Farewell to Chutzpah! Lee Yew Leong interviews Austin Woerner

Ou Ning’s 欧宁 literary journal Chutzpah! 天南 is closing, and to commemorate it, Asymptote‘s Lee Yew Leong interviews its English pullout Peregrine editor Austin Woerner. Austin sez:

What was unique about Chutzpah! was that it didn’t see itself as a journal of Chinese literature per se, but rather as part of a global literary conversation … the magazine’s Chinese editors were very plugged into international literary goings-on, and in addition to translating “hot” Western writers into Chinese—Arundhati Roy, Roberto Bolaño, Jesmyn Ward, and Junot Diaz are a few of the bigger names—we collaborated with n+1 and A Public Space, and published interviews with prominent Western intellectuals. But that’s just one facet of the magazine’s identity. A big part of Ou Ning’s mission was to promote the work of younger Chinese writers and some older ones who hadn’t gotten the attention they deserved, and to create a niche in the Sinophone literary ecosphere for more offbeat, unconventional writing. The issues were themed and carefully curated, and the style was eclectic—we published everything from traditional realism to avant-garde experimentation to scifi, fantasy, and detective fiction—and our Sinophone contributors hailed both from mainland China (including ethnic minorities like Kazakhs, Uyghurs, and Yi), and from Taiwan, Hong Kong, and throughout the Chinese diaspora, from Singapore and Malaysia to the U.S. and the U.K. … As far as the English supplement goes, the notion was to make some of these new Sinophone writers available in English so that their work might eventually find readers outside of China and the exchange might become more bidirectional.

What satisfied me most was to have had a hand in creating a community of Chinese-English literary translators, and to have given a handful of translators, particularly younger ones, a chance to hone their craft and encounter new authors. When I started as English editor, my first priority was to make sure that translating for Chutzpah! was a worthwhile experience for our translators. So even though we often operated on a breakneck schedule, I insisted on having a complete editorial process, giving translators detailed responses and line edits and building in at least a couple days for revision and back and forth. I thought of “Peregrine” as a kind of translation incubator, where Chinese-English translators could cut their teeth on new authors and forms with the benefit of editorial feedback and in a friendly environment.

For the interview in full click the image above.

New Directions New Homepage

New Directions has updated their website’s homepage, with my translation of Xi Chuan’s Notes on the Mosquito making the display, right between a new collection of Kenneth Rexroth’s writings, Thomas Merton On Eastern Meditation, and Natasha Wimmer’s translation of Roberto Bolaño‘s first novel.

Guardian: Are we finally getting the hang of foreign fiction?

Over at The Guardian Sam Jordison has an article titled “Are we finally getting the hang of foreign fiction?” My favorite paragraph:

One thing I am wondering, however, is if we in the English-speaking world are becoming better at understanding the value of good translated literature. In that earlier article, I noted that “although around 60% of all translations are taken from the English language, English readers take only around 2-3% of their books from other languages”. I haven’t been able to find contradictory figures, but anecdotal evidence suggests that the imbalance is becoming less marked. Stieg Larsson continues to sell by the bucketload; Roberto Bolaño is ever more revered; new imprints such as Gallic Books, focusing exclusively on translation, are thriving. In the meantime, the exemplary New York Review Books has brought out so many translations of such high quality that a serious reader could take in nothing else for years and still feel entirely satisfied.

The article doesn’t mention poetry–a frustrating omission–but it’s still worth a read for its sense of promise.