Mazanec on Rouzer’s Hanshan Translations

Tom Mazanec has posted about Paul Rouzer’s new translation of Hanshan 寒山 (Cold Mountain) for de Gruyter’s Library of Chinese Humanities–now available for sale and free download.

As Tom notes, some of the Hanshan corpus was “famously translated by Gary Snyder in 1958 [and] later celebrated by Jack Kerouac in his hit novel The Dharma Bums,” which means this publication lacks the punch de Gruyter landed when publishing Stephen Owen’s complete Du Fu 杜甫:

there are already two complete translations of Hanshan out there, by Robert Henricks and Red Pine (personally, I’m fond of the latter), as well as multiple partial translations by such prominent translators as Arthur Waley, Burton Watson, Peter Hobson and T. H. Barrett, J. P. Seaton, and doubtless others. A close reading will show how these translations each contribute something different to our understanding of this poetic corpus, and this in itself is helpful for teaching and understanding Tang poetry.

Worth noting, though, is that Rouzer’s book also includes poems attributed to Hanshan’s companions, Shide 拾得 and Fenggan 豐干. At any rate,

It’s always good to have more translations of Tang poetry in other languages, and especially translations by someone as knowledgeable as Paul Rouzer … He’s a sensitive reader and a smooth writer, and I’m sure his translations are wonderful (I’ve yet to go through them with a close eye).

Tom also notes the forthcoming titles in the Library of Chinese Humanities, Robert Ashmore’s Li He 李賀 and Stephen Owen and Wendy Swartz’s translation of Ruan Ji  阮籍 and Xi Kang 嵇康.

Click the image above for the full write-up.

Klein on New Premodern Chinese Poetry Translations in LARB

2016-07-15_1030The Los Angeles Review of Books @lareviewofbooks has published “Tribunals of Erudition and Taste: or, Why Translations of Premodern Chinese Poetry Are Having a Moment Right Now,” my take on what looks like something of a resurgence in translation into English.

I use a nineteenth-century debate between Matthew Arnold and Francis Newman to frame a review of Chloe Garcia Roberts’s translation of Li Shangyin 李商隱, David Hinton’s translation of Wang An-shih 王安石, an anthology / travelogue by Red Pine (Bill Porter), and Stephen Owen’s translation of the complete Du Fu 杜甫, alongside Ira Nadel on Ezra Pound and the New Directions re-release of Ezra Pound’s Cathay (and mention of Gary Snyder, Bob Perelman, Paul Kroll, Eliot Weinberger, and more). Here’s how it ends:

The stakes of poetry translation from Chinese are indeed the stakes both of how we understand translation and how we in the English-speaking world understand China. Translation is neither simply a matter for scholars to judge, nor is it something that can be left to the unaccountable imaginings of revelers in poetry — any more than China should be something only specialists or tourists alone can pronounce upon. Rather, bringing expertise and excitement together, translation can help expand our conceptions of poetry and of China, demanding more from ourselves, and more from it. The contentiousness may remain, but it can motivate us to create new and better representations.

So will American poetry turn outward again, and in the process help redefine China as more than a strategic competitor, accused of currency manipulation by presidential candidates, or more than a polluted manufacturer to which we outsource abuses of human rights and labor? Will Chinese literature prove an old repository of poetic presentation from which the United States can both learn and create new beauty? Certainly larger historical and socioeconomic forces will determine the directions our poetry turns, but insofar as what we publish has any role, I see reasons for optimism — and in that optimism, a readiness to engage in the tensions of global and local that inhere in translation.

The recent poetry collections covered in this essay demonstrate a hunger for new ways of understanding and appreciating China, and more are coming soon … With these additions reaching new audiences, we may see premodern Chinese poetry making it new once again.

Click the image for the full article.

Salutations; a Festschrift for Burton Watson

Edited by Jesse Glass and Philip Williams, this collection of essays, articles, and poems about Chinese and Japanese literature and culture celebrates the illustrious scholarly career of Burton Watson, whose range of excellent literary translations into English from Japanese and classical Chinese is second to none. Over half of the book’s seventeen chapters are articles about Chinese or Japanese literature and culture with full scholarly apparatus; the remainder are tributes to Watson in the form of poetry or informal essays.

Topics include analysis of Watson’s skills as a translator and practical critic; a cultural history of Chinese literati; masterpieces of the Ming essayist Zhang Dai; revisiting David Hawkes’ interpretations of Du Fu’s poetry; China’s earliest science fiction from the late Qing; reflections on cultural change by the early Yuan Confucianist Hao Jing; the multi-dimensional symbolism in Hagiwara Sakutarô’s poetry; the fictional portrayal of a self-sacrificing female Chinese Buddhist saint; key patterns of arboreal imagery in the 300 Tang Poems anthology; and Japanese linked verse across the centuries.

