Goodbye Once More to Cambridge
Xu Zhimo
Translation by Canaan Morse
Over blades of grass I’m leaving,
as over them I once came,
a slender hand privately waving
goodbye to this western plain.
Light falls from the tress of the willow
(a bride by the evening stream)
murmurs out in bright alloy the water
and through all the aisles of me.
while the childish algae that play
in the mud of the riverbed
duck from the current, wave me away
as a gift from the giver—
—and rise to a dream, the dream
of a rainbow, distilled from
the news of the wind in the green
fractured face of the spring by the elm;
For dreams? Bow a long elm pole
to pull slowly for a place of unthinkably bright;
load that, somehow, to the paint,
and sing as you drift through the night.
But—I have not that right,
my escape is the broken reed of farewell;
as some sympathy dims the cicadas and gloom
is described by the evening bell.
And under a shadow I’m leaving,
just as under a shadow I came.
The pale hand brushes silently, leaving
stray clouds on this autumnless plain.
More…
By Canaan Morse, April 27, 2:07a.m.
I’ve been doing some background reading on the Duanlie (断裂, ‘Broken’ or ‘Split’) literary movement, something Zhu Wen instigated in 1998. It was an important, if low-profile, attempt to voice dissatisfaction with the literary establishment (academia, the Writers Association, the literary journals), and to remind authors that they were not alone in their frustrations. Over the course of several years and a series of Duanlie publications (put out by the Shaanxi Normal University Press), the movement did much to foster independence and diversity among the newer generations of Chinese writers.
Duanlie started as a list of questions which Zhu Wen, Han Dong and a few others mailed around to 70 Chinese writers, 55 of whom responded. They were leading questions, questions meant to snap writers out of their diffidence and goad them into defiance, a call for a vote of no-confidence in modern Chinese literature. Through the good graces of Lü Zheng I was able to get my hands on a copy of a book called Duanlie, published in 2000, which contains a series of interviews with the authors most closely associated with the movement: Wei Hui, Chen Wei (one of the writers responsible for the Heilan website), Huang Fan, Gu Qian, Li Xiaoshan, Wu Chen, Zhao Gang, Liu Ligan, Zhu Zhu, Lu Yang, Chu Chen, Han Dong and Zhu Wen. The book also contains the thirteen original questions, which I’ll translate below. I’m leaving the answers out: there are many, and they are predictable.
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By Eric Abrahamsen, April 27, 2:02a.m.
We here at Paper Republic strive to bring you the latest and greatest in Chinese language usage, and we’d be criminally unhip if we failed to alert you to the most recent Really Cool Thing on the internet: 囧.
This little beauty is pronounced jiǒng. It is a very old character, appearing on turtle shell inscriptions (甲骨文) from thousands of years ago; while it has many meanings, the most basic is light coming through a window, rather evident from its shape. The more leet among you, however, will note that its also shaped rather like a frowny face: that’s right, 囧 is the hip new way of saying 郁闷 (yùmen, to be bored or depressed or down). Can you feel the grandeur of 5,000 years of history? Read on for advanced usage.
By Eric Abrahamsen, April 25, 2a.m.
After an evening spent sipping Qingdao and grumbling about the low profile of Chinese literature abroad, we're generally forced to concede that baby steps are the only practical solution to the problem. There's a chicken-and-egg dynamic going on with publishers – they won't publish a book in translation if the author has no name recognition, but without publication authors have precious little means of getting recognized. Realistically, what's needed is a slow-drip campaign of small-scale publication, word of mouth, and literary journalism. It will be slow, but it's the only way that the attention of publishers and readers can be drawn to a wider selection of Chinese fiction.
So it's good to see two recent advances in that campaign. First was the Olympic Voices from China issue of Words Without Borders: a collection of translated short stories drawn heavily from some of China's better female writers: Sheng Keyi, Ye Mi, Liu Sola and others. Not all of the translations are top-notch, but it's good to see these writers represented. Sheng Keyi's Little Girl Lost got good treatment; you can hear the strangeness of her Chinese in places: "Ripples spread from the doorframe as water slid back from both sides, showing off the bright slickness of his skin."
