‘Collecting Gods’ by Wu I-Wei 吳億偉的〈撿神〉英文翻譯

lord_guangWu I-Wei (吳億偉) has won numerous awards including the United Daily Press Literary Award for Fiction, the China Times Literary Award for Fiction and Essays, the United Literature Monthly Literary Award for Fiction, and the Liberty Times Lin Rungsan Literary Award for Short Essays. He published his new collection of essays, Motorbike Days (《機車生活》), in 2014 and is now a PhD candidate at the Institute of Chinese Studies at the University of Heidelberg in Germany and regularly reports the latest German literature news for Taiwanese magazines and newspapers. View an excerpt of a previous translation of his work here. This story, ‘Collecting Gods’, won the Jury Short Story Prize at the 30th China Times Literary Awards in 2007. A slightly different version of the original Chinese story can be found here.

The outside of the embankment was still a deep green in early autumn, the only exception being the cotton-like grey of the miscanthus ears, spreading out in a continuous unbroken strip of their own, the branches appearing a lot softer when in the wind. Amidst the rustling of the leaves and grass, one could hear a clacking sound, like something was rolling toward the riverside. Pushing aside the undergrowth as she went, an old hunch-backed woman dragged a ragged looking old pram along the ground. The frilly lace on it had already gone black and it was full of plastic bottles and sheets of used paper. She looked hesitantly in all directions as she made her way onward, her body lowered to enable her easier access to the ground. The rickety wheels continued to clack as she made her way along the riverbank searching for anything of value.  Behind her ran a line of corrugated iron shacks and across a few loofah trellises, was a small path, cut out among the weeds, leading to a little temple, with a roof of red glazed tiles and mottled yellow walls with several scars, as if marked by lightning. The door was wide enough for a person to pass through with their arms outstretched and the statues of the lords of the three realms – the heavens, the earth and the waters – stood fixed on a platform under the roof, golden crowns on their heads and beards down to their chests, each holding a tablet underlining their divine authority, clothed in official garb of glistening divine gold.

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‘The Con Man’ by Roan Ching-yue 〈騙子〉阮慶岳

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He was a con man.

He felt like a cotton-bound paper lantern, panicking that he would be seen through at any moment, giving off, as he was, a glow of affability and affection from every pore, both tantalizing and haughty. After he’d finished a con, he gave his arrogance even freer reign, but he wasn’t normally able to trust his feelings to others. They were his private hoard, a secret love affair, delectable, but not to be shared out loud. Sometimes he felt so stifled that it was as if his insides would rip open in a roar, but then he would use a soothing motherly tone to subdue his organs, bursting as they were with pride-fed excitement, saying, Be good now, I know… but you can’t tell anyone! You can’t tell anyone! You should all be quite aware of that now, shouldn’t you!

The jubilation was like an infant wailing for its mother’s breast, making him feel like a helpless new mother cradling it closer to his chest, rocking it and saying, Don’t cry, don’t cry, come on! Let’s go for a walk to the riverside and see the rainbow. On the street he would be even more cautious, not allowing his arms to fall from his body for even an instant, for fear that the infant inside him would start to wail. Try though he might to contain himself, he wasn’t able to disguise an appearance of self-satisfied mirth and haughtiness, in the drab blur of the crowds, especially with his lantern-like translucent splendor.

His organs would be soothed by the sight of the rainbow and enter into the heavy slumber of sated beasts. However, sometimes the joy he felt was so strong, it would wake him up at night and he would break his taboo by spilling all to his beloved stuffed goose. Like tonight… he couldn’t get images of A out of his head, flowing like restless spirits struggling to emerge from within him, scattered over the countless past months, like colored flags which circle happily in the wind over time, illuminating the lantern case which shrouded him to such an extent that it was as if he would burst into flame any minute.

On nights like this he was left with no other option but to tell the story of A at length to the attentive-looking stuffed goose.

I Lie Because I Love You

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MRT Poetry 2: ‘Poetry’s Funeral’ 捷運詩: 詩的葬禮

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Another little poem on the MRT spotted. Anybody found any others?

詩的葬禮 A Poem’s Funeral
(洛夫著 by Lo Fu)

把一首
I put a
在抽屜裡鎖了三十年的情詩
Love poem locked in a drawer for 30 years
投入火中
Into the fire


The words
被燒得吱吱大叫
Screeched as they burned
而灰爐一言不發
While the furnace was silent
它相信
Believing
總有一天
That one day
那人
That someone
將在風中讀到
Would read it in the wind

 

 

A Review of Li Ang’s ‘Everyone Chews on Sugarcane by the Side of the Road’ 李昂的《路邊甘蔗眾人啃》書評

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Warning: there is adult content in this post.