Featuring contributions by Victor Mair, Robert Hegel, Hiroaki Sato, William Nienhauser, Jonathan Chaves, Lucas Klein, Hoyt Tillman, Yenna Wu, Yoko Danno, Hua Li, Duncan Campbell, Stephen Addiss, Robert Epp, Timothy Clifford, Philip Rowland, Sam Hamill, and Gary Snyder.

Click on the image for ordering information.

Han-shan and the Cult of Translation

The Poetry Matters blog has run an article titled “Han-shan and the Cult of Translation,” reading the various translations by Red Pine (Bill Porter), J P Seaton, Gary Snyder, Arthur Waley, and Burton Watson of a poem by medieval recluse poet(s) Cold Mountain / Han-shan 寒山. The poem in question is, in Chinese,

人問寒山道  寒山路不通
夏天冰未釋  日出霧朦朧
似我何由屆  與君心不同
君心若似我  還得到其中

and the article concludes,

This poem, as succinctly as few others, provides the link between these two distinct threads of Han-shan’s journey. It can also be said that, so attractive as a man apart from the world of men, this poem gives voice to Han-shan’s own personal contemplations on the matter, naming, as it were, what he himself felt about his social standing. This insight provides a toehold for those attempting to summit Cold Mountain and commune with its lone inhabitant.

Click the image above for the full piece.

Lucien Stryk Prize Acceptance Speech

Someone was impressed enough by my acceptance speech for the Lucien Stryk prize to suggest I share it here. So I am!

It’s a wonderful honor, both for me and for Xi Chuan, to be awarded the Lucien Stryk Prize for Asian poetry in translation. Any prize awarded by ALTA would be an honor, because ALTA is one of my favorite organizations to belong to—I’ve often said that literary translators are by definition interesting people, because by definition we’re interested in more than one thing. ALTA as a group and many of its members as individuals were very helpful in offering their time, patience, insight, and scolds as I worked on translating Xi Chuan, and much of my success as a translator is owed to the wisdom I gained from them.

The Lucien Stryk prize, in particular, is also a special one for me and for Xi Chuan, because of its dedication to honoring Asian poetry in translation, and the tradition of Asian poetry in translation—in addition to Asian poetry in general—was very much in my mind when translating the pieces in Notes on the Mosquito, as it was in Xi Chuan’s over the three decades in which he wrote the poems. As an undergrad English major, Xi Chuan wrote his senior thesis on Ezra Pound’s translations from Chinese, he recently published a translation of Gary Snyder’s poetry, and in many ways Xi Chuan was reintroduced to the literary history of his own culture from the attention and presentation he encountered in Pound, Snyder, and others, including Jorge Luis Borges.

I’m also especially honored to be part of the group of previous Lucien Stryk honorees—a group that already features some of my favorite translators! I find inclusion in such a group both humbling and inspiring, as the best Asian poetry in translation has always been.

I would like to extend my deepest gratitude to New Directions, to my editor Jeffrey Yang, and most of all to Xi Chuan, whose cooperation and friendship were essential to the success of this book. Until three years ago there were no single-author collections of poetry by Chinese-language poets currently living in mainland China published in the US, but now we are living in what appears to be a golden age of contemporary Chinese poetry in English translation, to match what may be a golden age of poetry in China itself. Thanks to New Directions for contributing to that golden age, and thanks to Xi Chuan for helping make that golden age in the first place!

Thank you very, very much!

Call for Submissions–The Ancient Asia Issue of CHA

Cha: An Asian Literary Journal is now accepting submissions for “The Ancient Asia Issue,” an edition of the journal devoted exclusively to work from and about Asia before the mid-nineteenth century.
From the beginning of the twentieth century, ancient Asia has contributed to the rebirth and re-imaginations of modern literatures, not only in English (from Ezra Pound to Gary Snyder) but in other western languages as well (Victor Segalen, Octavio Paz, Bertolt Brecht…). “The Ancient Asia Issue” of Cha seeks to revivify this tradition, featuring translations and original works of poetry, fiction, creative non-fiction, and visual art from and about Ancient Asia, to be published in September 2013. If you have something interesting, opinionated, or fresh to say about the Asian past, we would like to hear from you. Please note that we can only accept submissions in English.
We are pleased to announce that Cha former contributor, translator and scholar Lucas Klein will be joining Cha as guest editor for the issue and read the submissions with co-editors Tammy Ho and Jeff Zroback.
The Reviews section will be devoted exclusively to books related to the theme of the issue. If you have a recent book that you think would be right for review in “The Ancient Asia Issue”, we encourage you to contact our Reviews Editor Eddie Tay at eddie@asiancha.com. Books should be sent to Eddie before the end of May 2013.
If you would like to have work considered for “The Ancient Asia Issue”, please submit by email to submissions@asiancha.com by 20th June, 2013. Please include “The Ancient Asia Issue” in the subject line of the email. Submissions to the issue should conform to our guidelines.

