festival masnaâ revue de presse 2013-2015

FESTIVALMASNAÂ
REVUEDEPRESSE2013-2015
«SummershoolàCasa»,entretienavecChloéLandini,Diptyk,avril-mai2013
«Casablancaréinventelalittérature»parPaolaFrangieh
LeSoir,24avril2013
MASNAA: Language Melting, Merging, and Crossing
Boundaries
http://arablit.wordpress.com/2013/06/06/masnaa/
Last month in Casablanca, the largest and one of the most crowded cities in Morocco, L’école de
literature hosted trilingual art and translation workshops under the umbrella of “MASNAA: Literature in
the Making.” Aya Nabih was there:
By Aya Nabih
The MASNAA residency included a schedule full of various workshops on cinema, performance,
and music — all in relation to writing. Among the workshops I attended were a comics and
narrative figuration workshop, moderated by the painter and musician Mazen Kerbaj and “Cinematic
Occupation,” run by the Palestinian director Kamal Aljafari, in which he introduced his upcoming
projects and discussed some of his cinematic views.
“Cartography of the Ecstatic” was the title of another workshop about the intersection between music
and poetry, where poetry was performed by the workshop participants mixed with music and sound
effects. It was moderated by the musician Ambrose Bye with the American poet Eleni Sikélianòs and
Khalid Moukdar. On the last
Photo from one of the “Cartography of the Ecstatic” workshop sessions. Credit: Aya Nabih.
day, they produced a musical poetry night for the audience.
A typical day started in the morning with two workshops in different sites around Casablanca, then, in
the evening, we had some lectures on literature and cinema. One of them was mine, titled “The Fresh
Voice of Experimental Arab Literature,” which suggested that there is no specific definition of an
experimental literary text, as
it cannot be confined to one description and that is exactly why it is experimental. It is free of all writing
rules, so each text presents an experiment of the writer’s choosing.
It was unfamiliar not to understand Arabic speakers, as the Moroccan Arabic was a little difficult in the
first few days, and we had sometimes to use English and French. But this is, I think, one of the most
significant aspects of being in Casablanca; for the Arabic language to melt and merge, crossing the
boundaries and getting to the point of mutual understanding.
Aya Nabih is a translator and Worldscribe country manager in Egypt. She has translated a number of
documentaries and children’s TV series and her literary translations have appeared in Egyptian and
British journals. She also has participated in poetry nights in Cairo and France, and some of her
poems have been translated into French and English.
«Masnaâ,usineàcréationcritique»
H24|Publiéle22/04/2014.ParKaoutharOudrhiri
http://www.h24info.ma/maroc/culture/masnaa-usine-creation-critique/22284
Détailduvisueldel'atelierGravdesartistesetmusicienstunisiensIsmaël,ZiedMeddebHamrounietAlaEddineSlim.©
Grav
Masnaâ,lelaboratoiredesculturesetidéesalternativesfaitsonretouràCasablanca.Auprogramme,desateliers,dela
performanceetdesprojectionsàdécouvrirdu25avrilau3mai.
L'usine culturelle Masnaâ revient pour une deuxième édition à l'agenda bien rempli, bien pensé et surtout éclectique.
Pendant10jours,Masnaâproposedesatelierspourceuxquiontdutempslibre,maisaussideconférences,projections,
performancesquiorbitentautourdelalittérature,desartsvisuels,deladansecontemporaine,ducinéma,delamusiqueou
encoredesthéoriesculturelles.
FaouziBensaidicoupe"court"
Pourl'ouverturedelamanifestation,MasnaâdonnecarteblancheauxréalisateursFaouziBensaidietAliEssafipourune
entréeenmatièreaxéesurlepasséetl'avenirducourtmétrage.FaouziBensaidiproposeraainsiunesélectiondecourts
métrages récents de jeunes réalisateurs, tandis qu'Ali Essafi présentera des oeuvres datant des années 1950-1970, au
momentoùs’inventelecinémamarocainmoderne.ÇasepasseaucinémaRitzàpartirde19h.
Lelendemain,débuteralecycledesconférencesàlacoupole.Créateursoucritiques(parfoislesdeux)prendrontplacedu
côtédesintervenants.Lesthèmesoscillerontentrearts,littérature,musiqueetpolitique.Le26avrill’écrivainetchercheur
Mohamed Amanssour discutera des défis inhérents à la littérature contemporaine marocaine. Dans la foulée, l'artiste et
critiqueMohamedRachdiviendraparlerdupointdurapportentrelacritiqueetlacréationdansletravailartistique.
