Announcing publication of Chinese Poetry and Translation: Rights and Wrongs

We are pleased to announce publication of Chinese Poetry and Translation: Rights and Wrongs (Amsterdam University Press, 2019).

Open access download here. Order print copies here.

CHINESE POETRY AND TRANSLATION: RIGHTS AND WRONGS
    edited by Maghiel van Crevel and Lucas Klein

Introduction: The Weird Third Thing
    Maghiel van Crevel and Lucas Klein

Part One: The Translator’s Take

(1) Sitting with Discomfort: A Queer-Feminist Approach to Translating Yu Xiuhua
     Jenn Marie Nunes

(2) Working with Words: Poetry, Translation, and Labor
     Eleanor Goodman

(3) Translating Great Distances: The Case of the Shijing
     Joseph R. Allen

(4) Purpose and Form: On the Translation of Classical Chinese Poetry
     Wilt L. Idema

Part Two: Theoretics

(5) Embodiment in the Translation of Chinese Poetry
     Nick Admussen

(6) Translating Theory: Bei Dao, Pasternak, and Russian Formalism
    Jacob Edmond

(7) Narrativity in Lyric Translation: English Translations of Chinese Ci Poetry
    Zhou Min

(8) Sublimating Sorrow: How to Embrace Contradiction in Translating the “Li Sao”
    Nicholas Morrow Williams

(9) Mediation Is Our Authenticity: Dagong Poetry and the Shijing in Translation
    Lucas Klein

Part Three: Impact

(10) Ecofeminism avant la lettre: Chen Jingrong and Baudelaire
    Liansu Meng

(11) Ronald Mar and the Trope of Life: The Translation of Western Modernist Poetry in Hong Kong
    Chris Song

(12) Ya Xian’s Lyrical Montage: Modernist Poetry in Taiwan through the Lens of Translation
    Tara Coleman

(13) Celan’s “Deathfugue” in Chinese: A Polemic about Translation and Everything Else
    Joanna Krenz

(14) Trauma in Translation: Liao Yiwu’s “Massacre” in English and German
    Rui Kunze

(15) A Noble Art, and a Tricky Business: Translation Anthologies of Chinese Poetry
    Maghiel van Crevel

Chinese Literature Today free for Women in Translation Month

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Chinese Literature Today, free for Women in Translation month

The current issue of Chinese Literature Today is free throughout August for Women in Translation month.

The main feature of the issue is of Newman Prize Laureate, the Hong Kong writer Xi Xi 西西, with introductions, appreciations, interviews, and new translations by Jennifer Feeley, Tammy Ho, Ho Fuk Yan 何福仁, Steve Bradbury, Wei Yang Menkus, and others.

The issue also features an appreciation of scholar Maghiel van Crevel, of Leiden University, with an interview with Jonathan Stalling and an appreciation by Nick Admussen, as well as an article by van Crevel about migrant worker poetry in China.

There is also a suite of contemporary Chinese poetry, by Wang Jiaxin 王家新 (translated by Diana Shi & George O’Connell), Che Qianzi 车前子 (translated by Yang Liping & Jeffrey Twitchell-Waas), Li Dewu 李德武 (translated by Jenny Chen & Jeffrey Twitchell-Waas), Hu Jiujiu 胡赳赳 (translated by Matt Turner & Haiying Weng), Mi Jialu 米家路 (with translations by Lucas Klein, Michael Day, and Matt Turner & Haiying Weng), Huang Chunming 黃春明 (translated by Tze-lan Sang), and Chen Li 陳黎(translated by Elaine Wong).

Click here to read for free!

Xi Xi Wins 2019 Newman Prize for Chinese Literature

Image may contain: 3 people, including Tammy Ho Lai-Ming, people smiling, people sitting and indoorNewman Prize winner Xi Xi with her nominator Tammy Ho and translator Jennifer Feeley (photo by Ho Fuk Yan 何福仁)

NORMAN, OK—An international jury has selected the Hong Kong poet Xi Xi 西西 (born 1937) as the winner of the sixth Newman Prize for Chinese Literature. She is the third female Newman laureate, and the first from Hong Kong.

