“Bestimmt wird alles gut”: Journeys and Arrivals in Contemporary German Children’s Books

In the last few years, many people from war-torn countries have left home to seek safety in distant countries. Refugees have come to Europe to an extent that has not been seen since World War II. It is estimated that around 50% of the refugees are children under eighteen and many of them have ended up in Germany. The fact that many people leave their homes and become foreigners in new countries is also noticeable in literature. In recent years, an increasing number of books on this topic have been published, not least children’s books. This chapter considers how escape from war and the arrival situation are depicted in eight picture books published 2016-2017 in German. My focus is on whether the fact that the families have to escape to a foreign country is problematised in any way: How do the children (and their families) in the books deal with the new language and with communication? Are there any difficulties concerning identity and “otherness”? What expectations/reflections (such as whether or not they made the right decision) on the new life – if any – are being related? How does the stress affect them and their families? And do the stories about leaving home and arriving in a foreign place have entirely happy endings?

News Narratives across Borders: The Convergence of Interests and Patterns of Meaning in International Media Coverage of Disaster

Shared narratives emerge across transnational news, circulating meaning and contributing to how publics process and make sense of significant issues and events (Cottle, 2014; Pantti, Wahl-Jorgensen, Cottle, 2012). These narratives are also reflected in the spaces made possible by digital communication technologies, including social media, and the through the formation of transnational discursive communities. Disasters, or at least those that meet the criteria of proximity for Western media (Benthall, 1993; Gans, 1980), are exemplars of such global media events, where analogous narratives or frames are rendered in media coverage across national borders. The evidence from studies of national media, however, suggests that journalistic narratives to disaster tend to reinforce a discourse of difference between spectators and sufferers through the representations of those communities and societies affected by disaster (Bankoff, 2011; Joye, 2009). This chapter considers how difference is reinforced in transnational news narratives of disaster through the circulation of cultural stereotypes, arguing that the prominence of stereotypes are a consequence of the processes of domestication that shape the characteristics of news and the dominant news flows in the global media system. More specifically, that to enable accounts to resonate with audiences, news is often packaged and adapted to a national context (Gurevitch, Levy and Roeh, 1992), which can be achieved by using familiar images of different societies and cultures to provide a link for audiences when covering distant events (Tanikawa, 2017). At the same time, as news and information becomes increasingly deterritorialised the overlaying of cultural frames to inform and explain a disaster in one national context may evolve across media coverage in others, contributing to the development of shared narratives to a single event. This is facilitated, for example, by the flow of information from news agencies and international news organisations, in particular those emanating from the core (the West) to the periphery (Wu, 2003). To elucidate these mediation processes across borders, the chapter will draw on one recent case study of disaster journalism to consider how essentialist notions of Japanese culture emerged as a unified narrative across international news coverage of the tripartite disaster of March 2011, reflecting its position as a dominant Western discourse on Japan.

Freedom to Know Me: The Conflict between Identity and Mennonite Culture in Miriam Toews’ A Complicated Kindness

In Miriam Toews’s A Complicated Kindness (2004; Giller Prize finalist; winner of Canada's Governor General's Award) Nomi Nickel, a sixteen-year-old Mennonite girl from southern Manitoba, Canada, tells the story of her short life before her excommunication from the closed community of the fictional East Village. East Village is based on a real town in southern Manitoba called Steinbach (where Toews was born), where Mennonite culture remains segregated from the rest of the world to protect its distinctive Anabaptist Protestantism and to keep its language, Mennonite Low German or Plattdeutsch, a living language, one which is both linguistically demotic yet ethnically hieratic because of its role in Mennonite faith. Since the Reformation, and more precisely the work of Menno Simons after whom this ethno-religious group was christened, Mennonites have used their particular brand of Low German to separate themselves from the rest of humankind. Toews constructs her novel as a multilingual narrative, to represent the cultural and religious tensions within. Set in the early 1980s, A Complicated Kindness details the events that lead up to Nomi’s excommunication, or shunning; Nomi’s exclusion is partly due to her embracing of the “English” culture through popular, mostly 1970s, music and books such as J.D. Salinger’s The Catcher in the Rye. Insofar as Toews’s novel presents the conflict between the teenaged narrator and the patriarchal, conservative Mennonite culture, the books stands at the crossroads of negative and positive freedom. Put succinctly, since the beginnings of the Protestant Reformation, Mennonites have sought negative freedom, or freedom from persecution, yet its own tenets foreclose on the positive freedom of its individual members. This problem reaches its most intense expression in contemporary Mennonitism, both in Canada and in the EU, for Mennonite culture returns constantly to its founding precepts, even through the passage of time, coupled with diasporic history. Toews presents this conflict between this early modern religious subculture and postmodern liberal democracy through the eyes of a sarcastic, satirical Nomi, who, in this Bildungsroman, must solve the dialectic of her very identity: literally, the negative freedom of No Me or positive freedom of Know Me. As Mennonite writing in Canada is a relatively new phenomenon, about 50 years old, the question for those who call themselves Mennonite writers arises in terms of deciding between new, migrant, separate-group writing and writing as English-speaking Canadians.

Human Beings after Catastrophe: Poetical Portraits by Primo Levi and Tamiki Hara

January 27, 1945: the Red Army set Auschwitz concentration camp free, making this date the liberation day for thousands of inmates, victims of the Nazi’s idea of a master race. August 15, 1945: Emperor Hirohito announced the surrender of Japan on Japanese radio after the atomic bombings of Hiroshima and Nagasaki. XX century witnessed two of the most abominable atrocities of human history whose repercussions still affect not only German and Japanese societies, involved at first place, but also each individual’s consciousness too. Over the past decades different studies have been investigating these indelible marks on history on many levels: historical, political, sociological, psychological and even artistic approaches were called into question in the search for the truth about Shoah and atomic bombing catastrophes. This study offers a different perspective on the topic by comparing the poetical responses of two representatives of the so-called Shoah Literature and Atomic Bombing Literature: Primo Levi and Tamiki Hara. Both authors, although the space-related distance and the different nature of the traumatic experiences they witnessed, gave birth to similar poetical responses under the title of Se questo è un uomo (“If this is a man”) and Kore ga ningen na no desu (“This is a human being”).This research sets itself the ambitious goal to demonstrate how, regardless of territorial, cultural and stylistic boundaries, a similar human response toward catastrophe can be detached in the literary productions of Levi and Hara: a comparison on stylistic, figurative and expressive level reveals the analogous literary solutions adopted by the authors to depict human’s frailty in front of trauma. Both authors answer the literary imperative of writing: their commitment unveils the aim to bear witness and to convey memory to the future generations. Words, enriched by authors of allusive and critical meanings, represent an effective and necessary means to keep alive and to preserve the traumatic memory. The literature of the catastrophe, then, becomes a language that unites, rather than divides, different societies. It serves as an universal mouthpiece for victims’ experiences to prevent Auschwitz, Hiroshima and Nagasaki to happen again. Submission date: September 2017.

Migrants and Other Others in 2020 by Javier Moreno

The aim of this chapter is to study the representation of different borders and its role in the portrayal of otherness in 2020 by Javier Moreno. 2020 is a novel built on the thoughts and voices of a series of characters. Amongst these, we can find Nabil, a young man of Saharawi origin; Jorge, a homeless man with Asperger’s; Josefina, a rich young anorexic woman; and her father, Gowan, a successful businessman of Scottish origin, who has disappeared and is involved in the creation of a mystic revolutionary movement. We explore the ways in which the novel builds a dystopic society through the representation of dysfunctional characters embodying different kinds of otherness and the way in which spatiality and the body are key to understanding how this otherness is created and reinforced. With the help of the notions of limbo, non-places, hybridity, simulacrum and the dichotomy center-periphery we examine how borders are raised in the novel and how these affect the characters and the depiction of a society in decline. The notions of void and ruins recur as topics in the novel, and are an obsession for Gowan, who is both an observer and a creator of ruins through a series of actions that represent a wider economic reality where objects are bought, sold and trashed. We study how the body, which in a way is the first barrier between the characters and the outside, plays a significant role in the novel as a marker of ethnicity, physical illness or, as with Josefina, as the recipient and target of an obsession for corporal void, latent in her eating disorder. Decay, in terms of both the character’s bodies and the spaces around them, functions in 2020 as a metaphor of a dysfunctional socio-economic system that is collapsing.

Self-Translation in Transcultural Mode: Francesca Duranti on how to Put ‘a Scent of Basil’ into One’s Translations

“Who but he... had ever felt what these words expressed?–these words that thundered and howled through his mind translating himself to himself, with such appalling fitness” (Amélie Louise Rives) Francesca Duranti is a creative writer who grew up with several languages and spent much time abroad. Her mother tongue is German but she writes mainly in Italian and translates mostly from French and English. Her particular transcultural sensibility runs through her body of work but is mostly manifest in her novel Sogni mancini (1996), the story of an Italian academic woman living in New York obsessed with the idea of finding a way to get rid of fixed identities and monological perspectives. Subsequently, Duranti decided to self-translate this novel into English, publishing it with the title Left-handed Dreams (2000). What were her reasons for self- translating this book, what self-translation strategies did she adopt, what did she gain and what did she lose in the process of mediating between two cultures and how did readers receive her target text? In this in-depth interview with Arianna Dagnino, Duranti reveals to what extent her acquired transcultural identity affected not only her way of writing but also of self-translating. As a coda to the interview and in light of what emerges from the writer’s answers, Dagnino analyzes Duranti’s self-translation, looking for those elements that mostly reveal the transcultural identity of a writer who decided to translate herself to herself. The article includes introductory paragraphs on the theory of the transcultural and transcultural identities (Dagnino 2015, Epstein 2009, Welsch 2009) as well as on the most recent studies in the field of literary self-translation (Grosjean 2010, Grutman 2016, Saidero 2011).

From the Secular to the Sacred: The Influence of Sufism on the Work of Leila Aboulela

The contemporary Sudanese writer Jamal Mahjoub has used the term ’Transcultural’ to describe a specific form of Literature which he argues: demands more, both of reader and writer. It does not have the support of those cheering, waving crowds who would like you to be European or Third World, Black or African or Arab. It can rely only on that crack of light which lies between the spheres of reader and writer. Gradually that crack grows wider and where there was once only monochrome light, now there is a spectrum of colours. (Mahjoub, The Writer and Globalisation 1997) Leila Aboulela, whose first novel The Translator (2000) is a contemporary writer whose fiction has been defined as embodying predominant elements of the transcultural experience. Daughter of a Sudanese father and Egyptian mother, born in Cairo in 1964, Aboulela grew up in Khartoum but currently resides in Aberdeen, Scotland and her fiction is attuned to emerging female Muslim voices within the migrant communities of the West. Aboulela’s experience of Britain and British culture provides her with a terrain against which she attempts to articulate a specific identity: the Muslim Arab/African woman in exile. In her novels, the migrant experience serves as the foundation for a mystical but nonetheless assertive religiosity that functions as an antidote to hegemonic Western materialism. This religious frame offers not merely consolation and a firm sense of identity; it also, according to Geoffrey Nash (2012) ‘shapes an emerging awareness of difference and helps articulate an alternative to Western modernity’. According to Lleana Dimitriu (2014), the last decade has witnessed a resurgence of interest, both theoretical and creative, in the complexities of what she terms ‘faith based subject positions’, particularly in the context of global crises and mass migrations and Leila Aboulela’s fiction suggests that in the midst of postcolonial ruptures and mass migration, there is the possibility of alternative forms of ‘re-rooting’ and belonging, with ‘home’ perceived as a state of mind and identity as anchored in the tenets of religious faith. My article will engage with the manner in which Aboulela is preoccupied with the ethical dilemmas faced by Muslims currently residing in secular societies and how a mystical form of Islam –in particular Sufism – serves less as an ideological marker for her characters and more as a code of ethical behaviour and a central marker of identity.

A “Spiritual Journey” Through the “Middle” Kingdom: Travel and Translation in François Cheng’s Translingual Novel

The Franco-Chinese migrant writer François Cheng (Grand Prix de la francophonie de l’Académie française 2001) is the first French Academician of Asian origin. His French- language novel Le Dit de Tianyi (Prix Femina 1998, rather differently translated into English as The River Below) recounts the protagonist’s life trajectory across the turbulent twentieth century, from wartime China to France and back to a radically changed Communist China. The protagonist’s cross-cultural and often painful migrant experience largely mirrors that of the author, yet with the final part of the novel being completely fictional. The novel’s generic and stylistic hybridity demonstrates the author’s strenuous effort to investigate the literary possibilities of comparatively incorporating both Western and Eastern cultural heritages in the creative process. Although Le Dit is not formally categorized as a travelogue, travel motifs permeate the novel. The tripartite structure – ‘epic of departure’, ‘detouring journey’, ‘myth of return’ – is redolent of established models of travel since Odyssey. The characterization of the protagonist as a ‘wandering soul’ (âme errante) going on artistic pilgrimages as well as arduous quests for knowledge both in China and to the West, further complemented by the constant longing and attempt to be reunited with loved ones, is among the key features of travel writing largely shared by both Western and Chinese traditions. These travel motifs interact dynamically with the fundamental conception of the novel as both a Bildungsroman and Künstlerroman that linguistically translates, epistemically transforms, and spiritually transcends the individual’s experience of migrance (migration and errance). Such an interaction, then, inspires informed imagination and provokes lateral thinking about cultural representations, and entails a transcultural aesthetic that simultaneously revisits two great cultural heritages, engendering something ‘new’, or indeed, ‘old’. Drawing on theories of cultural translation (initiated notably by Homi Bhabha) and transculturality (Graham Huggan; Wolfgang Welsch), this article examines how the wide range of travel motifs function as a consistent structural and thematic frame and bring frictional qualities and effects to Cheng’s translingual novel. And I argue that these travel motifs ultimately create a liminal space where both European and Chinese literary and artistic traditions are set in motion towards a planetarian possibility of cultural ‘transcendence’ (Cheng’s own word).