Steve Bradbury at the University of Oklahoma’s Chinese Literature Translation Archive, talking about contemporary poetry from Taiwan in the context of its visual culture. Specific mention of Hsia Yü 夏宇, Hung Hung 鴻鴻, Shang Qin 商禽, Ye Mimi 葉覓覓, and Amang 阿芒.
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.
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.
The current issue of Chinese Literature Today is free throughout August for Women in Translation month.
The main feature of the issue is of Newman Prize Laureate, the Hong Kong writer Xi Xi 西西, with introductions, appreciations, interviews, and new translations by Jennifer Feeley, Tammy Ho, Ho Fuk Yan 何福仁, Steve Bradbury, Wei Yang Menkus, and others.
The issue also features an appreciation of scholar Maghiel van Crevel, of Leiden University, with an interview with Jonathan Stalling and an appreciation by Nick Admussen, as well as an article by van Crevel about migrant worker poetry in China.
There is also a suite of contemporary Chinese poetry, by Wang Jiaxin 王家新 (translated by Diana Shi & George O’Connell), Che Qianzi 车前子 (translated by Yang Liping & Jeffrey Twitchell-Waas), Li Dewu 李德武 (translated by Jenny Chen & Jeffrey Twitchell-Waas), Hu Jiujiu 胡赳赳 (translated by Matt Turner & Haiying Weng), Mi Jialu 米家路 (with translations by Lucas Klein, Michael Day, and Matt Turner & Haiying Weng), Huang Chunming 黃春明 (translated by Tze-lan Sang), and Chen Li 陳黎(translated by Elaine Wong).
Click here to read for free!
Hong Kong writer and poet Xi Xi 西西 will be at the University of Oklahoma (Norman, OK) to receive the 6th Newman Prize for Chinese Literature, on March 7-8, 2019.
She will be taking part in public events with Ho Fuk Yan 何福仁, Tammy Ho, Jennifer Feeley, Man-fung Yip, Ping Zhu, and Jonathan Stalling. Click here for the full schedule.
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.
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
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.
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.”
“Mang Ke is a genius amongst contemporary Chinese poets. In a dark age, his early lyric poems were unparalleled–translucent, profound, and enchanting.”
Xi Chuan and other Chinese and American poets are at the University of Oklahoma for the US-China Poetry Dialog, organized by Jonathan Stalling.
The first public events will be on the 24th at 10:30 a.m. in OU’s Bizzell Memorial Library and 7 p.m. at Fred Jones Museum of Art. There will also be a reading on the 25th in Eureka Springs, AR, at 7 p.m. at the Writers Colony at Dairy Hollow, and on the 26th in Bentonville, AR at Crystal Bridges Museum of American Art at 6 p.m.