Sponsored by the University of Oklahoma’s Institute for U.S.-China Issues, the Newman Prize is awarded biennially in recognition of outstanding achievement in prose or poetry that best captures the human condition, and is conferred solely on the basis of literary merit. Any living author writing in Chinese is eligible. A jury of seven distinguished literary experts nominated seven poets this spring, and selected the winner in a transparent voting process on October 9, 2018.

Winner Xi Xi 西西 (the pen name of Zhang Yan 張彥) will receive USD $10,000, a commemorative plaque, and a bronze medallion at an academic symposium and award banquet at the University of Oklahoma, Norman, on March 7–8, 2019. In addition to this year’s nominating juror, Tammy Lai-Ming Ho (Hong Kong Baptist University), other nominees and jurors include Yu Xiuhua 余秀华, nominated by Nick Admussen (Cornell University); Wang Xiaoni 王小妮, nominated by Eleanor Goodman (Fairbank Center, Harvard University); Xi Chuan 西川, nominated by Lucas Klein (University of Hong Kong); Xiao Kaiyu 萧开愚, nominated by Christopher Lupke (University of Alberta); Zheng Xiaoqiong 郑小琼, nominated by Maghiel van Crevel (Leiden University); and Bei Dao 北岛, nominated by Wang Guangming (Capital Normal University).

“This year’s nominees represent an extraordinarily wide variety of Sinophone poetry,” said this year’s Newman Prize Coordinator, Jonathan Stalling. “The jurors spent over an hour in vigorous deliberation before they finally emerged with one poet out of the many. It is genuinely exciting to see Xi Xi’s poetry and her lifelong contributions to world letters recognized by this year’s prize.”

According to Dr. Tammy Lai-Ming Ho,

Hong Kong literature has for too long been relegated to a secondary position, or even worse—it is as though the city is incapable of producing significant literary works and writers of note. Hong Kong poetry is to many perhaps an even more abstract and chimerical concept. Xi Xi’s poetry, at times whimsical and at times serious, speaks to the character of the city and its people. Her poems also demonstrate how stories of a city can be told through narratives that are at first glance insignificant, allegories and fairy tales instead of grand statements. Feminine, tender, witty, observant, and capable of tugging at the heartstrings, Xi Xi’s poetry reminds us Hong Kong poetry should not be ignored in any discussion.

Previous winners of the Newman Prize have included mainland Chinese novelists Mo Yan 莫言, Han Shaogong 韩少功, and Wang Anyi 王安忆, who won the 2009, 2011, and 2017 Newman Prizes, respectively. Mo Yan went on to win the Nobel Prize in Literature in 2012. Taiwanese poets Yang Mu 楊牧 and novelist and screenwriter Chu Tien-wen 朱天文 won the Newman Prize for Chinese Literature in 2013 and 2015.

The Newman Prize honors Harold J. and Ruth Newman, whose generous endowment of a chair at the University of Oklahoma enabled the creation of the OU Institute for US-China Issues over a decade ago, in 2006. The University of Oklahoma is also home to the Chinese Literature Translation Archive, Chinese Literature Today, World Literature Today, and the Neustadt International Prize for Literature.

