By Nicky Harman, June 13, '10
"With the PRC now in its swaggering 60s, I would prescribe – to counter the excesses of Beijing bombast – a stiff dose of Lu Xun", Julia concludes in this June 12th 2010 article on the relevance of Lu Xun to contemporary China, in the (UK) Guardian newspaper.
By Nicky Harman, June 10, '10
Thinking Chinese Translation is a practical and comprehensive course-book, intended for translation students and of interest to practising translators too.
Danwei's Joel Martinsen talks to the Book Show, part of Australia's ABC Radio National, about Guo Jingming, the Boy George of Chinese literature, appearing in Harvest, one of China's most staid literary magazines.
In Harvest's case, readers who see the magazine as a bastion of serious literature have accused it of betraying its standards to take advantage of Guo's popularity. Making matters worse is the subject matter of Guo's new book: Mark of the Cavalier (爵迹) is the first volume of a new epic fantasy series. Is Harvest repositioning itself to compete with the pulps?
For me, the recent tributes after the death of J.D. Salinger recalled the reaction in the Chinese press upon the death in 1995 of writer Eileen Chang. On the surface, the two had little in common: he, a 20th-century paragon of youthful rebellion, she, a chronicler of the lives of women in 1940s Shanghai. But both reached the pinnacles of their careers early in their lives, both became famous, both detested literary fame and notoriety and became recluses, and, as a result, both became near cult-like figures, stalked and hounded by fans and admirers.
By Eric Abrahamsen, June 3, '10
The winners of PEN's annual translation prize have been announced. Among many worthy winners in many worthy languages, our own particular bias has been satisfied in the form of David Hull's translation of Waverings (presumably 动摇), a novel by Mao Dun. See their official announcement. Congrats to David Hull, a grad student at UCLA.
Nice to see attention paid to the old worthies!
By Nicky Harman, June 2, '10
Pamela Hunt writes: Why are there so many modern Chinese novels in which, as Cindy Carter put it so nicely in an earlier post, ‘faeces play a starring role’? Any reader of contemporary Chinese fiction will tell you that you don’t have to look very far to find a joke about bodily functions. But at the same time humour is rarely discussed in academic writing on Chinese literature, let alone humour that centres around the toilet. The more I thought about it, the more it seemed a shame, which is why I decided to tackle the subject myself in a recent essay for the MA in Modern Chinese Literature at SOAS, University of London, focusing on the work of two authors much discussed on the pages of Paper Republic, Han Dong and Zhu Wen.
Two grades of evil can be discerned in the queer world of verbal transmigration. The first, and lesser one, comprises obvious errors due to ignorance or misguided knowledge. This is mere human frailty and thus excusable. The next step to Hell is taken by the translator who intentionally skips words or passages that he does not bother to understand or that might seem obscure or obscene to vaguely imagined readers; he accepts the blank look that his dictionary gives him without any qualms; or subjects scholarship to primness: he is as ready to know less than the author as he is to think he knows better. The third, and worst, degree of turpitude is reached when a masterpiece is planished and patted into such a shape, vilely beautified in such a fashion as to conform to the notions and prejudices of a given public. This is a crime, to be punished by the stocks as plagiarists were in the shoebuckle days.
By Eric Abrahamsen, June 1, '10
A little Monday-morning horn-tootling: Our very own Nicky Harman has been chosen to translate Jin Shan, aka Gold Mountain Blues, by Zhang Ling.
Nicky's situation is a little unusual in that her translation is being commissioned and published by multiple publishing houses in various regions simultaneously, rather than the usual practice of a single commissioning publisher who then sells the rights on. Hopefully this will result in slightly better terms for Nicky.
Gold Mountain Blues will come out with Atlantic in the UK/Commonwealth and Penguin in Canada, and is scheduled to appear in late 2011/early 2012. It has also sold into eight other languages/territories.
Congratulations, Nicky, and we look forward to reading it!
By Eric Abrahamsen, June 1, '10
What looks like a great event at the One Way Bookstore this Saturday, 3-5pm. Jiang Yitan discussing his new book Lu Xun's Beard (鲁迅的胡子), in an event themed "Reading Quiet Fiction in an Unquiet Age". Also speaking are Li Er, one of our favorites, Ge Fei, often considered Li Er's mentor, Bei Cun, and Qiu Huadong, a writer of urban fiction to watch.
The One Way Street Bookstore's website appears to be down, here are the details:
Date/Time: June 5 (Saturday), 3-5pm
Address: Beijing, Solana (蓝色港湾), building 11, number 16
Phone: 010-59056973
“Mian Mian — known for lurid tales of sex, drugs and nightlife — filed suit in October after her latest book, ‘Acid House,’ was scanned into the library. Google says it removed the work following Mian Mian’s complaint but the author is suing for damages of 61,000 yuan ($9,000) and a public apology.”