This is Li Ang’s much anticipated follow up to her 1997 book Everybody sticks it in the Beigang Incense Burner (《北港香爐人人插》), which I’ve yet to read. At first glance it is an irreverent look at the misogynistic self-aggrandizement that characterizes the generation of democracy campaigners who rose to fame after being imprisoned in the martial law era in Taiwan, some of whom later formed the Democratic Progressive Party and went into government under former president Chen Shui-bian. The book also deals with the symptomatic nature of the way the February 28 incident and the White Terror continue to manifest themselves in the political arena. Although this might seem a rather obscure or outdated theme, it can give us an insight into the background of the political mindset in today’s Taiwan, particularly in light of the recent Sunflower Movement and the problems in governance that it has highlighted. The attempt to smear the participants of the Sunflower Movement in March and April as violent rioters, for example, is reminiscent of the Kuomintang’s rhetoric against democracy protesters during the 1980s and 1990s that features in the book.

The book centres around the life of Chen Junying (陳俊英) from his youth as a dissident during the Martial Law era, to his slow drift into irrelevance as a retired politician living in the US in his later years. Li Ang goes to great pains in the introduction, stating several times that the character isn’t based on any one person in particular – her protestations are so frequent however that it’s almost as if she’s prompting us to take this denial with a pinch of salt.

Chen feels owed by Taiwanese society and Taiwanese women in particular and he has a mantra that recurs throughout the book which rationalizes his misogynistic behavior:

(My translation) He was forever the one being let down, it wasn’t just the Taiwanese people who owed him, didn’t Taiwanese women owe him too‽ So it was natural for him to sleep with a good number of women when he came out of jail.

The book can be read as a satire up to a point and parts of it are quite funny, recalling the satirical bite of Wang Chen-ho’s Rose, Rose, I Love You /玫瑰玫瑰我愛你》, like the protagonist’s assumption that he will ejaculate more than other men because of the years he spent in prison, and because he thinks so much of his own masculinity:

(My Translation) She discovered that Chen Junying was excessively liberal with toilet paper after making love. When he climaxed, he didn’t leave that much ejaculate in her (his sperm wasn’t particularly greater in volume than other men, nor did it smell fishier), and not much of it would drip out of her vagina after they’d finished, so one or two sheets of toilet paper would have been enough to absorb it all. He would grab a handful of tissue from the box, however, and pass her a pile, watching her as she meticulously wiped herself clean of any trace until all of the tissue was used up.

In the same vein, Chen takes a very chauvinistic attitude during sex, as, despite being reviled as a dissident by many women in his youth, he still finds time to grumble about the only girl who is willing to get together with him, and treats her with scorn, viewing her status as the product of a “mixed marriage” between a mainland soldier and an aborigine as below his – with a lot of his fellow dissidents using the phrase 「無魚蝦也好」 (bô hî, hê mā ho – If there’s no fish, you can make do with shrimp) to  tease him

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‘The Face Changer’ by Wu I-Wei in Unbraiding the short story

When I was still a student at the Graduate Institute of Taiwan Literature, an American professor came to visit one of my professors and, as one of the two resident foreigners in the department, I was enlisted to see what it was he wanted over dinner. The professor was Maurice A. Lee (see picture second left) and he was hoping to organize a conference in Taiwan, unfortunately our research institute didn’t have the funds to make it happen, but we had a nice chat.

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Some years later, Taiwanese author Wu I-Wei (吳億偉) asked me to translate a short story for him called ‘The Face Changer’ (〈換照者〉), which it turns out has been published in a new anthology edited by Maurice A. Lee called Unbraiding the Short Story, which includes short stories from all around the world. Looks like an interesting read, here’s a quick sample of Wu’s story:

The face changer had been born without a face. His mother said that he’d wanted it that way. Back when he was in his mother’s womb, she was unable to make him whole, and he had to face the world lacking. The only favor his mother granted him was helping him decide which part of his body to go without. Floating in his mother’s amniotic fluids like a corpse, he saw his arms, his two feet, and his body, he felt reluctant to part with the bits he’d already seen, but that only left his face, the only thing he couldn’t see, after his tacit response to his mother’s question, he cried out, and then came into the world.

 

He scared the doctors and nurses in the room when he was born, each of them guessing as to what the child would look like when he grew up. This would be the reason that he would later change his face so much, but it wasn’t because he wanted to shock everyone, with a face that could never be pinned down, but rather that he wanted all their guesses to come true, to satisfy all of their imaginings. Before his face-changing days, back when he was young, he faced a lot of challenges. His mother was worried that he’d scare people, so she drew a face for him. Lacking in imagination as she was, however, the eyes, nose and mouth she drew were those from your average picture book, his features all curved in shape, with eyes like rainbows, and a mouth like an upturned rainbow. If his mother had remembered, she would have drawn a little dot for his nose too.