 

美國中部時間2018年10月8日,中國香港作家和詩人西西獲得第六屆紐曼華語文學獎(詩歌獎)。她是紐曼華語文學獎的第三位女性獲獎者,也是第一位來自香港的獲獎者。

紐曼華語文學獎是由美國俄克拉荷馬大學美中關係研究院於2008年設立的獎項,是美國第一個為華語文學或詩歌設立的獎項,每兩年頒獎一次。評委們完全基於文學價值選出為最能表現人類生存狀況作品。所有在世的用中文寫作的作家都有機會入選。諾貝爾文學獎得主莫言是2009年年首位紐曼文學獎得獎者,中國大陸作家韓少功和王安憶分別於2011年和2017年折桂,台灣詩人楊牧和台灣作家朱天文分別在2013和2015年領此殊榮榮。

紐曼華語文學獎的七位專家評審早在今年年初提名了七位詩人。今天,他們經過六輪投票,決定出最終得獎者。獲獎者西西(原名張彥)可獲得一萬美元的獎金,紀念獎牌一塊,銅質獎章一枚,並將受邀於2019年三月7日至8日參加在俄克拉荷馬大學舉辦的紐曼學術研討會和晚宴。西西的提名者是香港浸會大學的何麗明教授(Tammy Lai-Ming Ho)。另外六位評委和被提名的詩人信息如下:康奈爾大學的安敏軒(Nick Admussen)提名了詩人於秀華,哈佛大學費正清中心的學者顧愛玲(Eleanor Goodman)提名了詩人王小妮,香港大學的柯夏智(Lucas Klein)教授提名了詩人西川,阿爾伯塔大學的陸敬思(Christopher Lupke)教授提名了詩人蕭開愚,萊頓大學的柯雷(Maghiel van Crevel)教授提名了詩人鄭小瓊,以及北京首都大學的王光明教授提名了詩人北島。

今年紐曼華語詩歌獎評委團的組織者石江山(Jonathan Stalling)說,“本次被提名的詩人們代表了華語詩歌極度豐富的多樣性。”“評委們經過一個多小時的熱烈的評議和投票才選出了最後的勝者。西西的詩歌和她畢生對文學的貢獻在今年的紐曼文學獎上得到了肯定,這是一件真正激動人心的事“。

何麗明博士在提名詞中寫道:“很長一段時間以來香港文學都被視為是次要的,甚至有人認為這個城市不能出產重要的文學作品或著名的作家。香港詩歌或許在很多人眼中是個更抽象和虛妄的概念。西西或諧或莊的詩歌道出了這個城市及其居民的品格。她的詩歌也證明了一個城市的故事不必是宏大的敘述,而可以是表面瑣碎的絮語,寓言或者童話。西西的詩歌陰柔,纖細,機智,敏銳,動人心弦,無可辯駁地宣示著香港詩歌的存在感“。

紐曼華語文學獎的主辦方美國俄克拉荷馬大學美中關係研究院於2006年成立。該學院的成立與Harold J. Newman和Ruth Newman夫婦的慷慨捐贈密不可分。俄克拉荷馬大學還設有中國文學翻譯檔案館,“今日中國文學”雜誌,“今日世界文學”雜誌,並定期主辦紐斯塔特(Neustadt)國際文學獎。

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.

The Moving Target: Translation and Chinese Poetry at Leiden

On 1–2 June 2018, an international group of scholars will meet at Leiden University to discuss fifteen papers that bring together expert knowledge on poetry in Chinese and critical engagement with the notion of translation. Texts, authors, and issues discussed range from the ancient Book of Songs to 21st-century migrant worker poetry and from Yu Xiuhua in English to Paul Celan in Chinese. The papers highlight the richness of the study of interlingual and cultural translation, with Chinese poetry as a shining example.

The workshop is open to all and you are welcome to attend any or all of the presentations.

Attending the workshop will be Joseph Allen, Lucas Klein, Nicholas Morrow Williams, Zhou Min, Tara Coleman, Chris Song, Christopher Lupke, Jenn Marie Nunes, Liansu Meng, Joanna Krenz, Jacob Edmond, Eleanor Goodman, Nick Admussen, Rui Kunze, Maghiel van Crevel, and Wilt Idema.

Click the image for further information, including a full schedule with paper titles.

