wander the streets at night, looking for a place to stay, until an elderly caretaker takes pity on them and offers them an empty room on the terrace of a guest house. Ishwari gets work as a caregiver to the handsome gentleman who lives next door, while Roo, who is lame, spends all day locked up in the room on the roof. Pulsating with raw energy, Abandon gives voice to the perpetual conflict between life and art.

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Mehar dreams of freedom and a life with her children. Asiya dreams of her daughter’s happiness. Sajida dreams of becoming a doctor. Subaida dreams of the day when her family will become free of woes. Parveen dreams of a little independence, a little space for herself in the world. Mothers, daughters, aunts, sisters, neighbours… In this tiny Muslim village in Tamil Nadu, the lives of these women are sustained by the faith they have in themselves, in each other, and the everyday compromises they make. Salma’s storytelling – crystalline in its simplicity, patient in its unravelling – enters this interior world of women, held together by love, demarcated by religion, comforted by the courage in dreaming of better futures.

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The first English-language collection from one of India’s most hard-hitting writers, these poems brilliantly exemplify writing as an act of resistance. Militant, satirical, and biting, Kalyani Charal pulls no punches in eviscerating paternalistic - and patriarchal - bourgeois socialists who speak on behalf of others.Writing from lived experience, Charal delineates the bourgeois values that fuel the social machinery of caste oppression, while drawing parallels with social and racial marginalisation around the world. Thus, in her poetry, the specificity of Dalit lives in Bengal, a region which prides itself on its Leftist history and enlightened culture, and whose partition into India and Bangladesh has left a legacy of communal tension, refugees, and statelessness, is at the same time the universality of precarity, marginality and dispossession. Finally, there is space for love - wistful and full-throated, with an attentiveness to the natural world that speaks to her claim that “all Dalit woman writers are eco feminists”.This is how birds and people of colour become one and the sameAn adjective blossoms, ‘migrants’.“Kalyani Thakur Charal’s sharp writing on Dalit feminism has shaken the system time and again” - Scroll India

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The metro shudders to a halt: an unattended bag has been found, and terrorism is suspected. For the narrator, a young Vietnamese woman teaching English in the Parisian suburbs, time stops. Her son falls asleep on her shoulder and a long interior monologue begins, looking back over her life thus far.From a constrained childhood in post-communist Hanoi, to a period of study in '80's Russia, she tries to understand everything that has brought her to this point. Through it all runs her passion for Thuy, a writer who lives in Saigon's Chinatown, and who she has not seen for eleven years.Interspersed with extracts from Thuy's novel, the narrator's monologue is an attempt, at once desperate, humorous, and self-deprecating, to fix the past once and for all and exorcise the passion that haunts her.Winner of an English PEN Award'Chinatown is a fever dream, a hallucination, a loop in time and life that Thuân masterfully deploys to capture the disorienting and debilitating effects of migration, racism, and a broken heart in both Vietnam and France. I was completely immersed in this spellbinding novel' — Viet Thanh Nguyen.

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This novel by one of Turkey's most highly regarded writers tells the story of a granddaughter's reckoning with the suppressed and traumatic memories of her grandmother, who survived a genocidal massacre in the Dersim region of southeast Turkey in 1938. Based on Sema Kaygusuz's relationship to her own grandmother, the novel embeds the turmoil of contemporary mass violence within mythic and deep historical timescapes, cracking open the modern history of Turkey to ask greater questions about good and evil, about exile and survival, about resilience in an age of everyday horror.

