In the new Chinese Literature Today, editor Jonathan Stalling interviews Wolfgang Kubin about his life and the poets and poetry he’s known.
Zhang Zao and Ouyang Jianghe wanted pure poetry and new vocabulary, whereas the vocabulary of Bei Dao before ’89 is quite conventional and comes close to what the Spanish poets of the ’30s and ’40s made use of. Bei Dao writes short poetry, but the so-called post hermetic poets prefer the longer form and their outlook is quite different. They are not politically naïve anymore; they do know how complicated a society can be. The poetry of Bei Dao or the poetry of the ’80s, however, always believes in a future that will be good and that will be coming tomorrow. You won’t find this kind of naiveté in Ouyang Jianghe … Zhai Yongming’s starting point is so-called hermetic poetry, and her first cycle about women is so complicated that it drives you crazy as a translator. I translated her work into German and published a book of it very early. I translated much more of her poetry, and actually I should have produced another book, but she’s very modest and always asks me to translate others before editing a new volume of her poetry. But before long she left this kind of hermetic poetry. During her second phase, she dealt with a history of women in her mother’s generation in China before and after ’49. She chose a very plain language and she preferred the long poem. The poetry of her second phase is very easy to translate into a foreign language; it’s not complicated at all. During her third phase, when she started criticizing men, when she started making fun of male protagonists, then her language changed again—it was not hermetic, it was not plain, it was something in-between. Nowadays she prefers a very plain language for social critique. This is her fourth phase, so she’s the only Chinese poet about whom we can say that she went through three, no, four phases of different kinds of poetry. Bei Dao has only two phases; Yang Lian, I think you would say he has one phase and has never changed. P. K. Leung the Hong Kong poet—in some respects he’s always good, always the same. Zhang Zao, the same. Ouyang Jianghe has made changes, perhaps with his last long poem. Xi Chuan, he’s riper now, so he’s different, but concerning his form, I do not see much difference. He’s now more philosophical and he’s more sophisticated, he has humor, he makes fun.
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