Entrecopied'unecopieetcréationcritique
Lecycleseracoupéparlaperformance"TheSecondCopy(ILikethistitle)"deYounesAtbanequitravaillesurl'effetdela
reproduction(delacopie)surlacréationartistique.
Ledimanche27avril,lemusicienMarcDucretanimeraunediscussionsurleserreursdemusiciens.Lesamedi3mai,lapoète
AnneWaldmantenteradepercerl'énigmedelacontemporanéitéettoutdesuiteaprèslethéoricienetromancierFrançois
Cussetparlerad'esthétiqueetdepolitique.
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ParadoxeàlaSDLetdanseàDarja
Nousvousparlionsilyaquelquesjours,del'espaced'artdelaSourceduLion(SDL)quiaorganiséunesériederencontreet
performancesavec5artistesautourdelanotionduparadoxe,enpartenariataveclemuséemarseillaisMuCem.Lerésultat
desesrencontresseraprésentéenvidéoenjuin2014auMuCem.Enattendant,Masnaâvousdonnel'occasiondedécouvrir
cequeYounesBabaAli,YtoBarrada,HassanDarsi,MartineDerainetMohamedLaouliontréaliséle27avrilàlaSDL.
PlacemaintenantàladanseavecSabineMacheretMeryemJazouliquitouteslesdeuxperformerontle29avrilàl'espacede
dansecontemporainDarja.SabineMacherquidontletravailorbiteautourdeladanse,l'écritureetlaphotographieessaiera
dereleverlesacrédéfidedevenirunedanseusemarocaineen3jours.ElleserasuivieparladanseusechorégrapheMeryem
Jazouliquiexpérimenteralamédiationducorps."Avoircommecontraintedeneplususerducorpspourdiresesmotsc’est
uneparenthèseimposée,maisfinalementexcitantequim’obligeouplutôtquim’emmènesurlechemindelaparolepour
racontermadanse",explique-t-elle.
VidéoTammara:travaillerc'estêtreasservi?
LejeuneartisteYoussefOuchraprésenterale1ermai"Tammara",sanouvellecréationquis'inscritdanslecadreduprojet
Homme/Off.Danscettevidéo,leperformeurselivreàunelonguemarcheentrelesépicentreséconomiquesdeCasablanca
unfagotdeboissurledos.Commepourcréerlecontrasteentredeuxmodesdetravail.ZohairAtbaneprendrasasuiteplace
pourprésenter"Artistologue".
On décompresse le vendredi 2 mai avec le Fast speaking music, un groupe et un label new-yorkais conduit par Anne
WaldmanetAmbroseBye.Ilsdonnerontunconcertàl'Institutfrançais(entrée
30DH),etserontaccompagnéssurscènepard'autresintervenantsdeMasnaâ.
Masnaâprendraensuitelelarge,directionAinDiabauVanillaClubpourunesoiréeélsousletitrede"KilltheDj"(ànepas
prendreaupremierdegré!)avecC.A.ReSecondscouteaux.
Ruchesd'ateliers!
Pourlesétudiants,lespassionnés,lesartistes,leschômeursoutoutsimplementceuontdutemps,Masnaâamisenplace
uneséried'ateliers.IlyaAnamorphosequiorganisédu25au27avrilàlaCoupoleavecl'artisteCorinneTroisi."Lebutdecet
aestdecréeruneanamorphoseinsituàlaCoupole,entravaillantsurl’illusionderéalilechangementdepointdevue",
expliquentlesorganisateurs.
Autrecuriosité,GravquiréuniralesartistesetmusicienstunisiensIsmaël,ZiedMeHamrounietAlaEddineSlimautourdu
thèmedudébordementdutempsetdel'espaccréantdutextedusonetdesimages.ÇasepasseàlaSDLle25au30avril,et
c'estmanquersousaucunprétexte.
Leprogrammedesateliersestdisponibleici.
Masnaâ ou le parcours des sens
Par JIHANE BOUGRINE Les échos - Publication : 14/04/15
http://www.leseco.ma/culture/28049-masnaa-ou-le-parcours-des-sens.html
MasnaârythmeralavilledeCasablancadu17au25avrilàcoupd’expositions,deworkshopsetdespectacles.
