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!

“Tiananmen Thirty Years On” feature at Cha

Announcing the June/July issue of Cha: An Asian Literary Journal, the “Tiananmen Thirty Years On” feature, edited by Tammy Lai-Ming Ho and Lucas Klein, along with a special feature of poems by and in mourning of Meng Lang 孟浪.

The following CONTRIBUTORS have generously allowed us to showcase their work:

❀ REMEMBRANCES
Tammy Lai-Ming Ho, Gregory Lee, Ding Zilin (translated by Kevin Carrico), Andréa Worden, Shuyu Kong (with translations of poems by Colin Hawes), Ai Li Ke, Anna Wang, and Sara Tung

❀ POETRY
Bei Dao (translated by Eliot Weinberger), Duo Duo (translated by Lucas Klein), Liu Xiaobo (translated by Ming Di), Xi Chuan (translated by Lucas Klein), Yang Lian (translated by Brian Holton), Xi Xi (translated by Jennifer Feeley), Meng Lang (translated by Anne Henochowicz), Lin Zhao (translated by Chris Song), Liu Waitong (translated by Lucas Klein), Chan Lai Kuen (translated by Jennifer Feeley), Mei Kwan Ng (translated by the author), Yibing Huang (translated by the author), Ming Di (translated by the author), Anthony Tao, Aiden Heung, Kate Rogers, Ken Chau, Ilaria Maria Sala, Ian Heffernan, Reid Mitchell, Lorenzo Andolfatto, Joseph T. Salazar

❀ ESSAYS
Scott Savitt, Wang Dan (translated by Karl Lund), Hoi Leung, Louisa Lim, Jeff Wasserstrom, Lian-Hee Wee, Jed Lea-Henry, Jason G. Coe, and Guo Ting

❀ INTERVIEW
Han Dongfang and Lucas Klein

❀ FICTION
Boshun Chan (translated by Garfield Chow, Stephanie Leung and Felix Lo) and Christopher New

❀ PHOTOGRAPHY & ART
Daniel Garrett and Anonymous

❀ MENG LANG
Denis Mair, Meng Lang (translated by Denis Mair), Liu Waitong (translated by Lucas Klein), Jacky Yuen (translated by Nick Admussen), Tang Siu Wa (translated by Jennifer Feeley), Kwan Tin Lam (translated by Eleanor Goodman)

Click on the link above to read the issue in full.

Denis Mair on Meng Lang

Three poets come to Bumbershoot

In honor of the passing of Meng Lang 孟浪 (1961 – 2018) on December 12 in Hong Kong, Cha: An Asian Literary Journal has published a commemorative piece by Denis Mair, his friend and translator:

All these details are just the outer lineaments of Meng Lang’s life, but his true story—his true biography–lies in the trajectory of his poems. He was a poet who found his own unique path to write about the social, political realities of his country in the language of modern, avant-garde thought. As a poet he always faced political realities, never going down a rabbit hole of metaphysics or aestheticism, yet each poem demonstrates his powerful artistic sensibility. I reaped tremendous reward by translating over a hundred of his poems, and I am proud that he trusted me with his beautiful creations.

Later this month Cha will publish a feature on Meng Lang and his place in poetry, with poems by Meng translated by Mair, as well as poems by Hong Kong writers Tang Siu Wa 鄧小樺, Jacky Yuen 熒惑, Kwan Tin-Lam 關天林, and Liu Waitong 廖偉棠 remembering Meng–as translated by Jennifer Feeley, Nick Admussen, Eleanor Goodman, and Lucas Klein.

Click here for Mair’s commemoration.

Meng Lang, 1961 – 2018

Shanghai-born poet Meng Lang 孟浪, co-founder of Independent Chinese PEN, passed away following a battle with cancer on December 12 in Hong Kong.

The New York Times has run an article on his life, mentioning a few friends of this blog:

Meng Lang was born in Shanghai in 1961 and participated in several unofficial poetry movements in China throughout the 1980s, according a short biographical sketch published by Cha: An Asian Literary Journal, where Ms. [Tammy] Ho is a founding editor.

He later helped edit the book “A Compendium of Modern Chinese Poerty, 1986-1988,” and was a writer in residence at Brown University from 1995 to 1998, according to the sketch. Professor Huang [Yibing] of Connecticut College said that Mr. Meng moved to Hong Kong from the United States in 2006, and to Taiwan in 2015.

Mr. Meng “played an important, fearless role in championing an unorthodox, experimental and free-spirited poetry in China back in the 1980s,” Professor Huang, who is also a poet, said in an email.

The article also quotes lines from a poem of Meng’s, as translated by Anne Henochowicz:

Broadcast the death of a nation
Broadcast the death of a country
Hallelujah, only he is coming back to life.
Who stopped his resurrection
This nation has no murderer
This country has no bloodstain.

An article in Radio Free Asia also provides context on his life and works:

He had also managed an Archive of Chinese Underground Literature and Exile Literature after moving to the democratic island of Taiwan.

According to Taiwan poet Hung Hung, Meng always felt he was in exile after moving to Taiwan and Hong Kong to live with his Taiwan-born wife, Tu Chia-chi [杜家祁].

“He would say that it’s hard for trees to uproot and move somewhere else, and that he was forced into exile as a Chinese,” Hung Hung [鴻鴻] said. “This exile was thrust upon him, and it was particularly hard for him.”

“His last poem, about a fallen leaf finally blowing back home, is very beautiful and moving,” Hung said. “I think now he has passed away, the fallen leaf has finally returned home.”

Nick Admussen tweeted with links to more of his poems in English translation.

