Horton Reviews Mang Ke’s October Dedications

October Dedications, the selected poems of Mang Ke 芒克 (Chinese UP & Zephyr), translated by Lucas Klein with Jonathan Stalling and Yibing Huang, has been reviewed in Cha by Harrison Horton. Horton writes:

In his “Translator’s Forward” to October Dedications, Lucas Klein points us to a similar phenomenon in the poetry of Mang Ke, stating that his work “must have been read as shockingly direct and heterodox at the time” (x). That a poem describing sunlight could be, in fact, about sunlight and not Mao Zedong was a courageous act of defiance that helped lay the foundation for schools of poetry to come afterwards. In this way, the seemingly simple contrasts with a backdrop of works that still emulated the writings from the previous era.

The review ends:

Mang Ke’s work stands up on its own and stands out against many of the poems produced in the early Opening Up period and later. October Dedications makes it possible, finally, for English language readers to appreciate Mang Ke’s work and correctly place him among other notable poets coming out of his era and afterwards. Click on the image for the review in full.

The 2019 Lucien Stryk Asian Translation Prize Shortlist

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October Dedications, shortlisted for the 2019 Lucien Stryk Asian Translation Prize

October Dedications, the selected poetry of Mang Ke 芒克 (Zephyr Press), translated from the Chinese by Lucas Klein with Jonathan Stalling and Huang Yibing, has been shortlisted for the 2019 Lucien Stryk Asian Translation Prize, administered by the American Literary Translators Association (ALTA)!

Days When I Hide My Corpse in a Cardboard Box, poems by Lok Fung 洛楓 (Zephyr) translated by Eleanor Goodman, is the other book of poems translated from Chinese to make the shortlist.

Books by Kim Hyesoon translated from the Korean by Don Mee Choi, by Shrinivas Vaidya translated from the Kannada by Maithreyi Karnoor, and by Jin Eun-young translated from the Korean by Daniel T. Parker and YoungShil Ji, have also made the shortlist. This year’s judges are Chenxin Jiang, Vivek Narayanan, and Hai-Dang Phan.

Click here for the full descriptions of the shortlisted books.

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).

Alexander Dickow on Li Shangyin and Mang Ke

The new issue of Plume is here, and with it Alexander Dickow’s “Mystery and Surprise: Two Chinese Poets,” reviewing two quite different books of Chinese poetry in translation: Li Shangyin 李商隱, translated by Chloe Garcia Roberts, Lucas Klein, and A.C. Graham (NYRB), and October Dedications, the selected poetry of Mang Ke 芒克, translated by Lucas Klein with Yibing Huang and Jonathan Stalling (Zephyr / Chinese UP).

The review begins:

The contemporary Chinese poet Mang Ke and the Tang dynasty poet Li Shangyin (9th century) could hardly be more different. The former, particularly in the later poems of the chronologically arranged collection, seems fresh and spontaneous, capricious; the latter hermetic and mysterious. The contrast lends itself to an examination of what makes both poets’ work alluring. Li Shangyin seems to offer the mystique of an authentically coded poetic language. While both Mang Ke and Li Shangyin are highly allusive, Mang Ke feels bright and sensuous, Li Shangyin dark and richly layered.

It’s rare enough for translated poetry to be reviewed at all, but when it is reviewed it tends to be reviewed by other experts in the field. I think it’s wonderful that these books are reviewed by a translator of French poetry with no expertise in China or Chinese literature. If our readers are only those who can check our work, what’s the point of translating in the first place? The whole purpose of translation is bringing work from one language to new audiences, so it’s wonderful that Plume went with a reviewer who doesn’t need to know Chinese, but clearly understands poetry and translation.

Click here to read the review in full.

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.

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.

Turner on Ouyang Jianghe

image3Ouyang Jianghe 欧阳江河 gave a reading at the China Institute on May 7th, moderated by Yibing Huang (poet Mai Mang 麦芒). Here’s Matt Turner’s write-up of the event:

BUILDING POETRY WITH MATERIAL

Poet Ouyang Jianghe gave a poetry reading at the China Institute in New York, followed by a discussion with poet and professor Yibing Huang, as part of a delegation of writers from mainland China brought to the US by the Beijing Contemporary Art Foundation. The event was in Chinese and English, with the help of a very skilled interpreter.

Around 20 people came to see the reading in a small lecture hall, and all could probably speak at least some Chinese. Notably, I didn’t recognize anyone from the local poetry scene there. For the US, it was an audience of outsiders: ethnically, linguistically, and also outside of the New York literary world.

Ouyang Jianghe began his reading with a long poem from his collection Doubled Shadows, followed by several sections of his serial poem “Phoenix.” After each poem, the interpreter would read from the English translation. Despite some problems with the microphone, Ouyang Jianghe captured the attention of the audience with his distinct style of dramatic reading.

The discussion included questions from Yibing Huang about the manner in which Ouyang Jianghe wrote, about his sources of inspiration, about his poetics, and about the relationship of contemporary Chinese poetry to Classical poetry. Audience members also asked about the relationship of his poetry to current economics, and about his language use. I will try to summarize a few of Ouyang Jianghe’s points below.

  • Poetry in China has lately been suffering a regression: in addition to avoiding content which engages with the present moment, the language is often a repetition of what you would only see in the present: in conversation, in advertising, and so on.
  • He is trying to draw on a Chinese history of poetry while also not pigeonholing it as a genre limited to a particular geography, content, or even language. The combination of vernacular Chinese with its written roots, as well as an awareness of foreign languages, allows him to write to the present moment in a way that any “pure” poetry would not.
  • His recent poetry, as can be seen in the Chinese text of “Phoenix,” is written less for sound than to convey the materiality of language. This materiality is conveyed in a rough, even clunky, “built” language that mimics that material reality around him: constant urban construction and the shifting populations, and the assembling of new realities out of pre-existing materials, almost like collage.
  • The existing English translations of his work smooth-over this materiality, and focus on sound and an established idea of “poetic” language which is not there in the original.
  • Traditionally in China, the poem is associated with breath (qi, 气): to a certain degree the line is an allegory of the biological process of inhalation and exhalation. His poetry is interested in the moment in-between breaths, that moment of anxiety.
  • Stock subjects are of little interest to him. If he were to write about the natural world, he is interested in transformational moments. For example, instead of observing the movements of a fish in the water, he is interested in the moment at which that fish is removed from the water and its existence is transformed. It could be when it is taken from the water and placed on a piece of paper, or something along those lines.

Yibing Huang ended the discussion by noting that the bi-lingual forum in which this event took place was a good analog for Ouyang Jianghe’s work: impure, always shifting, and seeking to engage in different modes of discourse.

As for me, I left the reading thinking to myself that I had just seen a reading and talk by a significant poet and very imaginative theorist of contemporary poetry, but also shaking my head over the fact that so few people had been there to hear it. Part of the blame for that lies with China Institute—rarely have they been able to attract the attention of the literary world, with their often stereotypically “Chinesey” events. On the other hand, significant blame can definitely be assigned to a literary world so self-confident that it forgets the rest of the world exists, and is significant. As Ouyang Jianghe receives more publications in English, it’s my hope that the society of small presses and innovative poets in the US will begin to take notice.