Klein on Krasznahorkai on Chinese Poets in Cha

ImageThe new Cha also features my review of László Krasznahorkai’s Destruction and Sorrow beneath the Heavens, translated from Hungarian by Ottilie Mulzet. Semi-fictional reportage about Krasznahorkai’s travels through China, it features transcripts of discussions with Chinese poets–which I elaborate on in my review:

My own reading experience was one of being amazed at the representative resonances with those whom I know among the book’s characters—critic Tang Xiaodu and poets Yang Lian and Ouyang Jianghe as well as Xi Chuan—while also being enwrapped in the dramatic tension of its various frustrations.

I also take a look at whether the book is fictional, and how Krasznahorkai plays with central questions in Chinese literary studies to

While those trained in European literature are equipped to believe that writing is in itself a fictional act, others have argued, “In the Chinese literary tradition, a poem is usually presumed to be nonfictional: its statements are taken as strictly true.” But this statement is itself at the core of further debates in Chinese literary studies, such as about Orientalism and the mental sequestering of China as an object of study that comprises much scholarship in Chinese literature.

These debates play out implicitly in the pages of the book, I say:

This is the game Krasznahorkai plays. His self-aware presentation of his Westerner’s vision is embodied and embedded in his structure. In Hungarian, Stein’s name is Dante. Changing it to Stein invokes Aurel Stein (1862–1943), the Hungarian-British archaeologist who discovered the grottoes at Dunhuang and removed four cases of relics and paintings and twenty-four cases of medieval manuscripts to the British Museum in London, where they are preserved, or to which they were stolen. But the moniker Dante also implies Destruction and Sorrow‘s knowing Eurocentrism: the book’s three-part structure proceeds through the hell of the narrator’s exasperation to the utopia of the Suzhou gardens … By positing his China as a passage through the hereafter, Krasznahorkai acknowledges his enclosure within the Western tradition. Not that all narratives in Western literature are fulfilled: from Exodus to Ulysses, heroes have failed in their journeys, too. Or that unfulfilled narratives are the only Chinese authentic: don’t the pilgrims in Journey to the West reach Buddha’s Western Heaven?

Click the image above for the full review.