Lingnan Symposium on Translation & Modern Chinese Poetry

Moving the Goalposts:
Symposium on Translation and Modern Chinese Poetry

龍門陣:翻譯與現代中文詩歌研討會

16 June 2017
LBYG06, Lingnan University
9:30–18:30

Zero Distance Anthology of New Chinese Poetry

unnamedAnnouncing Zero Distance | New Poetry from China, edited and translated By Liang Yujing–newly published by Tinfish Press.

“Another anthology?” you’re probably thinking–“Just what we need! Put it on the shelf next to the other dozen or so anthologies of modern and contemporary Chinese poetry that have been published in English since 1990. But look at the names this anthology includes:

Ba Ling 八零
Xidu Heshang 西毒何殇
Song Yu 宋雨
Wang Youwei 王有尾
Li Suo 里所
Mie Ren 乜人
Zuo You 左右
Ma Fei 马非
Ai Hao 艾蒿
You Ruoxin 游若昕
Wu Yulun 吴雨伦
Li Xunyang 李勋阳
Qin Bazi 秦巴子
Dong Yue 东岳
Xi Wa 西娃
Zhu Jian 朱剑
Li Yi 李异
Ya Zi 芽子
Jiang Tao 蒋涛
Xiao Zhao 小招
Han Jingyuan 韩敬源
Tu Ya 图雅
Ouyang Yu 欧阳昱
Chun Sue 春树
Yu Youyou 余幼幼
Huang Haixi 黄海兮
Shen Haobo 沈浩波
Wei Huan 苇欢
Yi Sha 伊沙

I’ve barely seen any of these poets in an anthology before! Zero Distance, then, should be something new.

Click on the image above for ordering information.

 

Yang Lian PBS’s Summer Recommended Translation

The UK’s Poetry Book Society has chosen as its 2017 Summer Recommended Translation Narrative Poem 叙事诗, by Yang Lian 杨炼 and translated by Brian Holton. The PBS writes:

Narrative Poem, Yang Lian’s most personal work to date, is built around a series of family photographs, the first of which was taken on the day when he was born, on 22 February 1955, and the last of which dates from the time he spent undergoing ‘re-education through labour’ – and digging graves – during the mid-1970s.

The poetry ranges backward and forward in time, covering his childhood and youth, his first period of exile in New Zealand, and his subsequent adventures and travels in and around Europe and elsewhere.

In ‘this unseen structure written by a ghost’ Yang Lian weaves together lived experience with meditations on time, consciousness, history, language, memory and desire, in a search for new/old ways of speaking, thinking and living.

Click on the image for more information.

Klein’s Ouyang Jianghe in Almost Island

The tenth anniversary issue of Almost Island is now out, featuring sections of my translation of “Taj Mahal Tears” 泰姬陵之泪 by Ouyang Jianghe 欧阳江河–alongside new work by Arvind Krishna Mehrotra, John Robert Lee, Régis Bonvicino, and Valerie Mejer Caso. The editors write:

“Taj Mahal Tears” was produced from a visit by Chinese poets to India for the Almost Island Dialogues in 2009. The singular poet Ouyang Jianghe composes this poem from a confluence of streams – those of history, geography, primal emotion, and over all this the almost aerial gaze of a poet-philosopher.

Here is an excerpt:

The tears of 1632 still flow in 2009.
From a pillar of tears a Mughal prince
stands up, the form of a woman appearing in stone.
Tears flow into stone, chiseling through, reticulating,
…….flow stopped,
still flowing. The mutable master of rivers and mountains, tears flow state coffers
empty, flow time itself to its terminus.
Weapons flow past with no sight of warriors.
Sitars flow past without sound of strings.
Dāru in hand, yet drunkenness flows away from the body of the drinker.
Gold, utensils, a dance of arsenic and antimony, flowing away all the same.
And memory and amnesia, and the body’s mixed emotions, nothing can suffer their flowing.

1632年的泪水,2009年还在流。
一个莫卧儿君王从泪水的柱子
起身站立,石头里出现了一个女人的形象。
泪水流入石头,被穿凿,被镂空,
        完全流不动了,
还在流。这些江山易主的泪水,国库
被它流空了,时间本身被它流尽了。
武器流得不见了武士。
琴弦流得不发出一丝声音。
酒拿在手中,但醉已流去,不在饮者身上。
黄金,器物,舞蹈的砷和锑,流得一样不剩。
还有记忆和失忆,还有肉身的百感交集,全都经不起它流。

Click the image above to read the selection.

Gewirtz on Bei Dao’s City Gate, Open Up

The Poetry Foundation has published “Bei Dao’s Beijing: The eminent Chinese poet on exile and his native city,Julian Gewirtz’s review of City Gate, Open Up, the newly published memoirs of Bei Dao 北岛, translated by Jeffrey Yang. The review also weaves in decades of Bei Dao’s poetry, creating a compelling narrative of his development and longstanding interests. It ends:

Faced with the weight of history and the force of politics, Bei Dao’s struggle to “refute the Beijing of today” and “rebuild” his Beijing ultimately—perhaps inevitably—proves unattainable in either poetry or prose. He writes in his memoir, “This long-consuming task of rebuilding and reconstruction—I feel it’s almost impossible to achieve.” Yet this does not undermine the value of the attempt. In the 1994 interview, he elaborated on this point: “On the one hand poetry is useless. It can’t change the world materially. On the other hand it is a basic part of human existence… [and] what makes human beings human.” His yearning for a lost Beijing might fit the same rubric: a desire at once “useless,” “impossible,” and intensely human. “Writing is a renaming of the world,” he has said, and his memoir, like his poetry, is fundamentally an act of “renaming.” In a recent poem, “Black Map” (translated by Weinberger), Bei Dao imagines a final salute to his lost city:

Beijing, let me
toast your lamplights
let my white hair lead
the way through the black map
as though a storm were taking you to fly
..
I wait in line until the small window
shuts: O the bright moon
I go home—reunions
are one less
fewer than goodbyes
.

