The $3,000 award recognizes book-length translations of poetry from any language into English published during the current calendar year. The winner will be announced on February 22, 2017 and honored at the PEN America Literary Awards Ceremony on March 27, 2017.
The New York Times is reporting on a poem by Zhao Xiaogang 赵晓刚, MD, published in CHEST, the official publication of the American College of Chest Physicians, titled “I Long to be King” 我要当老大. Written “from the viewpoint of an ambitious lung cancer that revels in the ‘delicious mist and haze’” of China’s air, the poem has now been gaining international attention. The Times writes:
The author, Dr. Zhao Xiaogang, 40, who is deputy chief of thoracic surgery at Shanghai Pulmonary Hospital of Tongji University, opens with a “ground-glass opacity,” an image of a CT scan of fluid in the lungs that can indicate a range of disorders, but in this case is the first indication of what will develop into a triumphantly lethal cancer.
According to the article, “Dr. Zhao has long written poetry as a pastime. But in 2015, while a visiting scholar at the University of Nebraska Medical Center in Omaha and at Washington University in St. Louis, he heard that some academic journals published poetry.” No word on who translated the poem, though (presumably Zhao himself?).
From the poem:
I am ground glass opacity (GGO) in the lung,
A vague figure shrouded in mystery and strangeness,
My continuous growth gives me a chance to be king,
As I break through layers of obstacles,
Spanning the mountains and waters.
My fellows march to every corner and occupy every region.
Michel Hockx’s seminal study, A Snowy Morning: Eight Chinese Poets on the Road to Modernity (Research School CNWS, 1994), is now available for free download.
Literary historians tend to deal with China’s earliest ‘new poets’ with scant regard. These poets are thought to have been the experimenters, the forerunners whose only task it was to fail so that others might succeed. Their pluriform and many-sided work is consequently only discussed in footnotes and introductory chapters.
Focusing on the poetry and poetics of the eight authors of A Snowy Morning (1922), and on contemporary and modern reception of their work, the present study not only offers a detailed view of the period during which modern Chinese poetry took shape, but also presents a new outlook on the modernity of early ‘new poetry’ itself.
The $3,000 award recognizes book-length translations of poetry from any language into English published during the current calendar year. Finalist will be announced on January 18, 2017, with the winner announced on February 22, 2017 and honored at the PEN America Literary Awards Ceremony on March 27, 2017.
Jeffrey Yang, poet, editor, and translator of Uyghur and Chinese poetry (both classical and modern, including Liu Xiaobo’s 刘晓波June Fourth Elegies, Su Shi’s 蘇軾 East Slope, and Bei Dao’s 北岛 forthcoming memoir City Gate, Open Up) answers questions as part of Words Without Borders‘ “Translator Relay“:
You are a translator, but also an award-winning poet. Can you speak about how your work as a poet informs your translations? And in turn, do you find that your work as a translator informs your poetry?
I try not to dissect this back and forth too much as the two so naturally fit together, like Adam and Eve. Both require careful attention to the musical qualities of language. The two can also overtly overlap, in that translating a poem is akin to writing a poem in a new language, or when writing a poem includes translated lines from another language. Both practices thrive in obscurity and with patient tinkering at the minutest level of word and line. As the recent Nobel Laureate said fifty years ago, “People have one great blessing—obscurity.” Each revels in an economy of language while persisting outside of the day-to-day economy, where profit never ventures upon its threshold. The one feeds the other in body and spirit, as with the other arts.
Perry Link at the New York Review of Booksreviews the expanded re-release of 19 Ways of Looking at Wang Wei, by Eliot Weinberger. Link writes:
Some of the art of classical Chinese poetry must simply be set aside as untranslatable … Weinberger knows all of this and sensibly begins his inquiry at step two—after all the untranslatables have been set aside. Now the question becomes: How can one make another poem from the twenty bundles of meaning that the Chinese characters offer? Weinberger criticizes, astutely if sometimes unkindly, almost every translator he cites … Although he is critical of nearly everyone’s translation in Nineteen Ways, Weinberger wisely adopts the position that “quite a few possible readings” can all be “equally ‘correct.’” Dilemmas about translation do not have definitive right answers (although there can be unambiguously wrong ones if misreadings of the original are involved). Any translation (except machine translation, a different case) must pass through the mind of a translator, and that mind inevitably contains its own store of perceptions, memories, and values.
Link also gives a China-centered take on Weinberger’s new essay collection, The Ghosts of Birds: “Weinberger’s sensitivity to words and gift for clear thinking underlie nearly every page in Nineteen Ways, but in The Ghosts of Birds they spout like a geyser.”
Click the image above for the (paywalled) review in full.
The article is also now available on ChinaFile for free.
Xinyi Jiang and Lindsay Macgregor at the Dundee Review of the Artsgive their take on Brian Holton’s Staunin Ma Lane, a collection of classical Chinese poetry translated into Scots (with English “glosses”). They write:
The archaisms of the classical Chinese language, the multiple meanings of individual Chinese characters, as well as the very different cultural allusions must surely have made translation a daunting task. But if so, it never shows. There’s a natural ease to Holton’s Scots which belies the compromises which translation necessarily incurs when qualities of sight and sound, meaning and allusion jostle for survival in each line. Holton’s improvisations, translations and cover versions – faithful and playful, confident and experimental – make classical Chinese poetry both highly accessible and hugely enjoyable.
Andrew Plaks and Tsu-lin Mei 梅祖麟 have written an obituary for renowned Chinese poetry scholar and Princeton emeritus professor Yu-kung Kao 高友工, who has died at age 87. They write:
The invaluable contributions of Kao to the academic training of a generation of scholars of Chinese literature in the United States and abroad is matched only by the profound and lasting impact he had, on a personal level, on so many lives. In some ways, he was an enigmatic individual — quiet and reserved, a very private person whose inner thoughts remained a mystery even to his closest friends, reluctant to display his vast erudition and penetrating insight. Yet in his own way, with his inscrutable smile and self-deprecating manner, he was always reaching out to touch the minds and hearts of all the students and colleagues who read his seminal writings with utter absorption, or sat around his seminar table, intent on absorbing even a small measure of the spiritual and intellectual depths of the Chinese “lyric vision.”
For more details of his life, click on the image for the obituary in full.
A judging panel comprising Brian Nelson, Mabel Lee and Peter Doyle said Minford’s work ‘bids fair to become the definitive translation of this primary Chinese classic’.
‘An imposing example of the translator-scholar as cultural intermediary, it is both a tour de force of scholarship and a distinguished literary achievement,’ said the judges. ‘Minford adopts a thoughtful, original, flexible approach to the challenges of his task as translator, offering a significantly new interpretation of a piece of major world literature.’
Andy New York Times has published a brief review of Iron Moon 我的诗篇, a documentary on poetry-writing industrial workers in southern China, directed by Qin Xiaoyu 秦晓宇 and Wu Feiyue 吴飞跃.
With arresting images, “Iron Moon” powerfully addresses China’s moral crisis in the wake of economic prosperity. Today, “if you don’t have money or power, it’s really hard,” says Xu Lizhi’s father. Especially if you’re working the line.