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.

Mialaret on Hai Zi

Hai Zi 3Writing at mychinesebooks.com, Bertrand Mialaret offers a synopsis of the life and poetry of Hai Zi 海子. “Almost thirty years after his suicide, the poet Hai Zi remains celebrated in China,” it’s titled.

Hai Zi, who committed suicide at age 25, remains one of the most celebrated poets in China especially with the younger generations. Some very creative years, 250 short poems, 400 pages of long poems, short stories, plays. His complete works were published in 1997 by his friend, the poet Xi Chuan.

Mialaret also mentions the difference generations make in forming different poetic styles, which are born in some ways from the encounter of the personal with broader gyrations of history.

He was not part of the group of “misty” poets of the early 1980s, which were made famous by Beidao, Gu Cheng, Mangke, Yang Lian … This group refuses the revolutionary “realist” tradition and poetry at the service of politics. Poetry is an individual creation, it is a mirror of oneself. The focus is on the image in the creative process even if it is accompanied by sometimes complex and obscure texts.

The generation of Hai Zi is very different, it did not experience the re-education in the countryside, could go to university, knows the works of the world literature, the great movements of thought and all the “isms” (existentialism, surrealism, structuralism …).

Click the image for the article in full.

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.

Cha Reading Series: Nine Dragon Island–Eleanor Goodman & Lucas Klein

Goodman and Klein.jpg

Nine Dragon Island: Eleanor Goodman and Lucas Klein 
Date: Wednesday 28 March 2018
Time: 7:30 – 8:45 p.m.
Venue: Kubrick Bookshop & Café
(
Shop H2, Cinema Block, Prosperous Garden, 3 Public square street, Yau Ma Tei, Kowloon 3號駿發花園 H2地舖)

FREE ADMISSION | ALL ARE WELCOME

In this Cha Reading Series event, contributors Eleanor Goodman and Lucas Klein will discuss poetry, translation, and the writing of China—alongside readings from their recent and forthcoming books, including Goodman’s Nine Dragon Island (Enclave/Zephyr, 2016) and Iron Moon: Chinese Worker Poetry (White Pine, 2017), and Klein’s October Dedications: The Selected Poetry of Mang Ke (Zephyr, 2018) and translations of Li Shangyin (NYRB, 2018). Moderated by Cha co-editor Tammy Ho Lai-Ming.

Click the image above for the Facebook registration page.

NYU Shanghai Conversation on the State of the Art of Chinese Poetry Translation

Image may contain: food

Panel Discussion

Chinese Poetry in Translation: A Conversation on the State of the Art

Join a panel of leading translators, scholars of contemporary Chinese poetry, and translation theorists for a conversation about the state of the art in 2018. Discussion will highlight Chinese poets whose work challenges conceptions of a literary “mainstream,” in particular with respect to gender, class, and economic inequality.

Panelists Huiyi Bao 包慧怡 (Fudan), Eleanor Goodman (Harvard Fairbank Center for Chinese Studies), Lucas Klein (University of Hong Kong) and Kyoo Lee (City University of New York) will share and discuss their work in translation and in critical scholarship, ranging from the work of a pioneer of contemporary Chinese poetry like Mang Ke 芒克, co-founder of the legendary journal Jintian 今天 (1978-1980); to the workers poetry written and shared by migrant laborers across China today; to the vital writing by women in a cultural field often dominated by male poets and critics.

  • Room 101, 1555 Century Avenue
  • Wednesday, March 14, 2018 16:3018:00

Click the image above for registration & more information.

Moore & Moore’s Chinese Literature Podcast on forthcoming Mang Ke

Chinese Literature Podcast  Rob and Lee Moore (no relation) of the Chinese Literature Podcast talked to me about my forthcoming translation of October Dedications by Mang Ke 芒克 (Zephyr).
 It was a wide-ranging conversation, but Moore & Moore managed to edit down to something listenable.
 Click the image to link to the podcast page. iTunes required for listening.

Eleanor Goodman on Contemporary Chinese Poetry from Zephyr

somethingcrosses_w

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.

Global Times on Bei Dao

Bei Dao Photo: IC
It’s usually best to avoid The Global Times. Nevertheless, they’ve reported on a recent poetry festival in Xiamen, so…

Wearing a white suit and standing at a prominent spot, the 67-year-old Bei read his lines at the closing ceremony on October 24 for the first time in front of the public since his homecoming, except for some small-scale personal gatherings.

Having lived overseas for 20 years, Bei moved to Hong Kong in 2007, working as Chair Professor at the Chinese University of Hong Kong.

Qilu Xing [歧路行], literally meaning walking in the wrong way, was composed in 2009 in what was his first shot at long poems, before which he only created short poems. However, the writing process was interrupted by a stroke after he finished the 500th line and it remains an unfinished business.

The article also covers a brief and cleansed history of Jintian 今天 (Today) magazine, Shu Ting 舒婷, Mang Ke 芒克, and others. Click the image for the full article.

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.