Chinese Literature Today free for Women in Translation Month

Image result for chinese literature today
Chinese Literature Today, free for Women in Translation month

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!

AAWW Interview with Liao Yiwu

Jiayang Fan interviews Liao Yiwu 廖亦武, author of For a Song and a Hundred Songs, for the Asian American Writers’ Workshop. Interview translated into English by Liz Carter. Here’s an excerpt:

Do you think that you, as a Chinese writer, must take a stance on China’s government? Or do you think, as someone who writes literature, you do not necessarily need to have anything to do with politics?

The difference between myself and the dictatorship is a difference of aesthetics. I am a person who writes stories. The further removed from politics and power I am, the better. Unfortunately, they feel that a person who tells stories is guilty of subversion of state power. Furthermore, I didn’t want to express any political ideas in my writing. Like I just mentioned, political views can show up in a different way. Political correctness, in a book, is like standing on the side of reason, but one of the most basic things about being an intellectual is this: you must have doubt and you must ask questions, even for your own writing, yourself, your weaknesses. You have to keep that skepticism. Many writers, while describing politics or the Chinese Communist Party, stop asking questions of and being skeptical toward themselves. I think this is far removed from that sort of thing.

In the beginning of the book, you wrote that in a talk with Michael Day, a Canadian friend and one of the first foreigners you became close to in China, he really wanted you to participate in the protests at Tiananmen.


And then you asked, “Do you think you love China more than me?” That line really stayed with me.

That guy is more Chinese than I am.

Click the image above for the full interview.