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

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.

John Bradley on Burton Watson (1925 – 2017)

In honor of Burton Watson’s passing, I am collecting statements and memories from friends and fans, to be posted as they come in. The following remembrance is by John Bradley, from his review of Salutations; a Festschrift for Burton Watson (Ahadada / Ekleksographia, 2015), originally published in Rain Taxi #81 (21.1, Spring 2016):

Empty hills, no one in sight,
only the sound of someone talking;
late sunlight enters the deep wood,
shining over the green moss again.

This famous poem by Chinese poet Wang Wei displays the craft not only of the author but also—we all too often forget—of the translator. Burton Watson translated this poem with such craft that some may say “That’s it?” as indeed a student of Lucas Klein’s did, as he relates in his essay “Translation and Translucence in the Work of Burton Watson,” one of the offerings in this festschrift.

Watson certainly deserves acclaim for the quality and the breadth of his Asian translators. His works are much too long to list here, but a few titles will give an idea of his productivity: Cold Mountain: 100 Poems by the T’ang Poet Han-shan, The Selected Poems of Du Fu, and the Complete Works of Chuang Tzu. These are just a fraction of his translations from classical Chinese works. Some of his translation from classical and modern Japanese literature include: From the Country of Eight Islands: An Anthology of Japanese Poetry (collaborating with Hiroaki Sato), Ryokan: Zen Monk-Poet of Japan, and Saigyo: Poems of a Mountain Home.

Salutations offers seventeen contributions, each by a different writer, with some of the texts consisting of scholarly papers on Asian literature, and others offering personal reminiscences of Burton Watson or poems dedicated to him. The scholarly papers cover such topics as “a cultural history of Wenren,” which, as Victor H. Mair and Timothy Clifford explain, refers to a “literary man” (22). While these papers would have interest to Asian scholars, for the non-specialist the personal memories of encounters with Burton Watson are more engaging.

… Perhaps the best remedy will be to turn to one of Burton Watson’s many Asian translations and savor his skill.

Contact me if you would like to add your own remembrance.

Eleanor Goodman on Contemporary Chinese Poetry from Zephyr

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As part of Paper Republic‘s series of blogs for Global Literature in Libraries throughout February, Eleanor Goodman writes on Zephyr Press, which she says “has done more to raise the profile of contemporary Chinese poetry in English translation than any other press today”:

Their books are carefully curated, well edited, and beautifully produced. Above all, their translators (here I must profess that I am one of them) tend to be at the top of the field, which is of course essential to the making of a good book in English.

Alongside mentions of their publications of Han Dong 韩冬, Bai Hua 柏桦, Lan Lan 蓝蓝, and Yu Xiang 宇向, Goodman specifically writes about her translation of Wang Xiaoni 王小妮, about Andrea Lingenfelter’s translation of Zhai Yongming 翟永明, Austin Woerner’s translations of Ouyang Jianghe 欧阳江河, Jennifer Feeley’s translation of Hong Kong poet Xi Xi 西西, Steve Bradbury’s translation of Taiwanese poet Hsia Yü 夏宇, and my own forthcoming translations of Mang Ke 芒克.

With with “deep resources of scholarship and natural talent to draw upon,” she writes, it is

this mix of qualities—the best of the contemporary Chinese poetry world combined with translators who are also careful readers and appreciators of poetry—that makes the Zephyr collection so unique and valuable. These books are a labor of love from start to finish, and it shows in the final products. There is simply no better introduction to the contemporary Chinese poetry scene available today.

Click the image above for the full article.

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.

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.

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.

Mang Ke in Cha

ImageThe new issue of Cha is here, featuring my translation of three poems by Mang Ke 芒克 from the forthcoming October Dedications (Chinese University & Zephyr)–“Street” 街, “Even After Death We Grow Old” 死后也还会衰老, and “Late Years” 晚年:

we will hope, wishing we could live forever
wishing we were not some animal to be hunted

cooked over open flame, eaten
we will hurt, and oh we won’t be able to bear it

the white hair of the dead grows from the ground
which makes me believe: even after death we grow old

 

也还会希望,愿自己永远地活着
愿自己别是一只被他人猎取的动物

被放进火里烤着,被吞食
也还会痛苦,也还会不堪忍受啊

地里已经长出死者的白发
这使我相信:人死后也还会衰老

The issue also includes poetry by Andrea Lingenfelter, DeWitt Clinton adaptating Kenneth Rexroth’s 100 Poems from the Chinese, Karen An-hwei Lee, and more. Click the image above for the link.