Xi Chuan at Middlebury College

Poetry Reading by Xi Chuan

Monday, March 11, 7:00-8:00 PM

Axinn Center 229, Middlebury College

“Xi Chuan’s surprising poems reach into tight corners of mind and matter, impersonal but intimate, new to be heard but also oddly familiar. An impressive voice—bold and calm”— Gary Snyder.

Xi Chuan, one of the most influential of contemporary Chinese poets, will read in Chinese; Lucas Klein (Middlebury class of 2000) of the City University of Hong Kong will read his English translations from Notes on the Mosquito: Selected Poems (New Directions, 2012). The reading will be followed by discussion and question and answer in English with the poet and his translator. Open to the public.

Sponsored by the Department of Chinese, Rohatyn Center for Global Affairs, Program in East Asian Studies, and the John D. Berninghuasen Professorship in Chinese.

Chris Lupke on Xi Chuan

Today’s Book Review Seminar with Xi Chuan features Chris Lupke’s review of my translations, Notes on the Mosquito. Because it’s still forthcoming in print, I can’t reproduce the entire review, but here’s an excerpt of Lupke’s intricate and sensitive take on Xi Chuan’s poetry and its importance in China and the world:

The density of his poetry aside, the other trial facing me and any reader at this time is that we have no serviceable nomenclature for what Xi Chuan is doing, particularly his work of the past ten years or so. He is engaged in an unprecedented project to recast literary expression in contemporary China. And we do not know, cannot now know, whether the results of his project eventually will be the idiosyncratic work of one man, or whether he is setting a path, one possible path, for other poets to follow. Xi Chuan exists at a special time in Chinese literary history when form has finally matured in modern Chinese poetry, when the anxiety of influence can be tempered by several generations of earlier modern poets who bore the major brunt of being compared with the illustrious tradition of classical Chinese poetry and when experiments with Western poetic structures have by and large been cast aside. The successes of free verse poets from Taiwan such as Yang Mu, Yu Guangzhong, Wai-lim Yip (Cantonese, but educated in Taiwan), and others have established a solid corpus in the vernacular mode. Obscure poets from China have safely neutralized the once suffocating omnipresence of Maospeak. Through the use of internal rhymes, rhythmic repetition, alliteration and assonance, Xi Chuan is able to forge his work in an environment in which the so-called avant-garde (which to date has not been adequately defined in China) is the norm. Liberated from the twin strictures of classical Chinese and Western prosody, Xi Chuan has become a successful bricoleur, a world poet who interacts with the tradition, engages literary giants of China’s past within his work, and also establishes a dialogue with Western greats such as Homer, Petrarch, Baudelaire, Rilke, Pound, Gary Snyder, and others. His work is the product of a creative dialectics that violates Hu Shi’s admonition to eschew literary allusion while embracing his demand to articulate things in the vernacular. The conflicts that Xi Chuan bespeaks in his poetry are not those of a clash of civilizations, of traditional and modernity or East and West. Rather, they are internal conflicts, conflicts of the soul. His work is completely personal and untranslatable to others, not just linguistically but emotionally. But at the same time, his problems are genuine and are no different than those that give pain to each of us: the death of friends and family, frustration over failure, difficulty communicating to others, weakness and ineffectuality, humiliation, fear, lust, and limitation. “The one with the greatest vision is blind” 最具视觉功夫的人竟然是个瞎子, he flatly observers, “if Homer wasn’t blind, then whoever created Homer must have been” 如果荷马不是瞎子,那创作了荷马的人必是瞎子. And he concludes at the end of the same poem: “Nietzsche the last son of Dionysus, never touching a drop, still went crazy in Weimar” 尼采酒神的最后一个儿子,滴酒不沾,却也在魏玛疯疯癫癫 (109). Genius has its consequences. It’s not a game.

Hope you can attend!

Date: 1 November, 2012 (Thursday)
Time: 5:00 – 6:30 p.m.
Venue: G4302, Green Zone, 4/F, Academic 1, City University of Hong Kong.