Unemanifestationricheenmomentsculturelsàl’usineLegaldanslesespacesdeDarjaetdelaSourcedulion,
l’Uzineetàl’InstitutfrançaisdeCasablanca.
Masnaâ,unemanifestationinternationalecentréesurlacréationcontemporaineàCasablanca,estlefruitd’une
collaborationentretroisstructuresartistiques,l’Écoledelittérature,laSourcedulionetl’EspaceDarja.Cette3e
éditionprendcommesourced’inspirationlesanciensentrepôtsetmagasinsLegalfrères&Ciesituésenplein
cœurd’unquartierhistoriquedelavilleetfaitdecelieuàl’abandonetinterditd’accès,toutàlafoisunemblème,
uneplateformedecréationetunespacedeprojection.Dejanvieràmai2015,lestroisstructuresmettentau
pointunprogrammecommunautourdecelieu:desrésidences,desateliers,desrencontres,desperformances
etinvitentdesécrivains,desartistesetlepublicàl’investir,ledessiner,lerêveretécrireunenouvellepagede
sonhistoire.LamanifestationMasnaâ,quiauralieudu17au25avrilseraletempsfortdeceprogramme,avec
desexpositions,desworkshops,desspectaclesetdesinstallations,quisedéroulerontautourdel’usineLegal
danslesespacesdeDarjaetdelaSourcedulion,l’Uzineetàl’InstitutfrançaisdeCasablancaavecdesartistes
comme l’écrivain français Olivier Cadiot, la chorégraphe marocaine Meryem Jazouli, l’écrivain algérien Kamel
Daoud,lemetteurenscèneitalienPippoDelbonoouencorelemusicienmarocainAbdellahHassak,pourneciter
queceuxlà.Desartistesdetouthorizonpourdesprojetsàtoutvacomme«Lesquared'enbas»,unprojetde
constructiond'unemaquetteàl'échelle1/50dubâtimentLegalFrères&Cie.Auteur:HassanDarsi.Utilisantles
projetsdemaquettecommeautantdedéclencheursdeprisedeconsciencecitoyenne,HassanDarsisepenche
surlesortdeLegalFrèresetCie,unbâtimentsisavenueMersSultan,quesurplombel’atelierdelaSourcedu
lion.
Ancienneusinedetransformationdeboisfondéeen1921,lamaisonLegalFrèresetCie,témoind’unepériode
emblématique de l’histoire du Maroc révélant des pratiques architecturales et industrielles propres à cette
histoire,estensuitelaisséeàl’abandondepuissafermetureen1932.Àcôtédecela,ilya«Développements»,
uneexpositiondetextesentiragesphotosnumériquessurpapierargentique.C’estaussilapremièreexposition
photographique de Benjamin B, le personnage de Departure Lounge, un roman à paraître de Jérôme Game.
Quand à Slide Show, c’est une performance spécialement créée pour Masnaâ. Au beau milieu de
«Développements»,undiaporamaenpoésiesonoredonnetextuellementàvoirdesimagespubliéesdansla
pressenationale,internationaleetsurinternet.Souvenirs,images,motsmaissurtoutgrâceautalentdujeune
AbdellahHassak,artistesonoreetcompositeurdemusiqueélectronique,quiconduitdepuisjanvieruntravail
decréationsurlamatièresonoreentourantlesentrepôtsLegal.Àcetravailsonores’ajouteunefictionécrite
par Mohamed El Khadiri : «L’étrange bâtiment délabré tombe dans la géographie désordonnée d’une ville
envahieparunearméeinvisible».Lemusicienpropose«MakanProject»quiprendlaformed’uneinstallation
sonoreutilisantuncircuitnumériquedecommandemisàdispositiondupublicpourunediffusioninteractive
permettantd’explorerlessonsetlesbruitsquientourentlesbâtimentsLegal.Leprojetseraaussijouéenlive
lorsdelasoiréed’ouverturedeMasnaâ,uneperformanceentrelerécit,lechantetundispositifd’immersion
sonoreetmusical.
http://diptykblog.com/blog/2015/04/24/festival-masnaa-inventaire-apres-disparition/
Dansé autour, projet de l’espace Darja, exposition/ vidéo/performance
FESTIVAL MASNAÂ : INVENTAIRE APRÈS DISPARITION
Ce qui est là n’est plus. Pour sa troisième édition, le festival Masnaâ prend les entrepôts Legal
Frères & Cie, avenue Mers Sultan, pour matériau de base de ses expérimentations plastiques,
chorégraphiques et littéraires.
