Categories
Chinese Fiction by & about Ethnic Minorities (中国少数民族文学)

2015 Mao Dun Prize: Who Will Snare Award for Unofficial “Ethnic-themed” Category?

Hong Ke's longlisted novel 《少女萨吾尔登》 interweaves Xinjiang, Mongolian and Shaanxi motifs
Hong Ke’s long listed novel “The Fleet-footed Sawadeng Dancing Girl”  interweaves Xinjiang, Mongolian and Shaanxi motifs

The longlist for what is arguably China’s most prestigious award for novels has just been published (第九届茅盾文学奖参评作品目录). I write “arguably” because, like virtually every literary competition in the PRC of late, even the reputation of the Mao Dun Literature Prize — sponsored by the very official Chinese Writers Association — has been questioned. See 2014: Year of the Chinese Literary Prize (Scandal)? for a wrap-up.

Awarded every four years to between three and five long works of fiction (at least 130,000 hanzi), they will be handed out again this year (2015). China-based publishers have nominated some 252 works distributed in hard copy form between 2011-2014.

Naturally, there are plenty of works by famous mainstream authors on the list, such as Ge Fei (江南三部曲), Jia Pingwa (古炉, 老生) and Han Shaogong (日夜书).

But here at Ethnic ChinaLit, our focus is on “writing by & about non-Han peoples of China.” And it is my understanding is that there is a tradition — albeit an unwritten rule — that each set of Mao Dun awards include one “ethnic-themed” work (民族题材的作品). In the past, winners included Huo Da’s Funeral of a Muslim (穆斯林的葬礼), Alai’s Red Poppies (尘埃落定), and Chi Zijian’s The Last Quarter of the Moon (额尔古纳河右岸).

By my count, there are at least 20 contenders for the prize that fall into the unofficial ethnic-themed category, i.e., the novel has major “non-Han” components in terms of characters and storyline. My impression is that the Chinese literary establishment has also become acutely aware of the need to identify and promote authors who not only write about ethnic minorities, but are themselves “ethnic” writers. That may give certain nominees a bit of an edge this time around — after all, winning titles and authors must definitely meet the prevailing standards of political correctness. Model writers, particularly hailing from restive border regions such as Xinjiang, Tibet and Inner Mongolia, are likely to be particularly in demand.

The recent brouhaha over Wolf Totem, the movie, is a good example of the pent up frustration among peoples

Mongolia: Guo Xuebo's explores the Shamanistic past of his people and his family
“Mongolia”: Guo Xuebo explores the Shamanistic roots of his people . . .  and his family

who are unhappy at seeing their culture commercialized for great profit —and possibly misinterpreted — by Han authors like Jiang Rong. See Breakthrough for Mongolian on the Screen for details of one author’s critique of the very idea that the wolf represents a totem for the Mongolian people.

I’ve gone through the list of 252 novels and done my best to identify non-Han authors and their works. No doubt I’ve missed some, and I welcome your additions and corrections. Interesting to note that this list is dominated by members of ethnicities located in northern China that traditionally speak an Altaic language such as Mongolian, Daur, Uyghur or Kazakh:

《时间悄悄的嘴脸》by Uyghur writer Alat Asem (阿拉提·阿斯木). For an excerpt of his writing, click on his short story Sidek Golden MobOff . I recently read the nominated work (a novella, actually), which I enjoyed. Asem’s fiction is a Uyghur world where Han just don’t figure; his hallmarks are womanizers, insulting monikers and a hybrid Chinese with an odd but appealing Turkic flavor.

《艾多斯 · 舒立凡》 by young Kazakh writer Aydos Amantay (艾多斯·阿曼泰) who won the Aksay New Writer’s Award for this work.

《忽必烈大汗》Kublai Khan by Mongolian writer Bagen (巴根)

Categories
Tibetan Topics (藏话题)

Light Reading for Tibetans: “1984” and “A Day in the Life of Ivan Denisovich”

"1984" in Tibetan: But will readers on the Roof of the World recognize this is supposed to be fiction?
“1984” in Tibetan: But will readers on the Roof of the World recognize this is supposed to be fiction?

Orwell’s 1984 — in Tibetan (གཅིག་དགུ་གྱ་བཞི།, at left) — is now available in the PRC, confirms French Tibetologist Françoise Robin in an e-mail today. I assume it has the official stamp of approval, because it is published by the state-run Gansu Nationalities Publishing House, according to a news item in Tibetan (here). It was translated by Dorje Tseten (རྡོ་རྗེ་ཚེ་བརྟན་), who lives in the US. According to the report, he is currently translating Animal Farm.

Also published earlier in the same “Collection of Tibetan Translations of Famous Novels of the World” series was Alexander Solzhenitsyn’s 1962 grim novel of life in the Soviet gulag, A Day in the Life of Ivan Denisovich (tr. G. yang ‘bum rgyal གཡང་འབུམ་རྒྱལ།).

Regular readers of this blog will have noticed that China’s literary translation policy has indeed been undergoing some major changes of late. Earlier largely uni-directional translation — read from Han Chinese into various other languages of China — has evolved into a markedly more multi-directional approach. That means more fiction by non-Han writers is getting translated into Chinese, and more international writing is appearing in Uyghur, Mongolian, Tibetan, etc.

Other examples of English and French literature recently published in Tibetan: