Eric lived in Beijing from late 2001, when he studied Chinese at the Central University for Nationalities, until the end of 2016. He began struggling through Wang Xiaobo at an early date, and kept at it through the intervening years. He is the recipient of a PEN translation grant for Wang Xiaobo's My Spiritual Homeland and a NEA grant for Xu Zechen's Running Through Zhongguancun, later published as Running Through Beijing, which was shortlisted for the National Translation Award.
His short-story translations have appeared in magazines including The New Yorker, Granta, and n+1. He also writes occasional cultural criticism, which has appeared in the New York Times and Foreign Policy, among other venues.
We're very pleased to announce that Jeremy Tiang is taking over as Pathlight magazine's new Managing Editor! This, er, storied position, previously held by Dave Haysom and Alice Xin Liu, involves sourcing interesting new literature and poetry from Chinese writers, and commissioning and editing excellent translations. Actually it mostly consists of cracking the whip on deadlines. We're really excited to have Jeremy on board, and look forward to some of his ideas about making Pathlight more accessible in the US, in particular. Despite his claims to never leave his Brooklyn apartment, he seems to know everyone in town.
Pathlight Magazine, a Paper Republic publication, is looking for a new
The position is about half time (though sometimes busier than others),
and based in Beijing. You will be working together (mostly remotely)
with Paper Republic editors, and with People’s Literature Magazine,
our Chinese partners. Responsibilities include:
Keeping the magazine to a quarterly publication schedule.
Working with Paper Republic and People’s Literature to
collectively choose a theme and a table of contents for each issue.
Assigning and collecting translations.
Editing translations, or assigning editing work to other editors.
Doing social media promotion.
We’ll provide translator and editor resources, and help connect you
with everyone you need to talk to.
Salary is paid per issue, and is competitive.
Our ideal candidate:
Is in Beijing.
Is a Chinese => English translator. One of the strengths of
Pathlight is that our translations are edited by translators.
Is organized, and not afraid to crack the whip.
Is conversant with contemporary Chinese fiction and poetry.
Has some familiarity with digital publishing, including using
InDesign and manipulating epub files.
Has a bit of experience dealing with Chinese government-owned
Would be available to start in the next couple months.
You can find the "Suggest an addition" link on the left-hand side of the PR pages, or follow this link directly. Right now it's limited to suggesting works of literature (though there's a write-in field for authors who aren't in the database), but I hope to eventually expand the options. If you're adding new works of literature to the database, please remember that Chinese originals and English translations have equal standing, so make two suggestions.
And thanks! If you have any suggestions about the suggestion (meta-suggestions!), please leave them in comments on this post.
Deadline is March 1st, 2018 for the Vermont Studio Center/Luce Foundation Chinese Poetry & Translation Fellowships. Five poets and five translators can travel to Vermont for a four-week residency to work on poetry and poetry translation. See this link for details, and information on past fellows.
China's domestic literary prizes are often viewed with uncertainty from abroad: Who runs them? Are they trustworthy? How are the different prizes specialized? Which should we be paying attention to? We've asked Chen Dongmei, who usually exerts her influence behind the scenes, to step forward and give us a rundown of prizes for adult and children's literature, to try to shed some light on these questions.
Zhang Lijia, author of Socialism is Great!, is talking about her first novel, Lotus, February 1 7pm at the NY Barnes & Noble, 82nd and Broadway. See this link for more information, and stop by if you're in town!
From the event blurb: Inspired by the secret life of author Lijia Zhang's grandmother, Lotus follows a young woman torn between past traditions and modern desires as she carves out a life for herself in China's "City of Sins." This perceptive, sensitive novel examines what it means to be an individual in a society that praises restraint in and obedience from its women.
English PEN has this program called "PEN Presents", where they provide translators with funding to promote books they want to translate, and this year they're accepting applications from East and South-East Asia. From their announcement
PEN Presents aims to help publishers to discover – and publish – the most exciting books from around the world, whilst supporting emerging translators in their development as advocates for international literature. Each year the initiative presents six exciting books by contemporary authors, recommended by literary translators, which have not yet been acquired for English-language publication. Each round of PEN Presents focusses on a different region of the world.