There has been an outpouring of affection and remembrances of Meng Lang on his Facebook page, and there is a reading in his memory in Hong Kong tomorrow night (Tuesday, December 18).

Manfredi on Admussen’s Recite and Refuse

The MCLC Resource Center has published Paul Manfredi’s review of Nick Admussen’s monograph, Recite and Refuse: Contemporary Chinese Prose Poetry (University of Hawaii Press, 2016).

Manfredi summarizes:

Orthodox prose poetry is exemplified for Admussen by the writings of Ke Lan [柯蓝 ] and Guo Feng [郭风], semi-orthodox prose poetry by Liu Zaifu 刘再复 (b. 1941), and the works of Ouyang Jianghe [欧阳江河] (b. 1956 ) and Xi Chuan (b. 1963) represent the unorthodox tradition in Chinese prose poetry. A through line in Admussen’s identification and exploration of the three sub-genres is the critical question of voice, and the vocal attribute most essential to Admussen’s analysis is a kind of ventriloquism that characterizes the prose poetic voice. This ventriloquist feature best substantiates Admussen’s argument, because it is as compellingly present in leftist oriented work as it is in more ideologically independent or experimental poetry. Indeed, the entire question of ideological underpinning, other than being responsible for the relative scarcity of prose poetry from about 1963 through the late 1970s, is refreshingly recast in this book. Admussen’s description of Chinese prose poetry manages to rise above left/right, free/constrained dichotomies.

Beyond the summary, Manfredi writes:

While the previous chapters are full of insights and useful information, one feels that Admussen is really working up to his final chapter, which addresses the work of Ouyang Jianghe and Xi Chuan. Ouyang Jianghe’s “Hanging Coffin” is the focus of the first part of the chapter. “Hanging Coffin,” however, is too long to quote at the outset, as he does with the poems opening the other chapters. Instead—and most creatively and ambitiously—Admussen advances his own condensation of Ouyang’s massive work in a single sentence: “Hanging Coffin is an epic manifestation of the evacuation of history” (134). He then proceeds to unpack that sentence, word by word, until a full reading of Ouyang Jianghe’s poem emerges. That reading details the incredible sweep of Ouyang’s work, but also the ways in which the poet endeavors to close the door on his own chapter of prose-poetic composition. By contrast, shifting finally to Xi Chuan, Admussen arrives at a very compelling summary of some of his key concepts as manifested in Xi Chuan’s work:

This is a basically ventriloquistic and pluralist ideology, one that calls into question the position of the speaker as a maxim-producing creator of wisdom; the poem recasts that speaker as a channeller of wisdom, a collector whose task implicitly denies the existence of a single set of universal truths. (153)

Manfredi concludes: “Admussen’s work is a rare combination of breezy and substantive, and certainly well worth the read.”

Click the image above for the review in full.

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.

Admussen’s Recite and Refuse on New Books in East Asian Studies

Image result for nick admussen recite refuseMiranda Corcoran interviews Nick Admussen about his monograph Recite and Refuse: Contemporary Chinese Prose Poetry–about Lu Xun 鲁迅, Bing Xin 冰心, Ke Lan 柯蓝, Guo Feng 郭风, Liu Zaifu 刘再复, Ouyang Jianghe 欧阳江河, Xi Chuan, and more–for New Books in East Asian Studies.

From the intro:

Published by the University of Hawaii Press in 2016, Nick Admussen’s exciting new book Recite and Refuse: Contemporary Chinese Prose Poetry explores the development of twentieth-century prose poetry within the unique political and cultural context of Communist China. In this ambitious study, Admussen attempts not only to define prose poetry but also to trace its ever-shifting role in modern Chinese society. In doing so, he produces a study which comprehensively analyses the dynamic manner in which Chinese prose poetry engages with a range of diverse cultural discourses, including science, popular culture and political rhetoric. Throughout the book, Admussen foregrounds the protean nature of the genre by exploring how prose poetry has been used by poets working both within and outside of official Communist Party strictures. Moreover, he identifies Chinese prose poetry as a unique tradition, distinct from Euro-American manifestations of the genre. In addition to these insightful analyses, Recite and Refuse also contains a number of original translations of important Chinese prose poems, including Ouyang Jianghe’s stunning “Hanging Coffin”.

Click the image above or listen here.

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Admussen’s Errata

Many people have said that translation–especially poetry translation–is more about interpretation than about accurate representation. What do these interpretations tell us?

In one of the best personal essays about translation I’ve come across, Nick Admussen spots a mistake in a translation he did of a poem by Ya Shi 哑石, “a moment when my work as a translator loosened and a ghost slipped in“:

And shadows of branches steal in through the window           the oak desk
that’s so fragile I am forced to love it has exploded just a little bit

而树枝阴影由窗口潜入   清脆地
使我珍爱的橡木书桌一点点炸裂

“My version of the line,” he writes, “stretches the grammar without apparent rationale … I had inserted an entire concept, so fragile I am forced to love it. It’s not in the poem, I brought it into the poem, and I knew where it had come from.”

What follows is an incredibly moving remembrance of fortune, fathers, and furniture. Admussen ends with,

The translator regrets the error. I am especially sorry to admit that I still don’t know what the translation should look like or if there exists a version that will feel both stable and “right.” I’ll keep trying: perhaps my repeated mistakes will reveal as much about the poem as a translation could. I don’t know how to remember my father or how I should have acted in the Goodwill parking lot. The memorial, if it exists, seems to be happening outside what I think I am saying. All I can do for now is show you what I have done, to describe the psychological result of the process of translation, the experience of the texture, language to language, father to son, writer to reader: how qingcui it is, how fragile, how much like music.

Click the image above to read the full piece.