By Eric Abrahamsen, October 7, '10
I got back to Beijing from Sydney yesterday, where I was lucky enough
to have been invited by the Writing and Society Research Group of the
University of Western Sydney (actually a front for the guerilla
publishing and literary activities of one Ivor Indyk, the man
behind Giramondo Publishing and
HEAT magazine), to run on at
the mouth about Chinese literary translation at a symposium entitled
Sydney Symposium on Literary Translation
Before you raise an eyebrow, I'll admit I was junior member at what
was largely a gathering of really pretty intimidating literary and
academic figures—I was approximately fifteen years and two
university degrees behind the median. But that made for a wonderful
experience: a relatively small group of people presenting fascinating
papers and talks on topics ranging from poetry to "the classic" to
"nonsense", drawing from languages including French, Italian, Chinese,
Spanish, Japanese and Aboriginal Australian.
By Eric Abrahamsen, October 6, '10
I've just got back from a literary translation symposium in Sydney (more on that anon), and while there I also did a radio interview for the Australia Broadcasting Corporation which can be accessed, if I'm not mistaken, at this link.
By Eric Abrahamsen, September 24, '10
As mentioned previously I've been
organizing some literary events for the
Get It Louder festival, the first of
which was last Tuesday. Originally meant to be a head-to-head between
the writer Han Dong and Li Jingze,
editor-in-chief of People's Literature magazine, it lost some of its
drama when Li Jingze pulled out at the last minute due to an
unforeseen and rather dramatic workplace incident.
Han Dong and I did it ourselves, recapping and extending onstage the
conversation we'd had at dinner the night before, though without the
assistance of red wine. I asked him to start with his involvement in
movement, and to talk about how artists' relationships with the
critical establishment and publishing industry had changed over the
past decade, from an era when writers felt the need to burn their
bridges lest they be gentled over to the dark side, to today's
situation, where it's much easier to maintain one's independence.
Talking about the government's push to disseminate Chinese culture
abroad, Han Dong said he remained deeply leery of any "assistance"
that came with strings attached—I asked if there was any kind of
government assistance that he felt was fairly innocuous, and he said
he doubted it. The problem inside China is that everything is still
based on human relations: no help is given without strings attached,
no work is published without a debt owed, and you can't get anywhere
without being part of some kind of clique. The writer's career depends so much on his/her navigation of a social environment, and rarely is the work
allowed to stand on its own merits.
By Eric Abrahamsen, September 19, '10
Gah, sorry, this is happening 3pm on Tuesday, not 7pm! Sorry about the confusion…
Our apologies if the lights have seemed to dim around here recently; rest assured it is not due to mere sloth on our part—on the contrary! Well, maybe there was a little sloth this summer, but since then it has been go, go, go, mostly organizing literary events for the Get It Louder art festival. Get It Louder's been going for a few years, but up until now it's mostly focused on art, design, film, and other frivolous art forms—only in 2010 have they seen the light, and added a literary dimension. The festival goes from September 18th to early October in Beijing, then mid-October to early November in Shanghai. (A third station in Guangzhou was cancelled because the Asian Games will be held there this December; it seems city officials cannot walk and chew gum at the same time.)
I'll give heads-ups here as events approach. The first one takes place next Tuesday evening (the 21st) at 3pm, at the Sanlitun SOHO in Beijing (the pavilion in the plaza). The title is "Exposure Anxiety", and features Li Jingze (head editor of People's Literature magazine) and writer Han Dong discussing the project of Chinese culture and literature "Going Out", and the general air of anxiety that is creating within China.
The "anxiety" might end up more literal than I'd intended. Li Jingze is an über-representative of the literary establishment—over the past several decades he has found and promoted many writers who enjoy a reputation today—while Han Dong has gone from being very vehemently anti-establishment (he was a member of the "rupture" movement), to being uneasily taken under its wing, and I don't think it sits well with him. They're both pretty relaxed guys, but there is a lot of tension between artists and the establishment when it comes to "Going Out" (ironic double entendre there!) and there's a potential for snappishness. Could be fun!
