In Finnish, maailma means “world” and is a compound of the nouns “earth” and “air.” The transliteration “earthair” rings reminiscent of those modernist Poundian archaisms like “earth-weal,” and differs in its chthonic emphasis from the abstraction of the Latin “mundus.” “Maailmasta toiseen” simply means “From one world to another” and implies the convergence of several linguistic and geographical realms in a single place.
Before the scourge of Covid-19, “Maailmasta toiseen” was conceived as a literary festival in Spanish, Portuguese, and Finnish. It was to take place in Helsinki during Abril 2020. The featured authors would offer a fresh and diverse sample of literature in Iberian languages, as well as reflect on its reception in the land of the Kalevala. Authors from Spain and Latin American based in different European cities would give readings throughout Helsinki. Experienced Finnish and Swedish literary translators were scheduled to share their insights into the communicating vessels between these two spaces.
Maailmasta toiseen is made in cooperation with NoxLit which is supported by Nordisk kulturkontakt and Nordisk Kulturfond. Maailmasta toiseen is sponsored by Taiteen edistämiskeskus – Taike, the Embassy of Mexico in Finland – Embajada de México en Finlandia and Embassy of Spain in Finland, and the support of our colleagues in other institutions like the University of Helsinki.
Thanks to the contributions of translators Tarja Härkönen, Sofia Sandqvist, and Emma Toukonen. The festival’s presentation, program, and a sample of the participant’s work is available at sivuvalo.com.
In A Retornada, Laura Erber dives into the trepid space between the coma and wakefulness, between sensoriality and a thought incapable of grasping itself.
Ursula Ojanen will share her experiences in the translation of the monumental Kalevala to the language of Cervantes, as well as her labor of promotion of Finnish literature in the Spanish-speaking realm.
In La belleza, Roxana Crisólogo paints a persuasive analogy between the unrest of South American social life and the dictate ruling our notions of bodily aesthetics.
David Gambarte inquires into the fleeting constitution of “Puberty” and shares his experience of writing Spanish-language poetry in Finland.
Isabella Portilla draws in a few lines her literary ethos and establishes an analogy between the rebellion against the philosophical tradition and the rejection of inherited family archetypes, in A mi mamá
In Unir con oro los fragmentos, Giorgio Lavezzaro undertakes a reconstruction of broken affects, by means of a literary variation on the Japanese technique kintsukuori.
In Metro Insurgentes, una ruina circular, Georgina Cebey embarks in an architectural inquiry of that which the encyclopedias about Mexico City never document: the decay of urban projects, the effect the ruins have in the collective psyche.
Petronella Zetterlund will share her challenges in translating contemporary Swedish poetry into Spanish and bridge-building between the Nordic literary scene and Mexico City.
In Diego Olavarría’s “Relato de origen,” Salt Lake City’s baffling mythology works as a backdrop to a meditation on the communicating vessels between biological birth and the perpetual renovation inherent to travel.
Alejandro Pedregal traces and documents the winding journey of a Mexican woman who became a bulwark of the rural struggle against globalized plunder, in Evelia: testimonio de Gerrero.
In a real where the human and the animal blur into each other, Rodrigo García Bonillas’s Mandril depicts a circus and a series of beasts who experience and reflect on slavery, eroticism, and other murky forms of sociality.
Anne Ketola will share her experiences in the translation into Finnish of various foreign authors, including the community of Spanish-speaking writers in Finland.
In “Lo más bello que he hecho en la vida”, Lucía Pi Cholula delves into Raúl Castro’s labor in the ripening of Cuba’s revolutionary movement, and finds the corners History can not exhaust: the intimate, personal decisions opposing a human’s life to its political symbolization.