The Dialogue between Chinese and Indian Writers is organized by Hong Kong Poetry Festival Foundation and two prominent literary magazines—Today from China and Almost Island from India. The Dialogue will be held in Hong Kong on 13-14 October 2018 at the University Museum and Art Gallery, The University of Hong Kong.
Today and Almost Island have been convening contemporary Chinese and Indian writers, critics, musicians and artists for international cultural exchange since 2009. Their ongoing discussions cover a wide range of topics—literature, music and art, as well as culture, politics and history, in company with poetry recitals, fiction readings and music performances.
After the events in Hong Kong, they will further their conversations in Hangzhou, Mainland China.
Date: 13-14 October 2018
Venue: University Museum and Art Gallery, The University of Hong Kong
Address: 90 Bonham Road, Pokfulam, Hong Kong
Hong Kong Poetry Festival Foundation
University Museum and Art Gallery, The University of Hong Kong
Shuyu Coffee 舒羽咖啡
As part of Paper Republic‘s series of blogs for Global Literature in Libraries throughout February, Eleanor Goodman writes on Zephyr Press, which she says “has done more to raise the profile of contemporary Chinese poetry in English translation than any other press today”:
Their books are carefully curated, well edited, and beautifully produced. Above all, their translators (here I must profess that I am one of them) tend to be at the top of the field, which is of course essential to the making of a good book in English.
Alongside mentions of their publications of Han Dong 韩冬, Bai Hua 柏桦, Lan Lan 蓝蓝, and Yu Xiang 宇向, Goodman specifically writes about her translation of Wang Xiaoni 王小妮, about Andrea Lingenfelter’s translation of Zhai Yongming 翟永明, Austin Woerner’s translations of Ouyang Jianghe 欧阳江河, Jennifer Feeley’s translation of Hong Kong poet Xi Xi 西西, Steve Bradbury’s translation of Taiwanese poet Hsia Yü 夏宇, and my own forthcoming translations of Mang Ke 芒克.
With with “deep resources of scholarship and natural talent to draw upon,” she writes, it is
this mix of qualities—the best of the contemporary Chinese poetry world combined with translators who are also careful readers and appreciators of poetry—that makes the Zephyr collection so unique and valuable. These books are a labor of love from start to finish, and it shows in the final products. There is simply no better introduction to the contemporary Chinese poetry scene available today.
Click the image above for the full article.
As part of the “Birds of Metal in Flight” event, Columbia University hosted a panel discussion with Bei Dao 北岛, Ouyang Jianghe 欧阳江河, Xi Chuan 西川, Zhai Yongming 翟永明, Zhou Zan 周瓒, and Xu Bing 徐冰, as moderated by Lydia Liu 刘禾 and John Rajchman and introduced by Eugenia Lean, titled “Sound and Image: Chinese Poets in Conversation with Artist Xu Bing.” Click the image above for more information & photos, or here to stream the discussion via iTunes.
Readings by Marilyn Nelson, Bei Dao 北岛, Afaa Weaver, Zhai Yongming 翟永明, Pierre Joris, Xi Chuan 西川, Mei-Mei Berssenbrugge, Zhou Zan 周瓒, Charles Bernstein, and Ouyang Jianghe 欧阳江河, followed by remarks from Xu Bing 徐冰, introduced by Lydia Liu 刘禾.
For Xi Chuan reading my translation of “Bloom” 开花, jump to 49:21.
Bei Dao 北岛 • Charles Bernstein • Mei-Mei Berssenbrugge
Pierre Joris • Marilyn Nelson • Ouyang Jianghe 欧阳江河
Afaa Weaver • Xi Chuan 西川 • Zhai Yongming 翟永明 • Zhou Zan 周瓒
with remarks from
Xu Bing 徐冰
Wednesday, February 25, 2015
7:00 PM – 9:00 PM
Reception to follow
Cathedral of St. John the Divine
1047 Amsterdam Avenue
New York, NY 10025
This event is free and open to the public.
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.
Click on the image for the full piece.
The new Asia Literary Review is hosting a feature on modern (I think they mean contemporary) Chinese poetry. Here’s an excerpt from the introduction by Zheng Danyi 鄭單衣 (translated with Martin Alexander and Shirley Lee):
For us, poetry wasn’t just a social tool or a political weapon. We worked to create an independent literary movement, inspired by T. S. Eliot and other Modernists, and to form a new sense of beauty from Chinese and Western traditions. We wrote in the music of our own southern languages – and edited with an ear for Mandarin. A vernacular approach was therefore also important – what Coleridge called “the language of ordinary men”. This had been a feature of China’s New Culture Movement, which flourished from 1917 to 1919. It aimed, as we did, to build on the literary traditions of the past and to speak directly to a broad audience in its own language.
The feature includes new translations of old poems by Zheng along with Bei Dao 北島, Duo Duo 多多, Shu Ting 舒婷, Yang Lian 楊煉, Gu Cheng 顧城, Zhai Yongming 翟永明, Bai Hua 柏樺, Zhang Zao 張棗, and Chen Dongdong 陳東東.
Click the image above for the full feature.
Other English versions of some of these poems are accessible on the internet … Various readers may prefer various translations of various poems, but Lingenfelter’s volume provides an added plus in that she worked directly with Zhai. The reader has the benefit, not only of Lingenfelter’s bilingual skills, but of being invited to share a long, ongoing conversation that took place in life as well as on the page. In Lingenfelter’s words: “I could not have completed this project without the gracious help and encouragement of Zhai Yongming herself, who has shown me around Chengdu … taking me to (historic) sites … all the while placing everything we were looking at in a larger context. She has also treated me to many memorably wonderful meals … .” Translation is, after all, a matter of the tongue, and, ultimately, nourishment.
From Paper Republic:
Chinese poet and poetry critic Qin Xiaoyu invited the Proletarian to attend a meeting at Peking University last Friday on poetry in online media. The meeting was sponsored and chaired by Yang Erwen, founder of ArtsBj.com (北京文艺网), and Yang Lian, whom Yang Erwen has worked into some advisory position at the website. Having no prior knowledge of the event, the Proletarian thought it was just going to be another stereotypical academic meeting, where people made airy speeches over an audience checking their cell phones; who knew that the first item of news would be one of significant importance? …
Well-known critic Tang Xiaodu moderated the first half of the meeting, while Yang Lian (who sounds a lot more like Ge You than I could ever have imagined) chaired the second half. Also at the table were Zhai Yongming, Xi Chuan, Qin Xiaoyu, Zhang Qinghua, Leng Shuang, Lan Ye, Zang Di, Ou Ning, Yang Xiaobin, Shang Zhen, Jiang Tao and a few others …
Morse also mentions Xi Chuan’s “observations on poetry throughout Chinese history.” Click here for the whole piece.