The online mag. I recently came across an old page on Hilobrow, starting with this:
The Taiyi summit nears the seat of heaven
linked mountains stretch to brink of sea
The Taiyi summit nears the seat of heaven;
linked mountains stretch to brink of sea.
Two versions of the opening couplet of a Wang Wei 王維 poem by Hilobrow cofounder Matthew Battles, the second in the style of David Hinton. “We’re always struggling with the apparent multivalence of classical Chinese poetry,” Battles writes, “the way the openness of the language seems to permit so many readings, combined with the difficulty of translocating the tonal, lexical, and ideographic effects of the originals into alphabetically-styled verse without either losing much of the force or going all specious with talk about picture-writing and orientalist exoticism”—and he mentions books by Eliot Weinberger and Yunte Huang to shore up his point. But in the end, after a weekend on Maine’s Mount Katahdin,
In the Wang Wei I found echoes of the work the mountain did on me: the braided vistas merging, the gulfs and abysses seducing, the zones of forest succession merging and disappearing into one another as one moves up and down slope.
Click the image above to read more.
David Hinton, author of Mountain Home and translator of Chinese poets including Wang Wei 王維, Hsieh Ling-Yün 謝靈運, and Bei Dao 北島, joins Chloe Garcia Roberts, translator of Derangements of My Contemporaries by Li Shangyin 李商隱. They will discuss their individual approaches to classical poetries and cosmologies, while exploring the influence of classical Chinese poetry on American modernism.
When: Wednesday, September 24, 6:00 p.m.
Where: Woodberry Poetry Room, Lamont Library, Room 330.
Harvard University, Cambridge MA
Jonathan Hart reviews Bei Dao‘s 北島 The Rose of Time: New and Selected Poems (New Directions), edited by Eliot Weinberger, speaking “about these translations as if they were poems in English on which the reputation of the poet stands in the English-speaking world.”
He concludes that “Bei Dao’s poetry translates well in its bold imagery and implicit and oblique politics, using nature in a symbolism of indirection that is as subtle as it is apparent,” but he only mentions poems translated by Bonnie McDougall (Bei Dao’s early work) and by Weinberger (Bei Dao’s more recent work), not mentioning the poems translated by David Hinton.
For another recent collection of Bei Dao’s poetry in English, see also Endure (Black Widow Press), translated by Clayton Eshleman and me.