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.