Edmond on Being Censored in Chinese

At his blog, Jacob Edmond writes about being censored in a Chinese publication. Edmond reviewed Maghiel van Crevel’s Chinese Poetry in Times of Mind, Mayhem and Money (2008) for The China Quarterly in 2011, and agreed for it to be translated into Chinese for the Journal of Modern Chinese Studies (现代中文学刊). But,

the Chinese version [of van Crevel’s book] lacks the chapter on “Exile,” which includes discussion of poems written by Bei Dao 北岛, Wang Jiaxin 王家新, and Yang Lian 杨炼 after the Chinese government’s violent 4 June 1989 suppression of dissent.

And as a result, Edmond’s review had to be censored as well.

In approving the translation of my review, I faced the same dilemma that Van Crevel and these publishers and editors face in deciding whether to allow their work to be censored: refuse to change anything and so lose the possibility of addressing a Chinese audience, or make the changes and hope that one’s translated words and the mute marks of censored omissions might communicate better than the total silence of refusal. Van Crevel’s is an excellent book on contemporary Chinese poetry: I stand by my review’s description of it as the “definitive sourcebook.” It therefore deserves a wide audience in China, where its insights are most relevant. Cutting one chapter was the price of that audience.

But, as he continues, “The pressures and choices are not, of course, the same in every situation.” He concludes with lessons that are, “like censorship itself, eminently—and frighteningly—translatable.”

Click the image above for his full blog entry.

van Crevel’s Snapshots of the Chinese Poetry Scene

https://i1.wp.com/u.osu.edu/mclc/files/2017/12/03-maghiel-1yu0m4p.jpg?resize=584%2C510Last December the Modern Chinese Literature & Culture Resource Center published Maghiel van Crevel’s “Walk on the Wild Side: Snapshots of the Chinese Poetry Scene,” a long take on the field of contemporary poetry in China today. He begins:

I am in the final days of ten months in mainland China. Many things that have struck me about the poetry scene are in evidence … First of all, this get-together is typical of an activism that defies anything that might resemble keeping up: with texts and platforms (books, journals, websites, blogs, Weibo, WeChat), with events, with individuals and groups, with topics, issues and trends, with projects and research centers, with histories and futures. With who is writing what and hanging out with whom and getting published where, and how it all works and what it all means and to whom. This is true for poetry but also for what I’ll call commentary, all the way from hardcore scholarship to the swarms of emoji for praise and blame that careen through the arcades of social media. Which, incidentally, has become a prime channel for publicizing and disseminating hardcore scholarship, not to mention poetry itself. The web and social media have added an entirely new dimension to the poetry scene over the last twenty years, but poetry in print is anything but out. If someone unplugged the internet tomorrow, this breathless dynamism would continue apace in the other forms and media that are available to the genre.

In all, the poetry scene exudes an almost unimaginable vitality that gives the lie to persistent lament over its “marginalization.” On that note, if we go by numbers only, which we shouldn’t, modern poetry is marginal throughout the world. And if we allow the nature of the genre in its modern incarnations to enter our line of vision, it might be only a little controversial to say that such marginality is inherent to it. This is a bigger deal in China than in many other places, because of the continuing, massive presence of classical poetry and the contrast with the roaring 1980s—but the 1980s new poetry surge 新诗潮 was really an anomaly, occasioned by a happy meeting of the public’s hunger for cultural liberalization and the poets’ activism after the Cultural Revolution, before other distractions had begun to compete. I feel like a highly motivated scratched record when I say all this at every opportunity, as an outside prisoner of what Heather Inwood calls contemporary China’s poetry paradox: a representation of poetry as all but dead and a reality of poetry being remarkably alive.

Click on the image above for the full piece.

Call for abstracts: “The Moving Target: Translation and Chinese Poetry”

Call for abstracts | The Moving Target: Translation and Chinese Poetry

On 1-2 June 2018, Maghiel van Crevel and Lucas Klein will convene a workshop entitled “The Moving Target: Translation and Chinese Poetry” at Leiden University, toward the publication of an edited volume in 2019.

