On Thursday, May 10, at 7:30 p.m., Xi Chuan and I will be reading from Notes on the Mosquito at the Beijing Bookworm bookstore (Building 4, Nan Sanlitun Road, Chaoyang District, Beijing 三里屯南街4号院). Hope to see you there!
Click here for more details.
On Thursday, May 10, at 7:30 p.m., Xi Chuan and I will be reading from Notes on the Mosquito at the Beijing Bookworm bookstore (Building 4, Nan Sanlitun Road, Chaoyang District, Beijing 三里屯南街4号院). Hope to see you there!
Click here for more details.
American poet Paul Nelson, who interviewed Xi Chuan for SPLAB, has published his poem “Black Dragon Year“–“After Xi Chuan’s Somebody [某人] and Li Bo Questions Answered.” Paul also wrote to me that touring Seattle Xi Chuan said “the dragons, festooning the lampposts in the International District (Chinatown) looked ‘like lizards.'”
Click here to listen to Paul read.
My review of The Fat Years 盛世:中國 2013年, by Chan Koonchung 陳冠中 and translated by Michael Duke, is now online at Rain Taxi. Be forewarned: I was unimpressed by the novel and the translation. Here’s how the review begins:
The cover screams “The Book No One in China Dares to Publish,” the Financial Times and The Observer have offered ad-like reviews, and copies have spilled off bookstore displays in Hong Kong and London for months; The Fat Years is the new must-have for the politically righteous book consumer in the English-speaking world. Consumer, that is, not reader, since most reports mention little about the story other than its premise. Probably better this way, since aesthetics too often fail when put up against political righteousness.
Zhai Yongming 翟永明 has just won Italy’s Piero Bigongiari del Ceppo di Pistoia prize for 2012. Follow the link or click the image above for the press release in Italian, with a quotation from Zhai explaining her relationship to Chinese classical and modern poetry.
For my review of Andrea Lingenfelter‘s translation of Zhai’s work in Changing Room (Zephyr Press), click here.
The May 2012 newsletter is out from New Directions, with links and news about events, readings, and new publications, including celebrations of Kenneth Rexroth in Corte Madera and San Francisco, Nathaniel Tarn reading in Chicago and Ann Arbor, and a new book by by Robert Walser translated by Christopher Middleton with Susan Bernofsky, and of course Xi Chuan.
May Day–International Workers’ Day–is an interesting holiday. It began as a demonstration in the US (half a mile from where I grew up) but was shunned by the American government; it was an anarchist rally but got taken up by states, often repressive, around the world. And while I rarely get too political on this blog, I think the lack of translations in the English-language book market and an American fear of foreigners are not unrelated.
This article struck me as a good overview of the history.
The Poetry Society of America has published my translation of Xi Chuan’s “Written at Thirty” 写在三十岁, along with a brief commentary in which I provide some background on Xi Chuan’s life and works, and discuss translating his poetry. Here’s how I end the piece:
“Written at Thirty” comes from right after Xi Chuan’s switch from lyric to expansive prose poem. While it’s not prose, obviously, it nevertheless contains the multitudes that any open look at one’s biography requires. Other translators have published their versions—both online and in print—but my translation takes advantage of Xi Chuan’s explanation to me of what he meant by the line I had earlier translated as “I grew up with the whole world’s crickets”: he said his teenage years coincided with the end of the Cultural Revolution (1966 – 1976), which also entailed a change in Chinese people’s relationship with Maoist rhetoric. Much of his poem, he said, was an attempt to “write through” his upbringing and the language around him. English-speakers being, for obvious reasons, much less attuned to Marxist diction, I rewrote my translation through the final appeal of The Communist Manifesto, to translate the line as “with working crickets of all countries I grew up.”
Over at ALTAlk, the blog for the American Literary Translators Association, Matt Rowe has posted a Links Round-up of some of the news & articles focusing on translation that have been circulating recently. It’s a great compilation of Events, Readings, Reviews, and more, and includes my review of Zhai Yongming’s 翟永明 Changing Room, translated by Andrea Lingenfelter, Paper Republic‘s Eric Abrahamsen on the ups & downs of Chinese translation, a report from the London Book Fair by Publishing Perspectives on The “gatekeepers” of literary translation, and more. Take a look!
It’s nearing on old news by now, but I wanted to offer congratulations to my three friends whose translations have been selected among the six finalists for the 2012 Best Translated Book Award for Poetry (follow the link for a full list, including the ten fiction finalists):
Spectacle & Pigsty by Kiwao Nomura
Translated from the Japanese by Kyoko Yoshida and Forrest Gander
(Omnidawn)A Fireproof Box by Gleb Shulpyakov
Translated from the Russian by Christopher Mattison
(Canarium Books)False Friends by Uljana Wolf
Translated from the German by Susan Bernofsky
(Ugly Duckling Presse)
Good luck to all of you–I hope for a three-way tie.
Last week Words Without Borders was reporting on location from the London Book Fair, and their report from Day 3 is full of excitement about Chinese poetry in English and the newly published Jade Ladder: Contemporary Chinese Poetry, which includes my translations of some of Xi Chuan’s work. Here’s the beginning of their writeup:
The highlight of the third and final day at the Literary Translation Center was a conversation among poets, editors, and translators about an exciting new book of contemporary Chinese poetry. The book is called Jade Ladder—and the panelists discussing it, and related subjects, sounded like just the playful, dissenting and sensitive voices you’d hope to find in such company.
As I posted before, Xi Chuan was one of the panelists at the event, but for some reason WWB didn’t mention him by name; nor did they mention him as part of the Chinese poetry panel with Han Dong 韩东 and Nicky Harman, either, which he also participated in. Ah well.