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Black Box details the harrowing experience of sexual assault Shiori Ito faced as a young journalist in Japan, as well as the national reckoning that followed.In 2015, Ito charged Noriyuki Yamaguchi, one of Japan’s best-known TV journalists, with rape. But when Ito went to the police after the assault, she was told that her case was a “black box”: it had happened behind closed doors and was therefore unprosecutable.Ito became aware of the alarming amount of black boxes built into legal and investigative systems in Japan, and the inaccessible economy around legal advice for victims of sexual assault and gender-based violence. From the attitude of investigators to the difficulties retrieving time-limited security camera footage, Ito’s experience navigates the labyrinthine expectations placed upon victims.Upon publication in 2017, Ito’s account was integral to the #MeToo movement in Japan and became a necessary catalyst for cultural and legal change. As international outlets covered every step of her story – documented in the BBC film Japan’s Secret Shame – this book launched a societal reckoning. At the end of 2019, Ito won a civil case against Yamaguchi.Ito's personal story is the kernel of a searing journalistic exposé, exposing how Japan’s relatively low official rates of sexual assault mask a culture of victim-shaming and institutional failure on the part of the police, law and media to bring perpetrators to justice.Winner of an English PEN Award"Shiori Ito radiates with passion and conviction for seeking the truth." —Ryuichi Sakamoto, musician and activist

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No Presents Please is a vivid evocation of city life, exploring the sub-locales and spatial identities of Mumbai and the struggles of small-town migrants.Jayant Kaikini’s gaze takes in the people living on the margins – a bus driver who, when denied annual leave, steals the bus to travel home; a slum dweller who catches cats and sells them for pharmaceutical testing; a father at his wit’s end who takes his mischievous son to a reform institution. From Irani cafes to chawls, old cinema halls to local trains, the author seeks out and illuminates moments and feelings of existential anxiety, pathos and tenderness. In these sixteen prize-winning stories, cracks in the curtains of the ordinary open up to possibilities that might not have existed, but for this city, which surprises with its epiphanies, fantasies and ambitions.

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The Impossible Fairytale tells the story of the nameless 'Child', who struggles to make a mark on the world, and her classmate Mia, whose spoiled life is everything the Child's is not. At school, adults are nearly invisible, and the society the children create on their own is marked by cruelty, soul-crushing hierarchies and an underlying menace. Then, one day after hours, the Child sneaks into the classroom to add ominous sentences to her classmates' notebooks, unlocking a series of events with cataclysmically horrible consequences. But that is not the end of this eerie, unpredictable novel...

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Love in the Big City is an energetic, joyful, and moving novel that depicts both the glittering nighttime world of Seoul and the bleary-eyed morning-after. Young is a cynical yet fun-loving Korean student who pinballs from home to class to the beds of recent Tinder matches. He and Jaehee, his female best friend, frequent nearby bars where they push away their anxieties about their love lives, families, and money with rounds of soju and Marlboro Reds. Over time, even Jaehee leaves Young to settle down, leaving him alone to care for his ailing mother and to find companionship in his relationships with a series of men, including one whose handsomeness is matched by his coldness, and another who might end up being the great love of his life.Love in the Big City is an exploration of millennial loneliness as well as the joys of queer life, that should appeal to readers of Sayaka Murata, Han Kang, and Cho Nam-Joo.

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Deviant Disciples features five prominent Indonesian women poets of different generations and cultural backgrounds. Their work demonstrates the powerful ways in which feminist resistance has been articulated in the non-Western World: playful or angry, and always fearless.Edited by writer Intan Paramaditha and translated by Elisa Vitri Handayani, Norman Erikson Pasaribu and Tiffany Tsao, this chapbook collects poems by the legendary poet and philosophy professor Toeti Heraty as well as work by Shinta Febriany, Dorothea Rosa Herliany, Hanna Fransisca and Zubaidah Djohar, showcasing women poets who use language as a tool to critique, reinterpret, and disobey.Translating Feminisms showcases intimate collaborations between some of Asia's most exciting women and nonbinary writers and translators: contemporary poetry of bodies, labour and language, alongside essays exploring questions such as, 'Does feminism translate?'.As part of Tilted Axis's wider project of decolonisation through and of translation, and in response to seeing WoC authors' work misread through a white feminist lens, we want to re-imagine the possibilities of a fully intersectional, international feminism, and ensure authors have the creative agency to contextualise their own work.

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