By Dylan Levi King, March 10, '20
The Flock of Ba-Hui and Other Stories伦理剧 from , a collection of Lovecraftian horror by a pseudonymous author is among the more interesting works to appear recently in translation from Chinese.
Of course, web novels and online writing have made it into translation before. I’m thinking of Shen Haobo 沈浩波, who made a name from poems published online (and who once made a living as a publisher of online lit), and also Murong Xuecun 慕容雪村, whose Leave Me Alone was first posted online—some of that has made it to ink and paper, but most of the translation of web stuff remains online, and it’s mostly in the form of light novels, like Godly Stay-Home Dad 神级奶爸 and the nearly 5000 chapter Martial God Asura 修罗武神伦理剧 (it could be 10,000 chapters by now).
I’ve pulled examples from two extremes—work mostly of interest to academics on one side, wildly popular wuxia fantasies on the other—but the stories in The Flock of Ba-Hui probably sit somewhere in the middle: still genre fiction but from a slightly more serious tradition, and written with more attention to the craft. They were culled from the , a discussion board for fantasy worlds, games, and literature.
By Dylan Levi King, June 11, '19
Digging into Paper Republic's archives, there's plenty of discussion of Jia Pingwa—when is he going to make it into translation? What the hell is going on?
Since 2016, five of Jia's novels have been translated, we might see two more before the end of the year, and at least three more are on the way.
The crop of Jia Pingwa books in translation have mostly been harvested from the author’s more recent works, but The Earthen Gate 土门, is the book that returned Jia to grace after the dark days that followed the ban of Ruined City 废都 in the early-1990s.
I’ve always thought that Ruined City and the three books that followed—White Nights 白夜, The Earthen Gate, and Old Gao Village 高老庄—were Jia’s best, so it’s nice to see that two have finally made it into English. The University of Oklahoma Press put out , and Valley Press commissioned Hu Zongfeng 胡宗锋 of Northwest University 西北大学伦理剧 to translate .
By Dylan Levi King, May 3, '19
伦理剧I've got a Twitter timeline full of 5G hysteria, Huawei backdoors, GitHub protests against the tech sector practice of 996 working hours (9 a.m. to 9 p.m., six days a week), the UAE running a drone war in Libya with Chinese tech, a Chinese developer getting nabbed for leaking a wildcard SSL key, Committee on Foreign Investment in the United States pressuring the Kunlun Group to sell Grindr, etc. etc. etc.—the world runs on but seems deeply anxious about Chinese tech.
That makes Pang Bei's Unicorn伦理剧, a cautionary fable set in the present day Shenzhen tech world, very timely.
By Dylan Levi King, April 19, '19
This is the record of a few days spent with Jia Pingwa and Nicky Harman in Xi'an and environs, as we prepare a translation of Jia's Qinqiang for AmazonCrossing.
I’d already spent the last several days with Jia Pingwa, hanging out in Xi’an and going down to the countryside, but, sitting at a table with the author one night at in Sichuan restaurant off the Second Ring Road in Xi’an, I was dying to do what I’m sure many people have already done: tell him how I first came to read Ruined City.
伦理剧I think I wanted his approval, to prove to him that I was connected to his works or that I could understand it and that I was the right person to translate it, even if that decision was no longer in his hands.
By Dylan Levi King, October 26, '10
Western critics have expected Chinese authors to unambiguously answer political questions, to stake out their positions, to be in opposition to Mainland China's prevailing social order. Chinese books are mostly translated into English and published by university and academic presses to support Western ideological claims, and everybody stopped reading them a long time ago.
伦理剧So, if I had to jot a list of reasons that Jia Pingwa has never really been translated into English in a major way... somewhere on that list, I'd note a cultural conservatism that doesn't appeal to Western readers of Chinese fiction, and I'd also list a general ideological subtlety. When Jia Pingwa's Turbulence dropped, it was met with kindhearted confusion, and reviews of it still resorted to calling it a critique of "the bureaucracy that hamstrings modern China." They had nothing else to say. Okay. What if Jia wrote a novel set during the Cultural Revolution?
Just like you've always wanted to hear Rod Stewart rip into "My Funny Valentine," there are those that are stoked to have, say, Mo Yan tear into the central government's family planning policy or have Jia Pingwa really get into the Cultural Revolution.
Jia's early writing, which is not very highly regarded (even by Sun Jianxi, really), is often set casually during the Cultural Revolution ("casually" because it's not the Cultural Revolution of Scar Literature or Western imagination). He has never really laid into the subject, as, I guess, he's been expected to. But... he has now.
By Dylan Levi King伦理剧, October 10, '10
Internet writing comes in for its fair share of abuse-- check Jia Pingwa in a recent profile, joking that he doesn't have to stoop to writing about tomb raiders or eulogizing entrepreneurs... or Tibetan mastiffs, I guess... or alienated, aging 80hou kids....