La programmation, riche de ses performances artistiques, conférences et workshops, revêt
cette année une saveur singulière au vu de la démolition inopinée du bâtiment historique,
quelques semaines avant le lancement du festival.
Le triste spectacle des anciens entrepôts éventrés, fleuron de l’architecture industrielle
casaouie des années 30, dégage une poésie propre aux vestiges d’une époque révolue. Face
à l’inévitable disparition, Hassan Darsi poursuit, sans ciller, la maquette à l’échelle 1/50 du
bâtiment condamné : Le Square d’en bas, pierre angulaire du festival.
Cette démarche « archivistique »invite le citoyen à imaginer, écrire ou projeter les récits
potentiels, passés et futurs, de cette parcelle de la ville désormais vouée à l’effacement.
Également présenté durant le festival, le projet collectif Dansé autour de Meryem Jazouli
retrace les pérégrinations chorégraphiques effectuées depuis l’automne autour du bâtiment.
Enfin, les textesphotos de l’écrivain-performeur Jérôme Game, imprégnés des espaces
interchangeables et anonymes du réel globalisé, ne manqueront pas d’entrer en étrange
résonance avec le devenir possible des entrepôts, rayés du tissu urbain de la ville blanche. À
découvrir.
« Ce qui est là », Festival Masnaâ, Casablanca, du 17 au 25 avril 2015.
http://lecoledelitterature.org
Le Square d’en bas de Hassan Darsi
Published on 13 avril 2015
http://lioumness-magazine.com/le-square-den-bas/
Ancienne usine de transformation du bois fondée en 1921, la Maison Légal Frères et Cie est le
témoin de toute une époque architecturale de l’histoire du Maroc. Laissée à l’abandon depuis sa
fermeture en 1932, la bâtisse, déserte et tombant en désuétude, est depuis interdite d’accès au
public.
Du haut de son atelier de la Source du Lion à Casablanca, Hassan Darsi observait tous les jours
depuis 6 années ce bâtiment unique du paysage urbain casablancais, et a décidé de s’y intéresser de
plus près, en lui dédiant son 3ème projet de maquette.
Hassan Darsi est un artiste du réel. A rebours des artistes qui fécondent leur imaginaire pour exprimer
leur art et réinventer le monde, Hassan Darsi, lui, cherche à rester au plus près de l’existant, du matériel
et du tangible, pour le saisir, l’appréhender et le questionner.
En 2002, sa maquette du parc de l’Hermitage, acquise par le Centre Pompidou à Paris en 2012 et
actuellement exposée jusqu’en 2016, est un constat de l’état d’abandon auquel était livré alors l’un
des trop rares espaces verts à Casablanca, et a permis, en 2010, de lancer sa restauration et sa
réhabilitation. En 2005, l’artiste réalise une maquette du globe Zevaco recouverte de dorures, à la
fois un appel lumineux pour ouvrir le débat sur les monuments qui font l’histoire de la ville, et un
contre-pied à la fascination de notre civilisation pour l’or.
Une méthode bien rodée, à la fois ludique et didactique, qui interpelle et qui permet d’attirer l’attention
sur notre manque cruel de vision et de perspective. Puisque du haut de notre petitesse nous avons du
mal à appréhender le réel, Hassan Darsi s’emploie à le réduire de telle sorte qu’on puisse le saisir, un
travail minutieux quasi clandestin de mesures et de recherches pour révéler la grandeur de notre
patrimoine.
Le travail de maquettes de Hassan Darsi nous invite donc à comprendre les enjeux et les finalités
d’une cité, et à nous poser la question de la ville comme espace social et culturel, le témoin d’une
mémoire et d’un passé communs, et comme le champ où naissent de nouvelles sociabilités et de
nouvelles façons de vivre ensemble.
Nous parlons aujourd’hui d’urbanisme durable, où le patrimoine est réhabilité et son usage
est repensé pour être intégré dans la politique des villes nouvelles. Le patrimoine est alors un
témoignage culturel et esthétique du passé, tout en devenant un élément constitutif et une composante
active du cadre de vie contemporain.
