(1979) is a writer, literary translator, publisher, podcast maker and curator. She works in English, French, Turkish, Dutch and sometimes Spanish, in the Netherlands and abroad. She has translated works by, among others, the Kurdish poet Bejan Matur and the Turkish author Perihan Mağden. Canan is committed to greater diversity in the arts and is interested in challenging official discourse and fighting for free speech worldwide, through a range of creative projects and activities, from literature to films and comics.(WU 2021)
Archive available for: Canan Marasligil
Dystopia and poetry - with Iman Mersal, Athena Farrokhzad, Ronelda S. Kamfer (online) and Widad Broco
Dystopia: we know it primarily as an imaginary society with various grim features. A terrifying image of the future, and a rewarding starting point for literature, where speculative stories and science fiction have long since claimed their place. Who's Afraid of the Female Future? was not about "typical" dystopian genres, but dealt with the relationship between dystopia and poetry. Because is poetry not the ideal genre in which socially critical ideas and dreamworlds find their place?
For women, daily reality can already feel dystopian. A grand, glamorous science-fiction tale is not necessary for a personal dystopia; poetry is the genre in which female poets feel at home. In this event you met Egyptian-Canadian poet Iman Mersal, Swedish-Iranian poet Athena Farrokhzad and South African poet Ronelda S. Kamfer (online). What is the relationship of these poets with "dystopia"? How do they imagine the future in their poetry? And is "the house" still a safe space in their dystopian-poetic world?
An intimate event for poetry aficionados, with music by poet/performer Widad Broco, the first female rap artist of the Arabic world, also known for her part in the internationally successful electro-urban music group N3rdistan. Poet and programmer Nisrine Mbarki, who put together this event, defines "dystopia" in the following way: "I see dystopian images of the world as critical images, as alarm signals of what we humans fear. Dystopian images deserve attention and space because they represent a critical voice and can shake us awake. They are a form of commentary on our current society, which is based on the liberal and capitalist system of prosperity, and therefore also the exploitation of people and the earth. We had better listen closely to such commentary."
About literature, poetry, feminism and violence - with Müesser Yeniay, Çiler İlhan, Sanem Kalfa, Meltem Halaceli & Canan Marasligil (moderator)
In What Will They Say, Meltem?, Meltem Halaceli, Müesser Yeniay and Çiler İlhan discussed what role literature and poetry can play in bringing to light violence against women. This event was the live finale of a series of podcasts with the same title by Winternachten programmer Meltem Halaceli. Domestic violence against women and LGBT-groups has increased worldwide and femicide has become a growing problem. Struck by this reality, Meltem Halaceli went in search of her family's feminist values and made a podcast about them. Her mother's eyes were opened by novels and poetry by Turkish, Russian and American authors who wrote about the unequal status of women. In her podcast, Meltem spoke to writers, poets and experts and asked them how they use their knowledge and literature to bring violence against women into the open.
In this live event we first of all met Turkish poet Müesser Yeniay, who recited a number of new poems. In the introduction to her latest collection Sevgiliyle Daimi Konuşma (Endless Conversation with the Loved One) she wrote: "For many Eastern women, poetry is the only place she exists." What does that mean for her poetry? The second guest was Çiler İlhan, who moved to the Netherlands from Turkey in 2017. She spoke about her latest novel Nişan Evi (Engagement House), in which women are seen as commercial objects - a body and nothing more. Her earlier book Sürgün (Exiled) won the EU Literature Prize and was translated into 20 languages. Jazz singer Sanem Kalfa framed the conversation with live music. Canan Marasligil, a translator and writer, moderated the event.
We concluded this program with a screening of the Writers' Monument. Like every year, The Theatre of Wrong Decisions has made made an updated version of their 'digital monument' for the journalists and writers who were murdered. The monument could be seen during the opening of Winternachten, to stand still together, reflect and realize how many people worldwide sacrifice their lives simply by holding the pen and wanting to tell the truth.
We cordially invited you to discuss hospitality and the 12 rules from his eponymous book with Chris Keulemans yourself this December afternoon. We were curious what your definition of hospitality is and enjoyed to exchange thoughts about this in Studio B.
Event curated by Fleur Jeras (Writers Unlimited)
Books for sale courtesy of De Vries Van Stockum Books
- It is mandatory to show an identity card and a corona admission ticket at the entrance.
- The corona admission ticket is mandatory for adults and children older than 13 years.
- There is a maximum occupancy in Studio B, Central Library.
- When entering the Central Library, wearing a face mask is mandatory. This can be taken off again when you take your seat in the venue.
- In the event of cancellation due to corona complaints, we return the purchase amount.