More Mo Yan

The overlapping world of literary critics and cultural commentators is still arguing about Mo Yan 莫言 and his Nobel Prize. Nobel Literature Laureate from 2009, Romanian-raised Herta Müller calls Mo Yan’s win “a catastrophe” because he “celebrates censorship.” And Anna Sun of the Kenyon Review calls Mo Yan’s writing “diseased“; as for the “shimmering poetry and brutal realism” of his writing as advertised? Sun says “only the ‘brutal realism’ is Mo Yan’s; the ‘shimmering poetry’ comes from a brilliant translator’s work.”
As for the translator, Howard Goldblatt’s “Memory, Speak” is online at Chinese Literature Today. Chinese Literature Today co-founder Jonathan Stalling responds to criticism of Mo Yan with “Mo Yan and the Technicians of Culture.” And an audio interview with Mo Yan has been posted at Granta.
Finally, Tim Parks doesn’t mention Mo Yan in “A Game Without Rules,” but he does say:

For all the different styles of play in different countries and continents, football is a game whose rules can be universally applied. North Korea plays Mexico with a Swedish referee and despite one or two contested offside decisions a result is recorded and one team can pass to the next round without too much discussion. But can we feel so certain when the Swedish referee judges poems from those two countries that he will pick the right winner? Or even that there is a “right” winner? Or even a competition? The Mexican did not write his or her poems with the idea of getting a winning decision over the North Korean, or with a Swedish referee in mind. At least we hope not.

How “International” is Poetry?

At the English Pen site, Michele Hutchison has posted an article titled “How international is poetry?” that looks at the kind of poetry included in international literary festivals like Rotterdam. Here’s a bit of what she says:

If international is taken to mean universal and accessible to all, there are a few stumbling blocks. A haiku is not the same as a sonnet is not the same as badi, but cultural context is just as complex as form. […] The reader/listener’s knowledge or ignorance of a foreign culture is just as limiting to the transmission of literature as a translator’s inability to pick up and carry across all of the layers of meaning, without footnotes.

During the course of the symposium, I learn that K. Satchidanandan has translated his own work into beautiful English and in doing so, he has opted to cut out cultural references which might disturb the Western reading process, for example, ‘rain from the Hindu Treta Yuga period’ has become ‘rain from a bygone age’. Is this globalisation that Tim Parks keeps writing about on the NYR blog at work? Have the poets been invited precisely because they write the kind of neutral, non-culturally specific poetry that translates and travels easily?

In addition to what Tim Parks has written w/r/t fiction, this is also close to what Stephen Owen wrote in a review of Bei Dao‘s 北岛 poetry in 1990: a certain kind of “international” or “world poetry” crops up that translates well, but which gives undue weight to the cultural expectations of readers in Europe and North America at the expense of literary traditions in other parts of the world. Hutchison takes this even further, noting that poetry from other parts of the world may still come up short when judged against writing from the center of the current world system, which will find ways of reiterating its own centrality:

Headliner Ron Silliman, one of the L=A=N=G=U=A=G=E poets, reads work that is playful and incomprehensible. Does he get away with this because he writes in English and refers to the dominant culture? […] Are the most complex and impenetrable poets here the ones who write in English?

While this is an interesting argument to pursue, and important for understanding what’s been happening, and what continues to happen, in literary history around the world, the way the argument slides over too easily into value judgment bothers me. Certainly it’s a problem that local traditions are being sacrificed at the altar of international exchange, but a poem is not necessarily good or bad because it embodies or rejects cultural specificity (to be fair, this is the point Hutchison makes at the conclusion of her post).

Moreover, just as translation can be a vehicle for the global propagation of an American Standard poetry (and we should remember that American Standard usually refers to a toilet), translation can also work against that standardization and remind readers in a new language that writing from around the world can be at least as complex and rewarding as what they’re used to. Hutchison quotes Poetry International magazine’s Correen Dekker, who explains that “translators are more willing to work on texts which allow for a successful end product”; this is true, but for me translating Xi Chuan, I do not judge the success of the end product based on how much it adheres to an ethnocentric vision of poetry cleansed of foreign reference points, but rather on how it expresses an aesthetic experience that can include the complex fullness of what both poetry and Chinese culture can entail.