Metre Maids on Xi Chuan at the Bookworm

Sarah Stanton Translator & poet Sarah Stanton of the Metre Maids blog has posted a write-up of my event with Xi Chuan at the Beijing Bookworm last Thursday night. Comprehensive and enthusiastic, her coverage not only chronicles the event, but some of Xi Chuan’s background as well. Here’s my favorite moment of her piece:

This question came up again during the discussion after the reading, with translator Canaan Morse asking Xi Chuan how he feels when people expect him, as a Chinese writer, to be writing the same sorts of things the Tang poets were writing a thousand years ago. His answer was short and to the point: “I hate it!” Another memorable moment came when he was asked if he thought one had to get angry or upset to write good poetry: he replied to the effect that it’s hard work that creates good poetry, not emotion, and at that point I’m sure I heard millions of emo voices cry out in terror, and be suddenly silenced.

Lucas also discussed at some length the processes that went into creating the book, his own attitudes to translation, and translating Xi Chuan in particular. Once again I was struck by the sheer amount of time and love which had gone into these poems, both in their original language and in their English form. The role of the translator is so often relegated to that of mouthpiece, a faceless channel for the poet’s vision, but in good translation–and in good literature–there is always a sense of partnership. After the talk, I asked both poet and translator to sign my book, and Lucas’ signature sitting neatly below  Xi Chuan’s on the title page seems to me a perfect symbol of everything they’re doing right.

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Jade Ladder Arrival

I received my copy of Jade Ladder: Contemporary Chinese Poetry from Bloodaxe Books yesterday. Edited by Yang Lian 杨炼, W N Herbert, Brian Holton, and Qin Xiaoyu 秦晓宇, it’s brimming with Chinese poetry from the last thirty-five years, mostly translated by Holton with Lee Man-Kay 李漫琪 and / or Herbert. Jade Ladder includes five Xi Chuan poems–one, “Exercises in Thought” 思想练习, in my translation (which Herbert calls “marvellous work”!), one in Holton’s translation, and two done by Xi Chuan with Bill Herbert. This allows for readers to get a sense of how different translators work, and of course to see different aspects of Xi Chuan’s poetry as they find different expressions in English.

Also of interest, both to scholars and general readers, are the preface by Herbert, the introduction by Yang Lian, the essays by Qin Xiaoyu, and the afterword by Holton.

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#XiChuan

Scrounging through the series of tubes that make up the internet the other day I came across someone’s Twitter feed from January, posting live updates from my event with Xi Chuan and Chris Lupke at the MLA. After the event I posted Rachel Blau DuPlessis‘s excellent response to “Hearing Xi Chuan for the First Time,” but these tweets took me back in a different way. eetempleton seemed particularly impressed with Xi Chuan’s aversion to “good poems”–something I explained in my Poetry Society of America write-up as poems “both acceptable to more conservative aesthetic standards as well as simply poems that are too ‘well-behaved.’” Ultimately, however, I think these tweets capture something important about Xi Chuan as a writer, quoting: “I’m not trying to be a poet. I’m trying to be a person writing texts.”

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Paul Nelson’s “Black Dragon Year”

American poet Paul Nelson, who interviewed Xi Chuan for SPLAB, has published his poem “Black Dragon Year“–”After Xi Chuan’s Somebody [某人] and Li Bo Questions Answered.” Paul also wrote to me that touring Seattle Xi Chuan said “the dragons, festooning the lampposts in the International District (Chinatown) looked ‘like lizards.’”

Click here to listen to Paul read.

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Lucas Klein on The Fat Years

My review of The Fat Years 盛世:中國 2013年, by Chan Koonchung 陳冠中 and translated by Michael Duke, is now online at Rain Taxi. Be forewarned: I was unimpressed by the novel and the translation. Here’s how the review begins:

The cover screams “The Book No One in China Dares to Publish,” the Financial Times and The Observer have offered ad-like reviews, and copies have spilled off bookstore displays in Hong Kong and London for months; The Fat Years is the new must-have for the politically righteous book consumer in the English-speaking world. Consumer, that is, not reader, since most reports mention little about the story other than its premise. Probably better this way, since aesthetics too often fail when put up against political righteousness.

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