They're working with the Asia Literary Review for this year's program – see this link for application instructions. The deadline is December 5, 2016.
So we're about halfway through our program of literary events
surrounding the 2016 Beijing International Book Fair, which so far has
been great fun. Last year, the first year Paper Republic did these
"Literary Salons", we were too exhausted to post about this at all,
let alone halfway through the program, so I suppose this is progress!
To me, it's clear what "progress" consists of: more hands on deck.
Last year it was just Dongmei and me; this year we've added Min Jie as
our third PR employee, and have a team of three awesome interns,
Lirong, Yutong, and Mingjun. The whole thing is much more under
control, and it's possible to actually enjoy ourselves!
I'll post a few pictures below, but first a few memorable moments:
Putting Alejandro Zambra, the Chilean cultural attaché, and the
Chilean ambassador on a stage which, several weeks after we booked
it, was turned into part of the children's book zone. The three of
them discussed Chilean history and literature against a Finding
Nemo backdrop, while the audience sat on colorful little squishy
Tic-Tac stools. Zambra is a good sport.
A cocktail party at the Beijing Bookworm. The Bookworm of course
runs their international literary festival every March, a much
larger and more long-running event than what we're doing here. But
the two things are complimentary in spirit, and I'm really glad we
were able to work together for the fun part of this week.
Acting as impromptu bodyguard for Nobel laureate Svetlana
Alexievich yesterday. Most audience members at the fairground were
well-behaved, but a handful had obviously come because – hell or
high water – they were going to get a Nobel laureate's signature,
even if they had to tackle her. I wasn't expecting tussling to be a
part of our literary festival, but hey, it was exciting.
So, it’s rather gone by in a whirlwind, but we’ve reached the end of
our first year of Read Paper Republic. Starting June 18 of last year,
we’ve published 53 short pieces online, one each Thursday (there’s 53
weeks in a year, right?), and today’s publication of Li Jingrui’s One
Day, One of the Screws Will Come Loose marks the end of what we’ve
come to think of as “Read Paper Republic, Season One”.
We’re taking a short break! Nicky Harman, Helen Wang and Dave Haysom
have done a remarkable amount of work over the past year, and it's time for a breather while we think about where to go from here.
Apropos of that, we have a request to make of you! We’ve created a
very short online survey that we very much hope you’ll take a moment
to fill out. It’s only a page, and will be invaluable to us as we look
back over the past year of publications, and think about the future.
Please take five minutes and help us fill it out!
So what will be next? We’re not sure yet. Over the next six months,
we’re likely to make some more additions to the RPR lineup, probably
based around events and author visits in various parts of the world.
“Season One” was done with no funding whatsoever (thanks to all our
editors, translators and authors!), and we’re very aware that we could
make a hypothetical “Season Two” a lot better with a bit of support.
Got any good ideas for doing that? Please let us know in the survey!
2016 is, everyone agrees, a bad year for China. Usually, what a bad
year consists of is everyone telling each other “It’s a bad year here
in China”. But there’s good evidence that this year is objectively
worse than most. First, there’s Xi Jinping’s anti-corruption crusade,
which might be a righteous attempt to return the government to the
strait and narrow, but also might be a thinly-disguised campaign to
rid the official ranks of the less-than-loyal – and, sadly, is
probably both. The past twelve months seem have been a record season
for lawyer jailing which is always a really, really bad sign. The
internet occasionally verges on unusable. Hong Kong booksellers are
disappearing. For some reason, the fact that women’s-rights activist
Xiao Meili was stopped by police outside the Beijing Bookworm and
turned back from an event she was supposed to attend really drove it
home for me.
Even in better times, China’s publishing industry generally leads the
nation in gratuitous timidity. The echo-chamber effect is particularly
strong here – whispered rumors, sidelong glances, knowing nods, and
then the quiet consensus that “we’d better not risk it”. In a country
where everyone is kept guessing by the capriciousness of those in
power, publishers seem to have more sensitive antennae than pretty
much anyone else out there. And apart from occasional meetings with
SAPRFFT (where the government directives rarely amount to anything
more specific than “be careful, this is a bad year for China”),
publishers don’t have much more to go on than water-cooler gossip.
That, and the occasional castastrophic exercise of brute authority.