A children’s literature exhibition and copyright exchange for countries along the Silk Road were two of the major focuses of the just-ended Beijing Int’l Book Fair, reports the Global Times (Book Fair):
Children’s book publishers from 15 Arab countries and 18 domestic publishers signed deals that will see the best of children’s literature from China and the Middle East be shared between the two regions.
Given the increasing number of culture exchanges between China and Arabian countries, the China
Publishing Group, China’s largest publishing company, has worked on expanding cooperation with over 20 countries in the Middle East. At the fair, the publisher announced it closed a deal with Middle Eastern publishers to bring Maodun Literature Prize winner Zhou Daxin’s Requiem [安魂] to the region. The publishing house’s Mottos of Modern Chinese previously sold more than 10,000 copies in the region — a record for Chinese books sold in the Middle East.
This will come as no surprise to you, assuming you’ve been following the developments about China’s far-reaching One Belt, One Road campaign (一带一路), a development strategy and framework that seeks to foster connectivity and cooperation between China and the countries along the ancient Silk Road.
At the moment, the Silk Road Economic Belt is getting a lot of press coverage for its grandiose proposed infrastructure projects, and the fact that it is making Moscow and Washington rather jittery. But there’s a more subtle side to it. The “Silk Road Fragrant Books Project” (丝路书香工程) is effectively the cultural component of the campaign. Given the stamp of approval by China’s Ministry of Propaganda, it is designed to stimulate the translation and publication of great literary, historical and cultural works that are grounded in the cultures of peoples along the ancient Silk Road.
The project plan for 2014-20 includes translation subsidies, translations between Chinese and various foreign languages, international exhibitions, and a database of Silk Road publications. The definition of “silk road” is quite broad, including both the original land-based caravan routes from Xi’an through Central and West Asia, the Middle East and Europe, as well as the so-called Maritime Silk Road that linked the South China Sea, South Pacific and the Indian Ocean.
As I reported in Slice of the Pie, the Silk Road Fragrant Books Project already claims a number of achievements. Agreements were inked in 2014 to set up “mechanisms” to facilitate mutual silk road translation projects with countries such as Morocco, Saudi Arabia, Kuwait, Sri Lanka, Kazakhstan and Mongolia. Nationalities Publishing House (民族出版社) has reportedly undertaken to publish 17 books in Kazakh, including Three Hundred Tang Dynasty Poems (唐诗三百首) and the contemporary classic The Governance of China (习近平谈治国理政) by none other than President Xi Jinping.
During June 5-9, Nationalities Literature Magazine (民族文学) organized an intensive “editing/rewriting training course” (改稿班) that brought together the magazine’s editors with twenty-plus Kazakh writers and their translators. Mandarin and Kazakh aside, the magazine appears in Mongolian, Korean, Tibetan and Uyghur, and training sessions for writers and translators of the latter four languages are also scheduled to take place within June, according to the article (改稿班).
We can expect that this will—eventually—lead to fiction written by non-Han authors in their own tongues being published in English. The first step is to get their writing into Mandarin, possibly via Nationalities Literature Magazine, or People’s Literature (人民文学). It will then stand a good chance of appearing in Pathlight, a magazine dedicated to Chinese literature in English translation that is jointly produced by People’s Literature and Paper Republic.
In fact, the Spring 2014 edition of Pathlight will feature writing solely by ethnic writers: fiction by Alat Asem (阿拉提·阿斯木, Uyghur), Ayonga (阿云嘎, Mongolian), Jin Renshun (金仁顺, Korean), Guan Renshan (关仁山, Manchu), Li Jinxiang (李进祥, Hui), Memtimem Hoshur (买买提明·吾守尔, Uyghur),Ye Guangqin (叶广芩, Manchu) and Yerkex Hurmanbek (叶尔克西·胡尔曼别克, Kazakh); poetry by Artai (Mongolian,阿尔泰), Aydos Amantay (艾多斯·阿曼泰, Kazakh), Jidi Majia (吉狄马加, Yi-Nuosu), Luruodiji (鲁若迪基, Pumi), Ma Huan (马桓, Hui) and Nie Le (聂勒, Wa); and non-fiction by Patigul (帕蒂古丽, Uyghur), Ye Fu (野夫, Tujia), Ye Mei (叶梅, Tujia) and Tenzin (丹增, Tibetan). The full contents aren’t up online yet, but the cover, contents page and link to purchase should be here soon.
Over the last few months a number of reporters have e-mailed to ask about the state of Chinese literature in translation, particularly in light of Mo Yan’s winning the 2012 Nobel Prize for Literature. But most cite just a handful of authors and works in their questions— and Shanghai Baby, translated by yours truly over a decade ago!—is often one of them.
My advice to them is simple: do your homework, please! For starters, check out Paper-Republic. All sorts of goodies over there, including a list of translated Chinese fiction (and poetry) published in 2012, Chinese fiction published in 2013, and a Translator Directory too.
Here at Altaic Storytelling, we focus on writing by & about non-Han peoples, particularly those which speak an Altaic language, but not exclusively. And it is interesting to note that translated fiction with an “ethnic” twist has been building up steam for a while, pre-dating the Mo Yan craze, in fact.
To my mind, the impetus for the increased profile of Chinese literature in the outside world began when China was named “Guest of Honor” at the 2009 Frankfurt Int’l Book Fair. Chinese authors and publishers socialized with their European counterparts—many for the first time—and important contacts and contracts resulted, with the books born of this schmoozing finally hitting the market 2-3 years later.
In China is Focusing on the Fringes published in March this year, literary translator Nicky Harman presciently pointed out that “independent–minded Chinese writers are becoming seriously interested in the geographical fringes of ‘China proper’, drawing on its people, their traditions and conflicts at work.” And as you can see below, foreign publishers are interested. When you consider that over the last few years just 15 or so Chinese novels have appeared in English each year—ethnic or no—this table looks a bit more impressive.
Indeed. So, to show this more graphically—and perhaps even to save myself a bit of hassle in recreating the wheel for the next journalist who wants to pick my brains—I’ve put together this table. If you know something I should add to it, including current projects that will be published in 2014, please let me know!