Xi Xi Newman Prize Schedule

Hong Kong writer and poet Xi Xi 西西 will be at the University of Oklahoma (Norman, OK) to receive the 6th Newman Prize for Chinese Literature, on March 7-8, 2019.

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She will be taking part in public events with Ho Fuk Yan 何福仁, Tammy Ho, Jennifer Feeley, Man-fung Yip, Ping Zhu, and Jonathan Stalling. Click here for the full schedule.

Alexander Dickow on Li Shangyin and Mang Ke

The new issue of Plume is here, and with it Alexander Dickow’s “Mystery and Surprise: Two Chinese Poets,” reviewing two quite different books of Chinese poetry in translation: Li Shangyin 李商隱, translated by Chloe Garcia Roberts, Lucas Klein, and A.C. Graham (NYRB), and October Dedications, the selected poetry of Mang Ke 芒克, translated by Lucas Klein with Yibing Huang and Jonathan Stalling (Zephyr / Chinese UP).

The review begins:

The contemporary Chinese poet Mang Ke and the Tang dynasty poet Li Shangyin (9th century) could hardly be more different. The former, particularly in the later poems of the chronologically arranged collection, seems fresh and spontaneous, capricious; the latter hermetic and mysterious. The contrast lends itself to an examination of what makes both poets’ work alluring. Li Shangyin seems to offer the mystique of an authentically coded poetic language. While both Mang Ke and Li Shangyin are highly allusive, Mang Ke feels bright and sensuous, Li Shangyin dark and richly layered.

It’s rare enough for translated poetry to be reviewed at all, but when it is reviewed it tends to be reviewed by other experts in the field. I think it’s wonderful that these books are reviewed by a translator of French poetry with no expertise in China or Chinese literature. If our readers are only those who can check our work, what’s the point of translating in the first place? The whole purpose of translation is bringing work from one language to new audiences, so it’s wonderful that Plume went with a reviewer who doesn’t need to know Chinese, but clearly understands poetry and translation.

Click here to read the review in full.

Todorova reviews Mang Ke’s October Dedications

Writing for Hong Kong Review of Books, Marija Todorova reviews Mang Ke’s October Dedications (Zephyr Press, 2018), translated by Lucas Klein, Huang Yibing, and Jonathan Stalling. October Dedications “is arguably one of the most important titles published so far in the Zephyr Press Jintian series of Chinese poetry,” she writes!

Todorova, a translation studies scholar, looks at the book primarily for what it does to highlight translation. She notes the Foreword as a “visible sign of the translators’ contribution to the translated work”:

Klein writes extensively about the poet Mang Ke, his style and importance, helping the reader situate his poetry historically and culturally. His impressionistic poems were among some of the first in China to break free of the imposed didacticism of the Cultural Revolution … Klein dedicates two full pages of the Foreword to explaining his translation decisions and methods. Setting a goal to “respect and recreate [Mang Ke’s] economy”, and preserve his simple vocabulary and repetitive imagery, Klein skilfully manages to achieve this:

pallbearers drift by like a cloud
the river slowly carries the sun
dying the water’s long surface golden yellow
such stillness
such vastness
such sadness
a meadow of wilted flowers (“Frozen Land”, 11)

The translation is a masterful recreation of Chinese punctuation and line length in English translation, omitting the use of any punctuation and capital letters, except in the titles. This “foreignisation” strategy adds to the experience of Mang Ke’s poetry by an English language reader without “compromising” the understanding of the poetic imagery by a reader otherwise unfamiliar with the Chinese language and poetry.

Todorova ends the review saying that October Dedications “is important not only for being the first to make available the experimental poetry of Mang Ke to wider international audiences by rendering it in English, but also because it raises highly important issues in the art of poetry translation.”

Click the image above for the review in full.

Newman Prize Nominees Announced

The nominee list for the 2019 Newman Prize for Chinese Literature has been announced!
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Convened by Jonathan Stalling at the University of Oklahoma, this year’s judges are Nick Admussen, Eleanor Goodman, Tammy Ho Lai-ming, Lucas Klein, Christopher Lupke, Maghiel van Crevel, and Wang Guangming 王光明.
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This year’s finalists are Yu Xiuhua 余秀华, Wang Xiaoni 王小妮, Xi Xi 西西, Xi Chuan 西川, Xiao Kaiyu 萧开愚, Zheng Xiaoqiong 郑小琼, and Bei Dao 北岛.
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The winner will be announced in the spring of 2019.

October Dedications by Mang Ke

Announcing October Dedications, the selected poems of Mang Ke 芒克, edited and translated by Lucas Klein, with further translations by Huang Yibing and Jonathan Stalling—part of the Jintian series jointly published by Zephyr and The Chinese University Press.