La maquette de la Maison Légal Frères sera présentée le 17 Avril prochain pendant la 3 ème édition
du Festival Masnâa, à l’Atelier de la Source du Lion dans le cadre du projet «Ce qui est là», élaboré et
mis en œuvre par les trois associations complices, La Source du Lion, l’Espace Darja et l’Ecole de
littérature.
«Unemaquettecommetémoin»,parMariaDaif
MagazineIlli,avril2015
TRANSLATIONS,Lagrasse,France,2012
REVUEDEPRESSE
‘Translations’ Residency: Three Languages on an Equal Footing
Posted on September 10, 2012 by mlynxqualey | Leave a comment
Article on the web: http://arablit.wordpress.com/2012/09/10/translations-residency/
This summer, Rawad Z. Wehbe took part in the Translations residency, which he found to be an amazing
experience:
By Rawad Z. Wehbe
I had the invaluable opportunity this summer to attend the first installment of Translations, a residency
comprised of workshops, discussions, and exchanges concerning translation and writing. Tucked away in the
historic French village of Lagrasse, our group of thirty-five translators, authors, scholars, and students (like
myself) spent the week (July 7-14) eating, breathing, and sleeping translation.
None of Translations’ workshops set out with the intent to produce a ready-to-publish translation of an entire
novel or short story. Our objective, in my opinion, was far more important. In a nutshell, the goal was to
dismantle barriers of distance and construct a free social and intellectual space where people dedicated to
language and translation could meet, share, and collaborate with their peers from various parts of the world.
Translators Barbara Skubic andMichelle Hartman have advised that translating should not be a lonely or isolated
endeavor. Instead it should be a communal and collaborative one. Such was the space that Translations
successfully fostered.
While the climate in Lagrasse was social and friendly, it was also productive. According to the program
schedule, a total of fourteen workshops were to be organized by a brilliant team of individuals from all over the
world with a keen interest in and talent for translation. The working languages were French, Arabic, and English.
While the residency accommodated every language combination and direction (ex. Arabic-French, FrenchEnglish, etc.), I was particularly interested in Arabic-English and English-Arabic. So it was unfortunate when I
was informed that Sinan Antoon and Abdelmounem Chentouf were unable to attend the residency.
Nonetheless, there was plenty of work to be done and Omar Berrada did a profound job directing some of the
most engaging collective translation efforts in which I have ever participated.
It was especially generous of him to open up his Arabic-French workshops to English speakers and lead
discussion trilingually, a task that is as difficult as it sounds. Under his supervision we read and translated the
following: letters between Muḥammad Barādah and Muḥammad Shukrī compiled in a monograph titled Ward
wa-ramād (Rose and Ashes), love poems from Alf laylah wa-laylah (A Thousand and One Nights) with the
poetic prowess of Sarah Riggs, and a short story titled “al-Wahm” (“The Illusion”) by Malika Moustadraf. Here
is a short excerpt of my translation of this short story:
The fire inside raged. He was hungry for many things and that beast, desire, sleeping somewhere within his body
howls with harsh voracity. His eyes were glued to the thick behind bouncing provocatively in a disgraceful and
dreadful manner. Wherever he turned he found protruding breasts aiming directly below his waist, arousing him,
mercilessly bearing pressure on his nerves with violence force. He would gulp down his coffee so as not to act
on any crazy impulse he would later regret. The neighborhood kids had caught even the Imam in the act a
number of times stealing a glance at the young girls feeling what was below his potbelly; his antique rosary
moaned between his fingers. Our Imam, you are excused. Wasn’t it Eve who robbed Adam of paradise? Is she
not responsible for robbing you of your gravity?
From a workshop on the translation of sound. Courtesy Rawad Z Wehbe.
Along with Berrada’s workshop, I also joined Robyn Creswell’s on Abdellatif Laabi’s avant-garde 60’s
Moroccan magazine titled Souffles in French and Anfās in Arabic. By translating poems and other portions of the
magazine we hoped to “explore the vision of a new Moroccan poetics,” explains Creswell in the program, “and
investigate its positions on nationalism, bilingualism, and the post-colonial situation.” The manifesto of the
magazine addresses the dilemma faced by French educated Moroccans who wanted to create a new French
language different from that of their former colonizers. The experimental nature of the magazine made for a very
interesting translation experience. The magazine included Arabic poetry on which the Arabic-English groups
collaborated together. Here is a stanza of a poem I translated by Ḥāmid al-Huwāḍarī titled “Palestine”:
Because beneath the wounds, the chains, the shackles
The setting sun submits.
My blood, clotted with sand, circulates
Through the eyelids…
A friend, friend,
And a loved one.
All slaughtered by the falcon.
Hold on, my daughter, to the Pegasus buried in his den.
Because some here
And some there
Are talking about Bou Hmara
Chanting verses of exploding napalm.
Because the rest
Fundraise in ballrooms.
This way they establish for us
A foundation
In the grammar
In the language…
Authors who attended the residency partook in a special workshop. Each writer selected one of their own works
to be translated from one language to the next until we had all heard it in French, Arabic, and English before the
end of the residency. Group discussion and Q&A sessions with the authors were scheduled daily, allowing
attendees to formally address any topics of interest or concern, regarding the residency or translation in general.
Film screenings and other activities were also organized by the directors.
I was mostly impressed with the multilingual nature that permeated every interaction of the exchange. Not once
did a single language supersede or subvert another. When asked a question in French, a translator was not far to
offer his or her interpretation. If that French speaker was bi-lingual I did not hesitate to respond in Arabic and
was not surprised to hear my statement being translated into English to include someone else in the conversation.
All three languages operated on an equal plane governed simply by respect and love for original expression.
After all, what is language but a translation of our attitudes and emotions.
Rawad Z. Wehbe is a departmental scholar in Near Eastern Languages and Cultures at the University of
California, Los Angeles. His interests include Arabic literature and translation studies.
« Translation Residency in France » by Addie Leak
A month ago this week, I arrived in Lagrasse, winter population 650, for a weeklong translation residency with
the École de littérature. I was one of eighteen applicants chosen (six translating into English, six into Arabic, and
six into French) and was thrown into the mix with fifteen or so guests, already well-established writers,
translators, and editors. I had very little idea of what to expect. I knew that La Maison du Banquet et des
générations, housed in a ninth-century abbey, was hosting us. I knew the work of some of the Anglophone
workshop animators: Robyn Creswell, Sarah Riggs, Eleni Sikelianos, Laird Hunt. I also knew there would be
workshops and readings scheduled every day from nine until at least seven-thirty at night. That these workshops
would range from translations of the Arabian Nights to Toni Morrison to the Moroccan Mohamed Leftah to
1950s French writer Hélène Bessette. One workshop on sound translation, I’d read, requested that we wear loose
clothing and be prepared to move.
What I didn’t know, as clichéd as it sounds, was that working in the confines of this abbey at Lagrasse would
be... magical. That in the short space of a week, I, the introvert, would create lasting friendships and
collaborations. That living in a different language would, as it always does, give me a chance to be someone new
and that this someone new was not the timid creature of my junior year abroad but was inspired and a poet and a
translator of poetry and a (slow) translator of Arabic as well as French.
Early in the program, Domique Bondu, the director of the Maison du Banquet, talked to us about his
organization, pulling apart the title to explain its mission. First, “maison”—house. The Lagrasse abbey provides,
as the French say, a chez soi, a home, for artists of all disciplines; in a world that’s increasingly unsympathetic
towards the arts, it is a safe place. A haven. Then, “banquet.” I don’t remember if Dominique explained it this
way exactly, but it’s the Platonic idea of the symposium, of gatherings around a table, around a text, around a
theme (and often around a good bottle of Corbières) to discuss ideas, exchange knowledge, and grow together
rather than separately. It’s the idea of community, which I have found in my life as a writer and translator, to be
vital. Finally, “générations.” As my presence in Lagrasse attests, the Maison does not focus only on established
writers. It provides a place for young, inexperienced artists to be inspired, to make connections, to hone their
craft.
Which is precisely what it did for me. I came back with a reading list filling half a moleskine and a head
swimming with new ideas. In the month since the residency, I have translated a Moroccan poem from the 1960s
journal Souffles. I have corresponded with Sarah Riggs and Omar Berrada about their collaborative translations
of poems from the Nights. I have begun reading and sharing my love of Leftah. Best of all, though, I now have a
trilingual, tri- continental network of translators with whom I can continue to grow via e-mail. I am grateful to
Dominique; to David Ruffel, who edits the Chaoïd series at the publishing house Verdier and organized
Translations; and to all of my colleagues in Lagrasse, who made the week unforgettable.
Addie Leak is an MFA student in literary translation at the University of Iowa. This summer she is working with
TIR editor-in-chief Russell Valentino to expand our online Forum on Literature and Translation.