Jenny Moran introduces An Foclóir Aiteach, a dictionary that writes queer terminology into the Irish language.
Join Yasmine Seale and Robin Moger as they work on an experimental translation of Ibn Arabi’s cycle of odes, The Interpreter of Desires.
Aisha Afrah is a broadcast journalist at BBC World Service, she is a poet and a short fiction writer. Aisha has an M.A. in African Literature from SOAS University. Her interests include translation and multilingualism within the Somali territories. Her poetry explores themes such as home, womanhood, being a refugee and self-love. Dadka deegannada
A one-day workshop organised by MULOSIGE (SOAS, University of London) in collaboration with the Centre for European Literature, University of Kent
'Catastrophe' poetry poster illustrated by artist Bryan Talbot Join the Poetry Translation Center and leading Somali poet Xasan Daahir Ismaaciil 'Weedhsame' this October. The PTC is publishing Catastrophe by Somali poet Xasan Daahir Ismaaciil 'Weedhsame' as an illustrated poem-poster, including a brand-new translation by BBC Radio 4 poet-in-residence Daljit Nagra and SOAS scholar Dr Martin Orwin. Catastrophe is a howl of anguish about
Kuwaiti novel 'Saq al-Bambu' is presented as a text translated from Tagalog even though it was originally written in Arabic- however, the English translation completely erases the fictional translation aspect.
S. Shankar argues that postcolonial philology can present "a powerful way of plumbing the depths of that dauntingly deep and shifting ocean of historical experience that we call the modern colonial encounter and its aftermath".
July Blalack argues that The Nobel Prize in literature is failing its global audience due to its near exclusive focus on literature written in European languages.
Only a tiny fraction of fiction published in English is translated, and only about a quarter of that translated fiction was originally written by women. And yet there are so many amazing women-authored books out there in the world – books we’re missing out on
As ‘kan ya makan’ implies, Blasim’s stories are and they are not: they impress upon readers the porous boundaries between fact and fiction, particularly at a juncture when tales of migration are gaining political and literary attention