Our News, Your News
By Cindy M. Carter, August 22, '09
The Guardian reports that Jean-Jacques Annaud will be directing the film adaptation of the novel Wolf Totem by author Lu Jiamin - better known by his pen name of Jiang Rong. (See full article).
A quote from the Guardian piece:
The Associated Press reported that Annaud would be forced to make an apolitical interpretation of the novel in order to pass Chinese film censorship, with the Beijing Forbidden City Film Company's statement about the project avoiding the book's political messages to describe it as "an environmental protection-themed novel about the relationship between man and nature, man and animal".
This sounds like the real deal, but it does bring back some memories: anyone recall a few years back, when rumours of a Peter Jackson/Weta adaptation of Wolf Totem were flying fast and furious? One imagines that the Jackson version would have been heavy on computer graphics and special effects, while Annaud plans to spend 18 months raising and training the wolves himself.
I'm curious about the screenplay adaptation. Will it be based on the French translation of the novel (Le Totem du loup, by translators Yan Hansheng and Lisa Carducci), or the English translation by Howard Goldblatt, or will they start from scratch and work up a screenplay based on the Chinese novel? Will the film itself have Mongolian dialogue, or Chinese, or both? Not English or French, certainly.
I'm sure we'll be hearing more about this in the months to come...
Dai Wei's comatose state is meant to be a form of resilient protest and resistance to a totalitarian society which enforces a culture of amnesia upon its people, and his persistent remembrance gives a visceral sense of the deeply problematic nature of Chinese society after June Fourth, as one reviewer puts it: "A comatose mind within a terrifyingly vigorous body is the analogy for post-Tiananmen China that emerges from Ma's book." This might be the other meaning of the title Beijing Coma.
By Lucas Klein, August 13, '09
Granted, this post has little to do with China aside from the tangential fact that it involves a question whose stated purpose was for views on Chinese contracts in the Congo.
By now we have all heard of, if not seen clips of, Hillary Clinton's sharp retort to the question, "What does Mr. Clinton think, through the mouth of Mrs. Clinton?” Think what you may of the Secretary of State's reaction, I think we should also pay some attention to the fact that, in the words of the New York Times blog, the video came "packaged in reports, like one from Kirit Radia of ABC News, stating that 'apparently the translator made a mistake.'"
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Asia Literary Review publishes the best contemporary writing from and about Asia. The print edition can be found in bookshops throughout Asia and in the US, Australia, Canada, and the UK.
By Nicky Harman, August 8, '09
Banished! A Novel by Han Dong, translated by Nicky Harman, is reviewed on the Modern Chinese Literature and Culture MCLC website by Song Mingwei.
Its initial publication in 1993 by the Beijing Publishing House was accompanied by a media frenzy that sensationalized the book as a modern Jin Ping Mei, the classic Ming Dynasty novel famed for its explicit sexual passages, and hype ranged from the author's rumored million-yuan advance to a million-copy print run, and from speculation about the nature of the book's deleted passages to the avalanche of bootleg versions that soon appeared in streetside book stalls. Feidu was banned before the year was out.
[Also see: Jia Pingwa talks about the reissue of Feidu]
By Nicky Harman, August 1, '09
British Center of Literary Translation Summer School, Norwich, United Kingdom, 19-15 July (with Authors Xin Ran and Translator Nicky Harman)
The BCLT Literary Translation summer course was an opportunity for new entrants to refine their technical translation skills. The course turned out to be a most remarkable journey (thanks to the extraordinary stories shared by our author Xin Ran); and an opportunity to meet (and have fun) with inspiring and like-minded individuals.
Workshops
What made this translation course most worthwhile for beginners was the chance to work alongside authors and their translators and see them in action. It was a chance for us to appreciate the importance of communication with authors in the process of literary translation. An author “translates” his/her perception of the world into text. A translator translates and bridges the gap between the original text and the foreign readers. Throughout the workshop, we constantly consulted our author Xin Ran on the true meaning or intention behind her words. By setting the scene, background and history for us, Xin Ran made translation into English so much easier.
Translation is usually a lonely exercise. The workshop created a unique setting that is very rare for a translator – a chance to do spontaneous group translation! The chance to discuss and debate about choice of words, language and rhythm was exhilarating - words and ideas fly across the room like flying daggers. Sometimes we get unanimous agreement on words straightaway; other times, even with six minds put together, it took over an hour to search for an appropriate single phrase. Good translation requires dedication and attention to detail – but it's all worth the effort in the end. The thrill when you’ve found the exact right phrase that is accurate in meaning, tone and register is simply magic.