The other is a books issue of Public Radio International's The World program. The contributions are knowledgeable, ranging from an article on China's Nobel Prize complex, to a review of Zhu Wen's I Love Dollars, to an interview with Yu Hua. Our Cindy and our Brendan are in there too!
I suppose only incremental progress is real progress…
By Eric Abrahamsen, April 21, 2:13a.m.
China will be “Guest of Honour” at the Frankfurt Book Fair 2009 (Oct 14-18).
Read all about it.
By Bruce Humes, April 21, 1:43a.m.
A series of books widely available in China – in English – has opened my eyes to new ways of looking at literary translation.
Published by Shanghai Foreign Language Education Press (上海外语教育出版社), the cover of each of the 30+ tomes carries a 国外翻译研究丛书 etiquette on the cover. I bought some of these volumes at 王府井的外文书店, but I have seen the series in places as diverse as Xi’an, Shanghai and Shenzhen.
Authors include scholars known for their role in what many call “translation studies.” They include Susan Bassnet, Andre Lefevere, Eugene Nida, Maria Tymoczko and Lawrence Venuti.
I personally recommend:
“Translation, Rewriting and the Manipulation of Literary Fame” by Andre Lefevere (翻译、改写以及对文学名声的制控)
“Translation Studies” by Susan Bassnet (翻译研究)
“The Translator’s Invisibility: The History of Translation” by Lawrence Venuti (译者的隐身)
“Translation and Gender: Translating in the Era of Feminism” by Luise von Flotow (翻译与性别：女性主义时代的翻译)
I have read several of the books and have been pleasantly surprised that some—certainly not all—of these authors are bloody good writers whose writing is highly critical, witty and spot on when it comes to identifying and analyzing thorny issues that I have confronted as a translator of Chinese fiction into English.
If you only read one, make sure you read “The Translator’s Invisibility”!
By Bruce Humes, April 16, 2:22p.m.
The pre-dinner hour at Moganshan was often given over to talks and presentations by various course participants; the group leaders one evening, the writers the next. These presentations could be eye-opening in terms of the widely-varying approaches people take to this business – Bonnie McDougall and Howard Goldblatt, for instance. There was almost a kind of glee in the way Bonnie described her translations: leisurely, considered, I think she even described herself as spoiled in being able to pick and choose, freed by her position at the Chinese University in Hong Kong. Howard, on the other hand, was very much the harried professional man, and talked of funding and negotiations, work he'd taken to make the rent. Bonnie goes patiently from beginning to end; Howard generally starts somewhere in the middle and jumps around. Howard hates the second draft more than anything; Bonnie goes and reads a book until the aha! moment comes.
More…
By Eric Abrahamsen, April 7, 10:13p.m.
With all the excitement going on these days, staying home and translating the words of dead authors can feel a little irrelevant, if not actually escapist. I'm neither a Qing historian nor a diplomat, so won't stray too far from my comfort zone of language and literature, but I do think there's something to be said about the Chinese responses of rage to the reporting of the foreign media.
More…
By Eric Abrahamsen, April 7, 4:09p.m.
New Comments
on Google Translator: Making the World a More Baffling Place?
To be fair, Google has gotten noticeably better for Chinese over the past few years. The big problems seem to be that their parallel text corpus is just nowhere near the size of corpi for European languages, and that since ...
posted by Brendan
Just so I don't forget this anecdote: On the ten-hour train ride from Wuhan back to Beijing two days ago, I passed a gas station with the following sign:
加油站 onlinetranslation 加油站 onlinetranslation
posted by Canaan Morse
on Quotes: Highlighting "local color" or "Chinglish"?
Because 不够朋友 is intentionally ungrammatical, "ain't" seems a valid choice. There's no way I'm ever going to top Eric's street-poetry translation, but I was originally thinking along the lines of "Wuhan ain't no friend of ...
posted by Cindy Carter
"Wuhan is not acting like a good partner" sounds a bit like correcting broken Chinese.
够朋友 in the sense of Friend of China.
Martin
posted by Martin Merz
http://www.slate.com/id/2247470/
posted by martin Merz
@ #12 Martin
That article is interesting, but I feel like it doesn't apply the same way to translations. Usually, you would want the translation to sound as idiomatic as the original.
posted by GAC