[originally via the AP]
I think you do need empathy, but I resist the familiar notion that the translator somehow becomes the author, or has some sort of special telepathic relationship with the author. Frankly, I think that’s a bit presumptuous and grandiose, and it obscures the delicate process by which the translator adjusts his or her own voice to the author’s voice. It requires a kind of harmonizing, by which I mean that the translator must find a tone in her own register that somehow suits the author’s. It is easier, at least for me, to translate an author or a character for whom I have a natural affinity.
By Eric Abrahamsen, May 24, '10
For the past couple months I've spent my Thursdays teaching literary translation classes to translation-studies majors at the Beijing Foreign Languages University. When they first came calling about this program, I suspected that it was of a piece with the government's plan to train an army of domestic Chinese-English translators, thereby liberating Chinese literature from the hands of fickle foreign translators with their imperfect comprehension and questionable loyalties (the final step of this plan is to train an even larger army of domestic readers to consume these domestically-produced English translations, whereupon the whole of Chinese culture will fold up and disappear with a "Foop!", leaving a blank space that can be filled with 喜羊羊 re-runs), and I was leery. They assured me that it was simply a cunning plan to use literary translation to improve the students' English, banking on the old chestnut that there is no more careful reader of a text than its translator, and I agreed.
By Canaan Morse, May 23, '10
The website for Oklahoma University's virgin publication Chinese Literature Today is up here, and it looks like they're working on it daily. It (the website) is appearing two steps ahead of CLT's inaugural issue, due to be published this July.
Translation is a form of passive aggression. In doing it, a writer chooses to forgo original authorship so as to play havoc with a foreign original in a process of imitation, zigzagging between the foreign and receiving languages but in the last analysis cancelling the first in favor of the second. Is translation a socially acceptable form of literary vandalism? Or does it just require a distinctively warped frame of mind, one that secretly nurtures a refusal to kowtow to the authority of a foreign writer or text, that prefers to deliver the kick beneath the table?
By Nicky Harman, May 18, '10
The CEATL (Conseil Européen des Associations de Traducteurs Littéraires) has recently published a report on literary translators' rates and working conditions. The report can be downloaded from here
BAIDU.COM, the popular search engine often called the Chinese Google, got its name from a poem written during the Song Dynasty (960-1279). The poem is about a man searching for a woman at a busy festival, about the search for clarity amid chaos. Together, the Chinese characters bi and dù mean “hundreds of ways,” and come out of the last lines of the poem: “Restlessly I searched for her thousands, hundreds of ways./ Suddenly I turned, and there she was in the receding light.”
How does Lin Yutang’s My Country and My People continue your theme of better understanding China’s culture?
He wrote it during the 1930s although he is looking at what happened in China after the Opium Wars of the 19th century. A lot of people were trying to understand what was going on in China so Yutang wrote the book to explain. For many people it became the standard text to read on the subject if you wanted to understand the key characteristics of Chinese people and China’s history. He wanted to explain why Chinese people are lost without the Imperial Emperor who is like our god. He suggested that without a god we had nothing to fight for except a new god; that is why when the last Emperor fell in the early 20th century there was such turmoil as Chinese people fought to find the new Emperor or god.
Poetics of Emptiness traces the historically specific, intertextual pathways of a single, if polyvalent, philosophical term, emptiness, as it is transformed within twentieth-century American poetry and poetics.
This conceptual migration is detailed in two sections. The first, focusing on “transpacific Buddhist poetics,” discusses Ernest Fenollosa’s “The Chinese Written Character as a Medium for Poetry” as an expression of Fenollosa’s Buddhist poetics, explores classical Chinese poetics as it was known by Fenollosa, and talks about the role of emptiness in Gary Snyder. The second half, on “transpacific Daoist poetics,” explores the career of poet/translator/ critic Wai-lim Yip and engages the weave of post-structural thought and Daoist and shamanistic discourses in Theresa Hak Kyung Cha.
The Asia Literary Review today announced the departure of Editor-in-Chief Chris Wood and the appointment of Stephen McCarty as his replacement.
Chris took on the post in September 2007, re-launching the ALR under his stewardship. He has relinquished his position to undertake various literary projects of his own.
Stephen is a former Literary Editor of the South China Morning Post, Hong Kong.
By Eric Abrahamsen, May 2, '10
For those of you reading via RSS: we've recently added a new Publishing Industry News section to Paper Republic, providing regular updates on… the publishing industry in China! There's a dedicated RSS feed for the news, and you can also write to us at news@paper-republic.org with any news, queries or requests of your own.
Along with the general tweaking we've also added one central page where you can see all the translation samples available for download on PR — read and enjoy!
