Following this previous link to an interview with Mo Yan in French, Igor Yegorov wrote in with an English translation so we didn't all have to suffer through the Google translator. Thanks Igor!
Writer Mo Yan : From dictatorship of the Party to that of the market
By Bertrand Mialaret | 24/06/2009 | 12H57
The Chinese writer Mo Yan is spending a week in France to talk about his books and his new novel, due to be published in late August. The meeting with him in Beijing was facilitated for Rue89 by Bertrand Mialaret, chronicler of Chinese literature, and Pierre Haski. The exchange was rendered possible by Chantal Chen Andro, translator of several books by Mo Yan.
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By Eric Abrahamsen, June 30, 1:03p.m.
Some folks document contemporary Chinese society with words. Others do it with photography, visual art, music or film. At Paper Republic, we tend to focus on the wordsmiths: the novelists, essayists and poets who form the landscape of Chinese literature, and help to shape our perceptions of modern China.
But some of the most daring work in China today is being done by independent documentarians, guerrilla filmmakers armed with newly-affordable digital cameras, laptop computers and editing software. They tend to work alone, on shoestring budgets, outside the state-owned studio distribution system and - perhaps more importantly - beyond the reach of censors. And they're not the cast-offs, people who couldn't cut it the world of mainstream film: many are graduates of the Beijing Film Academy, alumni of China Central Television (CCTV), accomplished directors or cinematographers who left lucrative commercial careers to make the kind of films they always wanted to.
One of these days, we'll have a section on Paper Republic about Chinese indie film. Maybe we'll call it Digital Republic. In the meantime, my little bio of film work includes synopses of 15 outstanding documentaries and feature films from the last 8 years, with links to directors (photos/bios/filmographies), film festival awards and reviews in industry publications. Some of the highlights:
Wang Bing - continuing "his run as one of the world's supreme doc filmmakers with Fengming: A Chinese Memoir." (Variety)
Zhao Liang - whose Crime and Punishment "cements China's position as a doc powerhouse" (Variety), says that sometimes he feels "like I’m stealing from the people I shoot. It’s their life that has given me the inspiration to create, and that’s why I feel guilty."
Li Ying - who was forced to relocate his production company offices in Tokyo after receiving right-wing death threats related to his film Yasukuni, a controversial documentary about Japan's Yasukuni Shrine. Although the film was expected to sail through the Chinese censorship process, it has yet to be approved for theatrical release in China.
Cui Zi'en - author, director and university professor widely hailed as one of the pioneers of Chinese queer cinema.
And those are just the filmmakers I've translated, the ones who happened to make the list. Here are some other outstanding documentary directors, not to be missed:
Du Haibin: Along the Railway, Beautiful Men, Umbrella
Wu Wenguang: Bumming in Beijing, Dances with Migrant Workers, Fuck Cinema!
Yang Lina: Old Men, Home Video, The Love of Mr. An
Ni Zhen: Graduation, Postscript
Duan Jinchuan: The Square, No.16 Barkhor Street
Zhang Yuan: The Square, Demolition and Relocation, Crazy English
Yu Guangyi: The Last Lumberjacks, Survival Song
Luo Jian/Jiang Ping: Tale of Zhou
By Cindy M. Carter, June 29, 12:25p.m.
Adam Kirsch’s review of David Hinton’s Classical Chinese Poetry: An Anthology begins with a brief retrospective of Ezra Pound’s work as the first serious translator of 中国古诗. Its use is primarily rhetorical. Though Kirsch is careful to note the obvious care with which Pound handled his task, he spends the greater portion of his word limit in describing the seemingly insuperable gaps in expertise that separated the translator from his subject. This allows him, when he gets to Hinton, to endow the reader with a sense of perspective as well as a vague idea of progress. I say rhetorical because the most dependable avenue by which Kirsch might have been able to derive substantial conclusions regarding Hinton’s relative merits—direct textual analysis—he leaves entirely alone. This may be due to lack of confidence in his own ability to critique pieces whose originals he can’t read, or because he believes that evaluation is a task better left to the reader. Both are worthy considerations.
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By Canaan Morse, June 29, 12:05a.m.
My review of Eileen Chow & Carlos Rojas's translation of Brothers 兄弟 by Yú Huá 余華 is out, printed in this summer's edition of Rain Taxi.
Since it's only available in print, you'll have to order a copy from the website or else pick up an issue--for free--where available. They're often on offer at independent bookstores in North America.
By Lucas Klein, June 18, 10:42p.m.
Comma Press is an independent publisher based in the UK, specialising in short fiction. In 2007 Comma launched a translation imprint, with the remit of bringing original, contemporary short stories in translation to UK readers.
Comma is currently exploring the feasibility of publishing an anthology of contemporary Chinese short stories, translated for the first time. They say: "As we begin our search for stories to consider, we’d welcome putative submissions from literary translators interested in taking part and willing to recommend stories for inclusion in the anthology."
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By Nicky Harman, June 6, 1:52p.m.
An Australian publisher just visited my web site, Chinese Books, English Reviews and very kindly took the time to tell me what s/he is hoping for in a potential China author/book:
1) Quality writing
2) Adds to one's knowledge of contemporary China in an interesting, challenging way
3) Would sell many copies
4) Author could be invited to Australia as a guest at writers' festivals
5) Global English rights available.
By Bruce Humes, June 1, 11:53p.m.
New Comments
on Dunhuang Novel Set in Cultural Revolution Alarms China's Censors
In his foreword, Xiao Mo describes what sort of book he's written:
posted by jdmartinsen
on Romancing the Office Chair
The use of "X-chǎng" as a genre label has produced an interesting reanalysis of 商场: 商场小说 (shāngchǎng xiǎoshuō) refers not to books set in malls or bazaars, but to fiction involving the intrigues of high-level business executives.
posted by jdmartinsen
I'm with Lucas and his "administrative battlefield."
I can't see using a term including "political" as in "political arena." It's all about backstabbing and intrigue among party members and officials, not "politics" as we know it in ...
posted by Bruce
Oops -- "backstabbing and intrigue among party members and officials" does seem rather like politics in the West, doesn't it?
But given there are no elections or involvement with the "will of the people," "guanchang" still seems far from party ...
posted by Bruce
I vote for "officialdom".
posted by Jonathan
Wow, thanks for all the suggestions!
@Joel: Shangchang is definitely a better example than zhichang, that's really the right feeling.
@Jonathan: "Officialdom" is the term which has become accepted (how did that happen?) as the genre label, but I ...
posted by Eric Abrahamsen