The Dialogue between Chinese and Indian Writers is organized by Hong Kong Poetry Festival Foundation and two prominent literary magazines—Today from China and Almost Island from India. The Dialogue will be held in Hong Kong on 13-14 October 2018 at the University Museum and Art Gallery, The University of Hong Kong.
Today and Almost Island have been convening contemporary Chinese and Indian writers, critics, musicians and artists for international cultural exchange since 2009. Their ongoing discussions cover a wide range of topics—literature, music and art, as well as culture, politics and history, in company with poetry recitals, fiction readings and music performances.
After the events in Hong Kong, they will further their conversations in Hangzhou, Mainland China.
Date: 13-14 October 2018
Venue: University Museum and Art Gallery, The University of Hong Kong
Address: 90 Bonham Road, Pokfulam, Hong Kong
Hong Kong Poetry Festival Foundation
University Museum and Art Gallery, The University of Hong Kong
Shuyu Coffee 舒羽咖啡
Luminous Memories: Bei Dao in Conversation with Eliot Weinberger, at Columbia, introduced by Lydia Liu 刘禾
As part of the “Birds of Metal in Flight” event, Columbia University hosted a panel discussion with Bei Dao 北岛, Ouyang Jianghe 欧阳江河, Xi Chuan 西川, Zhai Yongming 翟永明, Zhou Zan 周瓒, and Xu Bing 徐冰, as moderated by Lydia Liu 刘禾 and John Rajchman and introduced by Eugenia Lean, titled “Sound and Image: Chinese Poets in Conversation with Artist Xu Bing.” Click the image above for more information & photos, or here to stream the discussion via iTunes.
Readings by Marilyn Nelson, Bei Dao 北岛, Afaa Weaver, Zhai Yongming 翟永明, Pierre Joris, Xi Chuan 西川, Mei-Mei Berssenbrugge, Zhou Zan 周瓒, Charles Bernstein, and Ouyang Jianghe 欧阳江河, followed by remarks from Xu Bing 徐冰, introduced by Lydia Liu 刘禾.
For Xi Chuan reading my translation of “Bloom” 开花, jump to 49:21.
In Western media and scholarship, Chinese crowds are often schizophrenically portrayed as either terrifying or emancipatory – from the manic frenzy of the Red Guards to the student fighters for democracy at Tian’anmen, from angry mobs destroying Japanese goods to heroic Hong Kong citizens defying Mainland “brainwashing,” the massive, nameless Chinese crowd looms large in the global imagination as a specter embodying the ambivalence at the heart of modern political democracy. While the “people” constitutes the source from which political sovereignty derives, it also harbors fears of irrational mob rule, the steamrolling of the individual, and the claustrophobia of the collective. Tie Xiao’s dissertation admirably charts the development of notions of the crowd in early twentieth-century intellectual discourse and aesthetic production. As he convincingly demonstrates, Chinese thinkers, while acknowledging the need for a political and social order that would be democratic in the broad sense, were also troubled by the antimony between terror and liberation that also lurked in the collective’s bosom. Moreover, the early twentieth-century Chinese engagement with the “crowd” took part in the processes of what Lydia Liu has termed “translated modernity” – the Chinese interest in crowds paralleled European interest in crowd psychology, as well as global aesthetic trends in representing the “masses” in both literature and visual art.
Almost Island editor Sharmistha Mohanty sent me the following pictures from the India-China Writers Dialogues. In the first is, from the top left, Xi Chuan, Li Tuo 李陀, Lydia Liu 刘禾, Zhong Yurou 钟雨柔, Kabir Mohanty, Ge Fei 格非, with Sharmistha Mohanty, Bei Dao 北岛, Ashwini Bhat, and Ouyang Jianghe 欧阳江河 in the bottom row.
The pictures were taken by Samimitra Das.
The “Writing Across Languages” panel yesterday was, I thought, a grand success. As I mentioned in introducing the panel yesterday, the title itself was an act of what it describes, since the Chinese title of “Writing Across Languages” is 跨語際寫作 (“Translingual Writing”), which is the Chinese title of the monograph by Lydia Liu 劉禾 on how early 20th century Chinese literature crafted a new language out of the translations of other concepts and literatures; the title of her book in English–the language it was first written in–is Translingual Practice, a fine example of which is the transformation of the term “Translingual Practice” to 跨語際寫作 to “Writing Across Languages.” Our panel was also interesting in part because our panelists did not share a common language, and so we embodied not only writing across languages, but speaking across languages as well. Many thanks to our tireless simultaneous interpreters, Pan Jun 潘珺 and Wu Hui 吳惠!
All four participants–Bejan Matur (Turkey), Tomaž Šalamun (Slovenia), Tian Yuan 田原(China / Japan), and Yao Feng 姚風 (China / Macau)–had fascinating stories to tell and analyses to provide about their relationships with several languages, and how these languages and relationships helped create their poetry. Amidst Matur’s and Šalamun’s speeches about politically-motivated silencing–of Kurdish in Matur’s Turkey, and of Serbian in the Trieste of Šalamun’smother’s youth–I couldn’t help but think of Paul Celan, and how his writing in German worked to dismantle the language, and thereby cleanse it of its recent historical associations (some have said something similar about Bei Dao‘s search for a clean Chinese).
I think the role of the moderator is to speak little, a difficult task for me since my inclination is also to be a decidedly immoderate moderator. Nevertheless, I will add here a point I raised in response to Xu Xi‘s mention of the imperialism of English: it’s irresponsible–if not impossible–to talk about the spread of English without talking about the spread of American imperialism and all the changes, for the better and for the worse, that that has brought to the world; but the logic of empire is not to admit translations: much was translated out of Sanskrit, but Sanskrit evidently didn’t have a word for translation; Greek was translated into the “barbarian” languages, but what was kept in those languages was not transmitted into Greek; and Latin was translated into the other languages of Europe and North Africa, not the other way around. This model is mirrored in the obvious imbalance of translations into and out of English–much of translation around the world is from English into other languages, whereas translations only account for a notorious 3% of the American book market. To that end, the more we translate into English, the more we we allow English to be one language amongst others, instead of a hegemonic language imposing its logic and worldview on the rest of the world; in short, the more we translate into English, the more we are working against the imperialism of English and American economic and cultural domination.
Two more readings today for the International Poetry Nights, both at the Lee Shau Kee School of Creativity (Multi-Media Theatre, 135 Junction Road, Kowloon): at 3:30 with Vivek Narayanan (India), Silke Scheuermann (Germany), Wong Leung Wo 王良和 (Hong Kong), and Yao Feng (Macau), and then at 7:00 with María Baranda (Mexico), Chen Ko Hua 陳克華 (Taiwan), Tomaž Šalamun (Slovenia), Yu Jian 于堅 (China).