All events are going to be filmed and will eventually make their way online, for those of you who aren't in town. One good thing about this whole festival-running thing, otherwise a nightmare for the organizationally-challenged, is that it's been a great excuse to get in touch with a bunch of new authors…
By Eric Abrahamsen, September 16, '10
The pause that refreshes! Just a couple of days ago I got a new Kindle 3 thanks to some intrepid cross-Pacific muling (thanks Canaan!), and while I have refrained from actually drooling on my shirtfront in public, I am, to say the least, enthused. To spare the unimpressed, screen shot etc is after the jump.
By Eric Abrahamsen, August 25, '10
Submissions for the 2010 Man Asian Literary prize will be accepted up until the end of the month! Remember, submissions must be of published English-language translations of books by Asian citizens, and must be submitted by publishers. If you're a translator (or Asian-citizen-author) with a novel you're proud of, bug your publisher now!
By Eric Abrahamsen, August 13, '10
I planned to write a bit about whatever translation-related issues of
interest cropped up in the midst of Notes of Civil
Servant, and as it happened I barely got
through the preface before I reached the first hard-to-crack nut. So
here is Imponderable Number One: the word 官场 (guānchǎng), guan
indicating government officials or officialdom, chang here meaning
"field" or "arena". I suspect that this term is a derivation of 战场
(zhànchǎng), "battlefield", which gave birth elsewhere to 职场
(zhíchǎng), "professional arena" or, as we prosaic Westerners might
call it, the employment market.
It's precisely the touch of martial romance inherent in the term that
is significant. Your typical North American or Western European civil
servant is anything but romantic. Dull of eye and stunted of fancy,
clad in the sober weeds of duty, they do one thing and they do it, if
not well, at least doggedly. They are cogs in the machine, possessing
perhaps even less moral agency in their day-to-day decisions than your
By Eric Abrahamsen, August 3, '10
Here comes a rather impressive dispatch from the far reaches of linguistic brain-bendery: Johnathan Stalling's Yingelish, a poem written in Chinese characters, which can be read aloud (in Chinese) to create a completely different story in Chinese-sounding English. As if that weren't impressive enough, the whole thing was rendered last week as a "Sinophonic English Opera" at the University of Yunnan, where the text was sung, acted out, and accompanied by a dizzying array of musical instruments. Download the flyer for the event, or see a few pictures here (Chinese only).
By Eric Abrahamsen, July 17, '10
Cha: An Asian Literary Journal (http://asiancha.com/) iis now accepting submissions for "The China Issue", an edition of the journal devoted exclusively to work from and about contemporary China. The issue, which will be published in June 2011, will feature poetry, fiction, creative non-fiction, scholarly works and visual art exploring the modern Middle Kingdom. We are looking for submissions from a wide range of Chinese and international voices on the social, political and cultural forces which are shaping the country. If you have something interesting, opinionated or fresh to say about China today, we would like to hear from you. Please note that we can only accept submissions in English. More information here: http://asiancha.blogspot.com/2010/07/call-for-submissions-china-issue.html
By Eric Abrahamsen, July 16, '10
The University of Iowa's "Life of Discovery" program concluded recently: this was the second annual installation of a joint program between Iowa's International Writing Program and the China Writers Association, bringing American and Chinese writers together for a little road-trip bonding. Besides the official webpage above, you can peruse their blog, where the writers (Americans only?) posted photos and blogged their bewilderment. The event consisted of two parts: a week in Iowa last May, and a couple of weeks in China, mostly Kunming, which ended July 9.
This year's participants, on the Chinese side:
- Liu Zhenyun 刘震云
- Peng Xueming 彭学明
- Fan Jizu 范继祖
- He Xiaomei 和晓梅
- Lu Qin 禄琴
- Yang Guoqing 杨国庆
- Zhang Gencui 张根粹
Interestingly, nearly all the Chinese participants were ethnic minorities, mostly poets. The Americans:
- Christopher Merrill
- Vu Tran
- Matt Hart
- Kiki Petrosino
- Amanda Nadelberg
- Kyle Dargan
Great to see these kinds of events going on!
By Eric Abrahamsen, June 24, '10
Next Tuesday (June 29) Chun Shu will be giving a talk at the Trends Lounge in Beijing about her new book, Light Year American Dream, as part of the Trends Lounge's Cosmo Women's Reading Salon series.
Time: June 29 (Tuesday), 7-9pm
Venue: Trends Lounge, 2F The Place (世贸天地), Beijing
Phone: 010 6587 1999
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 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
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.