As group leader, I found the whole experience extremely rewarding. BCLT will be running a similar week-long course next year.
We met recently in Ottawa to talk about his first book of non-fiction The Writer as Migrant (University of Chicago Press). Adapted from The Rice University Campbell Lecture he delivered in 2006, the book consists of three interconnected essays exploring the experience of migrant, ‘exiled’ writers in relation to their ‘home’ countries and languages. Alexander Solzhenitsyn, Lin Yutang, Homer, Joseph Conrad , Vladimir Nabokov and others all contribute to the conversation.
[via Three Percent]
By Eric Abrahamsen, July 30, '09
Yesterday's big news was the announcement of the republication of Ruined Capital by Jia Pingwa, one of the major novelistic works of the past few decades, and a perpetual lightning rod for controversy and criticism. The Writers Publishing House is doing the honors.
The book has for some years been under something like a soft ban: no new editions have come out for a while, and it was getting harder and harder to find a non-pirated version of the book. The 'controversy', based almost solely on the fact that there's sex in the book, was pretty silly from the beginning: it was an awfully prurient read when it came out in 1993, but the constitution of the modern Chinese reading public is highly fortified compared to what it used to be, and it's hard to imagine anyone really raising an eyebrow at the steamy scenes today.
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Hong Kong, 24 July 2009 – The Administrative Committee for the 2009 Man Asian Literary Prize has today announced the longlist of works for this prize.
[ed. Su Tong and Roan Ching-yueh are the only Chinese writers on the longlist]
By Lucas Klein, July 20, '09
I've been a casual follower of Chinese - English and English - Chinese translation issues involving The Onion (America's Finest News Source) ever since a 2002 article about American Congresspeople wanting to move from the Capitol building was re-printed in the Beijing Evening News 北京晚报.
Then there was the report from the Onion News Network about China becoming "the world's number one producer of air pollution": "It is a very proud day for my country," says the ambassador from China.
And now The Onion reports that it has been sold "To The Chinese."
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MCLC Resource Center is pleased to announce publication of Wang Dun's and Michael Rodriguez's translation of the first chapter of the novella "Love in the Age of Revolution" 革命時代的愛情, by Wang Xiaobo 王小波. Chapters 2 and 3 will be published later.
This is a book about sexual love. Sexual love is propelled by its own force; however, oftentimes, acting spontaneously is not permitted, which makes things complicated. For example, the Summer Palace is north of my home. If there were no such direction as "north," I would have to go south, crossing both the South and North poles, covering over forty thousand kilometers to arrive there. What I'm trying to say is this: people can indeed explain everything in a far-fetched manner, including sexual love.
Sexual love can therefore arise from most untrustworthy rationales.
A Lifetime Is a Promise to Keep contains an introduction to Huang Xiang 黄翔 and his poetry. According to the translator, Michelle Yeh, "As a poet, he addresses the perennial concerns with the inner self and the meaning of life." Regarding form, "Huang Xiang's prose poetry often begins as a pedestrian narrative, but as it unfolds, unexpected twists and turns are introduced, establishing roadblocks for readers and forcing them to read between the lines."
There are many such hidden rules in official circles, and a special genre titled the "Officialdom Novel" (Guanchang Xiaoshuo) revealing such secrets has been gaining popularity in the past few years, reflecting an "artistic reality" the country is going through.
By Eric Abrahamsen, June 30, '09
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 Cindy M. Carter, June 29, '09
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
Chris Irwin, who lives outside London, was irked by the third multiple-choice question, which asked what “incentive” translators would prefer, with five nonmonetary choices including an upgraded LinkedIn account and none (“because it’s fun”). Mr. Irwin checked a sixth choice, “Other,” typing in that he would prefer cash. In a phone interview, Mr. Irwin said he was surprised that LinkedIn “would have the effrontery to ask for a professional service for free.”
By Canaan Morse, June 29, '09
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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« Mao avait dit la politique en premier, l'économie en second ; actuellement tout est au service de l'économie. Autrefois le peuple considérait la politique comme importante, maintenant c'est l'argent. »
A short interview with Mo Yan, 15 (!) of whose works are available in French.
For me, the most important of all is to have a sense of the English ear: how much it can receive a foreign language presented in English. In general, if a character speaks Mandarin or another foreign language, the speech should not be too standard in English, but then how much can it be stretched and even distorted? That has to be decided case by case.
By Lucas Klein, June 19, '09
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.
