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.
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。
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。
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.
In an article titled “Two Poets’ War of Words Shows China’s Yawning Generation Gap,” Sixth Tone reports on a bit of bickering between elder statesman of Chinese poetry Shi Zhi 食指 (Guo Lusheng 郭路生) and relatively recent arrivée Yu Xiuhua 余秀华:
“I watched a video in which Yu Xiuhua said her ideal afternoon would involve drinking a coffee, reading a book, chatting a bit, and having a screw,” Guo said. “How can a poet not spend a moment considering the fate of humanity, or thinking about the future of her nation? How can a poet from the countryside not speak of the miseries of rural life or their dreams of prosperity? How can they just forget everything?” The elder poet concluded that Yu was abandoning her obligation to history, saying, “If we do not treat history responsibly, we will find ourselves mocked by it.”
Yu soon struck back on her social media accounts. “Shizhi said I don’t mention the miseries of rural life,” she wrote, “but I’ve never felt rural life was all that miserable.” Then a few days later, she added: “My fault lies in being on the bottom rung of society and yet still insisting on holding my head up high. My other fault lies in my inability to expose those idiots who think they’re superior to me.”
Fortunately, there is still room for nuance in the arena of Chinese poets:
In the aftermath of this latest controversy, the poet Liao Weitang [廖偉棠] rallied to Yu’s defense, noting that the misery of rural life permeates every detail of her work. “Only she doesn’t weep over it or make accusations; she doesn’t talk about how tragic her own life is,” Liao said. “Rather, she is extremely stubborn, and she uses language to master her own world.”
Click on the image above for the full report.
In “A Chinese Poet’s Unusual Path From Isolated Farm Life to Celebrity,” the New York Times follows up on Yu Xiuhua 余秀华:
“Her poems, among contemporary Chinese poems, are like putting a murderer among a group of respectable ladies,” wrote Mr. Liu, the Poetry editor. “Everybody else wears fancy clothes, puts on makeup and perfume and readers can’t see a single bead of sweat. But hers are full of smoke and fire — and mud and landslides. Her words are stained with blood.”
Born in 1976 in Hengdian, Ms. Yu never finished high school. At 19 she married a construction worker 12 years older, in a wedding arranged by her parents, who were concerned that she would never be able to care for herself. At 27, she began writing poetry.
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“I needed to do something to keep my spirit up,” she said. “Each day, I wrote one or two poems, and I felt I had accomplished something.”
Still Tomorrow 摇摇晃晃的人间
a documentary about the life and work of Yu Xiuhua 余秀华
directed by Fan Jian 范俭