Participants will arrive on 31 May and depart on 3 June. Hotel accommodation and all meals will be funded by the Leiden University Institute for Area Studies (LIAS), the International Institute for Asian Studies (IIAS) and other local funding bodies.

The workshop aims to conjoin critical engagement with the notion of translation with deep linguistic, literary and cultural knowledge on poetry in Chinese: written in Chinese, translated into Chinese, or translated from Chinese into other languages.

We take translation to encompass everything from the reproduction in a target language of a text in a source language to cultural translation in its various interpretations. Examples of the latter include Chinese-foreign interactions of poetry’s texts, contexts and metatexts, but also interactions “within Chinese,” for instance between classical and modern cultural forms or between various identifications and persuasions in poetry.

In addition to the generic significance of studying translation-and-poetry, contributors will be encouraged to draw on issues that are specific to cultural China. For example: the proverbial and debatable untranslatability of classical Chinese poetry, modern Chinese poetry’s “foreign origins” and the conspicuous presence of foreign poetries in Chinese-language poetic discourse, and the power of poetry as a meme in Chinese cultural tradition, including social and political dimensions of this tradition.

We welcome proposals for broad-strokes essays as well as case studies from a variety of perspectives: textual and contextual, critical and historical, theoretical and methodological, etc. Abstracts of about 300 words should be sent to m.van.crevel @ hum.leidenuniv.nl and lklein @ hku.hk.

Deadline for abstracts: 18 December 2017. The selection of abstracts will be completed and invitations will go out early in January 2018. Full draft papers of c. 8000 words must reach the conveners by 23 April. All papers will be made available to all participants by 1 May. The workshop’s design will maximize time for discussion and feedback. Revised papers will be expected by 15 October.

Please consider submitting an abstract, forward this information to those you think might be interested and let us know if you need any additional information.

Sincerely,

Maghiel and Lucas

Goodman on Wang’s New Literary History of Modern China

The new “China Channel” of the LA Review of Books has published Eleanor Goodman’s review of A New Literary History of Modern China, edited by David Der-Wei Wang 王德威. An enthusiastic review, Goodman writes:

one theme of the book is the importance of inclusivity, exchange, and communication to understanding trends not just in literature, but in global affairs. Many of the writers under discussion here spent time outside of China, particularly in Japan, Europe, and the United States, or are impressively well read in foreign literatures. These essays address works that have been translated from Chinese into other languages, or works in other languages that have been translated into Chinese. Implicit in their juxtaposition, then, is also a picture of geopolitics and global history. These lines of communication were largely severed during the years of the Cultural Revolution; the essays from this period turn inward and are necessarily more political. In contrast, the essays engaging with the outward-looking years around the turns of the twentieth and twenty-first centuries demonstrate just how fundamental literature and art are to a mutually intelligible and diverse world culture. It becomes clear reading this book that one can trace the larger history of China itself across the twentieth century by looking at its literature and its writers.

And for mentions of specific entries:

Carlos Rojas writes engagingly of the “issues of gender and gender inversion” at stake in the power dynamics displayed in a novel of the early 1800s. Amy Dooling describes the “publishing sensation that unequivocally established the commercial potential of ‘the woman writer’,” a phenomenon that is a close cousin to – if not a progenitor of – the contemporary “beautiful woman writers” who today proliferate on the shelves of Chinese bookstores with their airbrushed large-eyed portraits. Maghiel van Crevel presents a powerful examination of a “‘cult’ of poetry” that romanticizes suicide among its members, the effects of which can still be seen in more recent examples like the tragic suicide of the Foxconn factory worker and poet Xu Lizhi.

and

Enjoy science fiction? Mingwei Song’s terrific piece on a “posthuman future” and contemporary Chinese sci-fi will fascinate. You want rock and roll? Read Ao Wang’s rollicking insider’s take on the “Godfather of Chinese rock ‘n roll,” the irreverent and fascinating Cui Jian. In this meticulously edited and selected anthology, there really is something for everyone. All you have to do is look.

Click on the image above for the full review.

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