It’s the end of Women in Translation Month and so to celebrate, this post is dedicated to three of my favourite texts by women authors which I’ve read in translation. The aim of the month-long celebration is to draw attention to the fact that women authors are not often translated into English.
I’ve chosen three classic novels and novellas written over 30-50 years ago but I believe that they are not read or talked about enough, which is why I’m highlighting them here. Each one deeply affected me and stands out in my memory. Nawal El Saadawi and Latifa Al-Zayyat’s novels were introduced to me during my Master’s module on Arabic literature (with primarily an Egyptian focus). I found Banana Yoshimoto when I was looking for Japanese authors to read as a teenager. Continue reading “Women in Translation Month”
I’ve got a lot of things on my to-be-read list this month, and honestly I think that this pile of books is going to take me right through September as well because I’m busy this summer writing up my dissertation for my Master’s. Also, some of the books which I’ve chosen are going to take a while to finish as they’re heavy reads, both emotionally and physically (I’m looking at you, A Little Life)! Anyway, here’s what I’m reading at the moment and aiming to start reading soon…
Also, as a quick side-note – I’m loving the Gal-dem collaboration with The Guardian from last weekend:
Continue reading “August: Currently Reading/TBR”
One of my pet hates is when books/plays written by BAME writers are perceived or labelled as culturally ‘niche’. Why do people say that? It’s a way of othering and distancing works by writers of colour for being ‘different’. It’s alienating for BAME writers and readers/audience members when it’s difficult for minority writers to get a platform and challenge the status quo in the first place. I think that it’s necessary to deconstruct this idea that we are ‘niche’, and with that in mind, here are two products of the British East Asian theatrical community which I have really enjoyed reading recently. Foreign Goods really got me thinking: why is this the first British East Asian collection of theatrical writing? Because it’s SO good. I hope that there’s another! Continue reading “British East Asian Theatre: “I’m not a graceful lotus flower.””