Mang Ke (b. 1950, penname of Jiang Shiwei 姜世伟) began writing poetry as a sent-down youth in Baiyangdian, rural Hebei province, during the Cultural Revolution. As co-founder of the PRC’s first unofficial literary journal Jintian (Today) in 1978, he is one of the progenitors of what would later be called Obscure or “Misty” Poetry, with spare, impressionistic poems that were among the first to break free of the imposed discourse of Maoism towards an image-based literary style that left space for both expression and interpretation. He currently makes his living as an abstract painter and lives in Songzhuang, an artists’ colony on the outskirts of Beijing.

“Mang Ke’s poems are radical in their immediacy, exploring the vexed space between public world and private experience, honing in on the gap between with sometimes uncanny directness … I don’t think I have ever read anything quite like it.”
—Rae Armantrout

“Mang Ke is a genius amongst contemporary Chinese poets. In a dark age, his early lyric poems were unparalleled–translucent, profound, and enchanting.”
—Bei Dao

For further information, including how to order, see the pages at Chinese University Press or Zephyr.

US-China Poetry Dialog at University of Oklahoma

Xi Chuan and other Chinese and American poets are at the University of Oklahoma for the US-China Poetry Dialog, organized by Jonathan Stalling.

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The first public events will be on the 24th at 10:30 a.m. in OU’s Bizzell Memorial Library and 7 p.m. at Fred Jones Museum of Art. There will also be a reading on the 25th in Eureka Springs, AR, at 7 p.m. at the Writers Colony at Dairy Hollow, and on the 26th in Bentonville, AR at Crystal Bridges Museum of American Art at 6 p.m.

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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

Bem on Stalling’s Lost Wax

lost wax 0Queen Mob’s Teahouse now features Greg Bem’s review of Lost Wax, poems by Jonathan Stalling with Chinese and English re-translations by Zhou Yu, Yao Benbiao, Nick Admussen, Jennifer Feeley, Jami Proctor-Xu, Eleanor Goodman, Andrea Lingenfelter, and me. Here’s how it ends:

Moving from poem to poem, curiosity strikes me: is the primary goal of this book to bring us toward an understanding of the nuances of multilingual and multi-personal translation? Is this just an editor’s paradise to see how the process of a significant body of learned, engaged writers see the shape of a work? If there some collective meaning across the pages? By the end of the book, I hoped for commentary. I hope for more “meta.” An afterward from or an interview between the technicians. But in its absence, I was left with my own thoughts and theories (and a drive to learn some Chinese) in hopes of getting towards an understanding of what the core meaning of “lost wax” really is.

Click the image for the full review.

Admussen on Mang Ke & Ashbery

At the Boston Review, Nick Admussen writes about the language of John Ashbery and Mang Ke 芒克–especially in “Sunflower in the Sun” 阳光中的向日葵 as translated by Jonathan Stalling and Huang Yibing (and forthcoming in my October Dedications from Zephyr and Chinese University Press)–in light of recent political protests.

Admussen writes:

One cannot always feel the mark of past violence in poems written later, during a time of relative peace, but such feeling is evident in the work of the poet Mang Ke, who lived and wrote through that intense moment of transition when the organized and disorganized political violence of Maoist China gave way to the uncertain openness of the early Deng era … It is possible to read this complex tableau through familiar psychological categories: PTSD, the epidemiology of violence, the mirror neuron. But I prefer to understand the poem as an aesthetic rather than deterministic reaction: we make decisions about how to construct our lives around the violence in our history. The stories we tell and the relationships we draw are like works of art, escapist, realist, obscure, lyrical, or haunted, all tethered to but not defined by the experience of the creation of pain in others.

And on Ashbery, he sees “some small proportion of Ashbery’s late poems as having a thereness-but-not-presence, an abstract understanding of a distant and unsensual truth.”

Click the image above for the full essay.

Lost Wax: Translation Through the Void

TinFish Press announces the publication of Lost Wax: Translation Through the Void, by Jonathan Stalling.

The book presents Stalling’s sequence of poems about his wife Amy’s work as a sculptor. These poems are translated into Chinese and back into English by members of a “workshop” of eight fellow translators–Zhou Yu, Yao Benbiao, Nick Admussen, Jami Proctor-Xu, Jennifer Feeley, Eleanor Goodman, Lucas Klein, and Andrea Lingenfelter–then re-amalgamated by Stalling into a new final. Each poem is then presented in a) the original; b) the Chinese; c) the new English version. An additional workshop page illustrates choices made by translators on both sides of the English/Chinese divide.

The clay is the past
The wax inherits
As its own
The conditions, but not the only source
Of her arising

陶泥成为过去
石蜡也有了自己的
传承,
条件,不仅仅是她
出现 的唯一来源。

Clay becomes the past
Paraffin has its own
Inheritance
This condition is not her only
Source of coming into being

Click on the image for more, including ordering information.