Click the image above for the full review.

Stand interview with Chinese Poetry Translators

Stand Issue 213, Volume 15 Number 1The current issue of Stand magazine features an interview with Chinese poetry translators Eleanor Goodman, Canaan Morse, and Heather Inwood–and the translations they’ve curated for the issue. In answer to the question “What kind of poetry translates best and is any simply ‘untranslatable’?” Morse writes:

CM: Let’s not wrongly ascribe agency here. Poetry doesn’t translate; translators translate. Inspired, dedicated translators translate best. No poetry is untranslatable as such, except for the mountain of government-sponsored, sycophantic screed that is literally too painful to translate.

Click the link above for the full interview.

Klein’s Ouyang Jianghe in Seedings

Issue three of the literary journal Seedings, edited by Jerrold Shiroma, is now out, featuring sections of my translation of “Taj Mahal Tears” 泰姬陵之泪 by Ouyang Jianghe 欧阳江河–alongside new work by Will Alexander, Marry Oppen, Matt Turner, Elizabeth Willis, Osip Mandelstam, Michael Palmer, and more!

Poetry does not have an identity of its own, its prajñā and insight
are polyphonic, beginning in two, exerted from other objects.
…………….The gods and the departed face off
like the narcissus, intoning the original poem’s splendor
and its fragrance. Tears extract themselves from polysemy,
elapsing and simultaneously creating their boundaries
……………. and plasticity,
because the tears of poetry’s minstrelsy flow from a statue,
within which flow the materials of consciousness,
e.g., the crystals in the nightingale’s throat,
…………….those tiny metals.
But in rural India, why is the peacock’s cry choked up,
why does the history of words again become a history of dust?

诗歌并无自己的身份,它的彻悟和洞见
是复调的,始于二的,是其他事物施加的。
             神与亡灵的对视
水仙般,支吾着一个元诗歌的婀娜
和芬芳。眼泪从词的多义抽身出来,
它一边流逝,一边创造自己的边界
              和可塑性,
因为诗歌的行吟的泪水是雕像流出的,
里面流动着一些知觉的材料,
比如,夜莺深喉里的那些水晶,
               那些小金属。
但在乡村印度,为什么孔雀的叫声如此哽咽,
为什么词的历史会再次成为尘埃的历史?

Click the image above to download the full .pdf of the issue.

Wenguang Huang on Bei Dao’s City Gate, Open Up

In “A Poet Who Survived Mao,” Wenguang Huang reviews City Gate, Open Up 城门开, the new memoir by Bei Dao 北岛, for the Wall Street Journal. Huang writes:

In 18 essays, crafted with poetic precision and enriched by Jeffrey Yang’s assiduous translation, Bei Dao depicts a cast of memorable characters with humor and insight: a tenacious family nanny always on the lookout for revolutionary opportunities; a talented schoolmate who sneaked across the border to Burma to join guerrilla forces; and the author’s father, a former government propaganda official and a moody authoritarian at home. Bei Dao devotes a long chapter to the universal theme of a troubled father-son relationship.

“City Gate, Open Up” made me want to retrieve my old college journal filled with the poet’s quotable stanzas. When I called my family back in China, however, I found out that it had been tossed out long ago. “There’s no room for old stuff,” a family member said indifferently. That now seems to be the national slogan. It only makes Bei Dao’s book more poignant.

Click on the image for the full review.

Walsh on Iron Moon Anthology of Workers’ Poetry

In an article titled “The Chinese Factory Workers Who Write Poems on Their Phones” on Literary Hub, Megan Walsh reviews Iron Moon: An Anthology of Chinese Migrant Worker Poetry, edited by Qin Xiaoyu 秦晓宇 and translated by Eleanor Goodman. She writes:

Similar to the way the industrial revolution in England enforced a whole new concept of time as it severed workers from seasonal rhythms, so these poets speak of disrupted menstrual cycles, the blurring of night and day and the sense of unbelonging, where both countryside and city are rendered uninhabitable (several refer to themselves as “lame ducks,” maimed and unable to complete their journey back home). Of course, they are not the only ones concerned with the spiritual vacuum of China’s brutish capitalist economy or the devastating destruction of the environment, but what makes their eco-poetry so vital is that they are not writing from a distance, but at the coalface.

They work hellish hours without job security, drink water from rivers they see dumped with pollutants and chemicals, inhale air fouled by poisonous gases. They risk injury from merciless, vampiric machines that consume not only their youth, but their body parts (in 2005 there were an estimated 40,000 incidents of severed fingers each year alone in China’s southern economic zones). And they find the time outside of the 14-hour shifts and the space in their crowded dorm rooms to engage, to write about their lives and publish it online using a basic cell phone… This confluence of China’s industrialization with easy internet access has created an unprecedented opportunity in the history of working class literature.

Click the image for the full review.