Damn, people are reading it, though.
Even before Yuan Lei (also known as Yuan Ping) got picked up by the Dongguan PD "on suspicion of disseminating pornography," his novel, In Dongguan,伦理剧 posted on had two million views.
Is there anything beyond the easy story, about (very poorly executed) censorship, which has been picked up by the usual gang of Western China watchers? Anything?
By Dylan Levi King, March 27, '10
That's the question in a piece by Wang Yan, for the Liaoning Daily. The article is from a seven part series called, "Re-evaluating Chinese literature."
It features the thoughts of a gang of Chinese scholars, whose opinions range from reasonable to... let's say, unreasonable:
In this installment, "re-evaluating" will take on a slightly different meaning, as we evaluate the position of Chinese literature in a more global sense. We will re-evaluate the status of Chinese literature, from the point of view of cultural exchange and translation of Chinese books. No matter what is achieved in our contemporary literature, the question remains of its standing on the world stage.
Translating books and promoting them overseas is our literary bridge to the West. Currently, that bridge might be said to resemble a plank of wood spanning a wide river. This single narrow and flimsy link to the West is no longer sufficient.
Western translators and scholars of Chinese culture are known as Sinologists. They have been studying China for centuries, but there are very few scholars focusing on contemporary literature. Chinese scholarship on Western literature has a history of at least a hundred years, but Western scholarship on Chinese literature is a field with history of only two or three decades. The West and China do not have an equal understanding of each other. Many Chinese authors are simply ignored by Western scholars. There is a general ignorance of Chinese literature in the West, yet Chinese writers still take to heart everytime China is overlooked for the Nobel Prize for Literature. The West ignores Chinese literature but we still hang on every word that Wolfgang Kubin says. Every Chinese writer still wants to become an international writer. Taking all of that into account, let's rethink our answer to the question of how far Chinese literature has progressed down the road to global acceptance.
By Dylan Levi King, February 19, '10
Jia Pingwa's novel Qin Qiang (The Writers Publishing House, 2005) won last year's Mao Dun Literary Prize and is another masterpiece by the prolific author, whose works are still mostly unknown and untranslated. What is there to appeal to translators and potential readers in the book? When are we going to see it in translation?
From the first half of the book, romance, rats and local politics in rural Shaanxi:
I still remember the rat that crawled out of the sewer. I raised him as a pet. He'd climb on the ceiling rafters and dance for me. After he was tired of dancing, he'd look down at me. His eyes were all pupil, dark black pupils that glinted with mischief. Cats knew not to venture close to my home. After my father died and I was left alone, nobody knew how I spent my time. But the rat knew. Each morning, I'd wake up and place three sticks of incense in front of the portrait of my deceased father, then sit down to write in my diary. In Qingfeng Jie, I was probably the only one who was writing away at a diary. From the incense burner, a ribbon of dark smoke slowly curled upward. It lengthened, reaching up to the rafters, where the rat watched me write. The rat thought it was a string and he leapt out, hoping to slide down it, to the table. Pow, he crashed down into the incense burner.
I've heard people say that rats are smart but they can be pretty dumb, too. This rat was rather fond of me, actually. But one of the reasons he stuck around for so long was because my house always had something to eat. I heard that last year when Mao Dan from Dong Jie got sick, he had to sell everything to pay the doctor bills. Every rodent that had previously made a home in his house escaped as soon as the food was gone. What I wanted to say is: this rat was civilized. He even chewed up the pages in my diary, the ones about Bai Xue. I looked at him in wonder, You know that I miss Bai Xue? Rat, if you can understand me, run to Bai Xue and tell her how I feel. He immediately took off to Xia Tianzhi's home and Bai Xue's bedroom. The rat climbed up and down the mosquito netting that was wrapped around her bed. Bai Xue looked up, "A little thief, eh?" She used an empty makeup box to trap the rat inside. The box still had a bit of foundation powder inside. With the powder spread over his fur, the rat pitifully squeaked, "Yin Sheng misses you! Yin Sheng misses you!" Bai Xue didn't understand what my rat trying to tell her.
After a while, the rat wandered into the main room of the house, where he found something else to chew on: one of Xia Tianzhi's scrolls of calligraphy. The one that my rat chose to chew had been scrawled by the director of the county's cultural research insitute. When Xia Tianzhi discovered the holes in the scroll, he shut up the windows and the doors and trapped my rat inside the room. He tossed the rat to the mute to look after. The mute carried the rat outside, doused the tiny body with kerosene, set it on fire and tossed it to run in the big courtyard in front of the theatre. The rat immediately burrowed into a heap of wheat straw. The straw immediately caught on fire.