 

What a splendid face she had drawn him, it always looked so happy that whenever his teacher saw him, she would pinch his cheeks, asking him why he smiled all day long. He couldn’t open his mouth to say anything, so he could only smile in response. As his expression was dictated beforehand, he became the nice guy in his class, and gave the impression of having a particularly good temper. If people hit or cursed at him, he’d still smile away. Sometimes a teacher would intervene, then seeing that the look on his face hadn’t changed a fraction, they would say how innocent he seemed, like an angel…

 

換照者一生下來就沒有臉。他母親說這是他自己要求的,早在娘胎的時候他母親便無力給他一個完整的身體,他得缺陷的面對這個世界,他母親唯一能幫忙的,就是讓他決定要缺少哪個部份,像個浮屍般漂在母親羊水中的他,看到自己的雙手,看到自己的雙腳,看到自己的身體,這些看得到的他都不想放手,只剩下臉了,他唯一看不到的東西,悄悄回答母親的問題後,哇的一聲,就見到這個世界了。

 

據說剛出生的時候他嚇到在場的醫生護士,大家紛紛猜測這小孩長大之後會長怎樣,這可以說是他日後之所以換照的遠因,但絕對不是因為他想要跌破大家眼鏡,擁有一張他們猜不到的臉,而是他要大家的猜測紛紛成真,滿足每一個人的想像。在這之前他年幼當然也受到了一些挑戰,他母親怕他嚇到大家,幫他畫上了一張臉,只能怪他母親想像力貧瘠,他的眼睛鼻子嘴巴就是那種在一般畫冊中看到的,臉上五官都由弧線所構成,眼睛像彩虹,而嘴巴則是反過來的彩虹,若是他母親記得的話,會在彩虹的中間補上一點,那是鼻子。多麼燦爛的臉啊,看起來永遠那麼快樂,學校老師看到他,總喜歡捏捏他的臉,摸摸他的眼睛,嘴巴,你怎麼一天到晚都在笑,他沒有辦法張口說話,只能微笑以對。由於他的表情使然,成為班上有名的好好先生,沒有脾氣,不管別人怎麼罵他打他,還是笑容滿溢,老師幾次幫他解圍,看到他表情沒有一絲一毫的改變,直呼他真是天真,如天使般……

Wu has won numerous awards including the United Daily Press Literary Award for Fiction, the China Times Literary Award for Fiction and Essays, the United Literature Monthly Literary Award for Fiction, and the Liberty Times Lin Rungsan Literary Award for Short Essays. He published his new collection of essays, Motorbike Days (《機車生活》), in 2014 and is now a PhD candidate at the Institute of Chinese Studies at the University of Heidelberg in Germany and regularly reports the latest German literature news for Taiwanese magazines and newspapers.

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Still working on reviews, not given up on the blog, expect more content soon.

‘The Pretty Boy from Hanoi’ by Roan Ching-yue 阮慶岳的〈河內美麗男〉

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Translated from the Chinese by Conor Stuart. This is a short story taken from City of Tears (哭泣哭泣城 kuqi kuqi cheng, 2002) by Roan Ching-yue (阮慶岳) , an architect and professor based in Taipei.

Can I still be heart-broken

He arrived in Hanoi in the afternoon. He didn’t know what to do, so he just wandered around the busy districts and the little alleys near Hoan Kiem Lake, buying a few things for the sake of it, then an old opera house building towering at the end of the street drew him over; there were people queuing up to buy tickets at the booth, he approached and asked a woman what was going on, she said it was an event celebrating the fortieth anniversary of something, and that there was an opera performance from Paris, she said it would be really good and that he shouldn’t miss it.

There was still some time remaining after he’d bought the ticket, and after turning a few corners he came across a beer garden where he sat down to order a drink; there were a few western patrons scattered throughout the bar, mostly in couples or in groups, he was sitting alone, feeling a strange unsettling feeling of not knowing where to direct his gaze. He was still unable to convince himself that he was already here in Hanoi, or indeed of the reasons why he had come, it didn’t seem that this was the course his life should be running, but he really sitting here now, it was strange but inescapable.

The sky darkened suddenly, he paid the bill and then made his way gradually back to the opera house. Along the road there were young pedlars, one of them wouldn’t go away and followed him through a few alleys, a beggar woman urged her daughter, who couldn’t have been older than three or four years old, to hold on tight to his trouser leg; this all made him rather uncomfortable, he had a french opera to enjoy, if only these people, the onslaught of which he was helpless against, would stop appearing in front of him, in the square in front of the opera house he could still see the young policeman standing at attention, indifferently looking on without seeing, he even began to feel resentment against the Vietnamese government for allowing these two completely different worlds to coexist, such inappropriate neighbours with no way to avoid clashing. Continue reading

The Sound of a Falling Angel in the Night – Lolita Hu 夜裡天使墮落的聲音——胡晴舫

Image Lolita Hu (胡晴舫) was born in Taipei and graduated from the Foreign Languages Department of National Taiwan University and went on to get her masters in the Theatre Department of The University of Wisconsin. In 1999 she moved to Hong Kong. She writes cultural criticism as well as short stories and essays. Her works have been published in the media in Mainland China, Taiwan, Hong Kong and Singapore. She currently lives in Tokyo.

Dim light is cast by the dragon-head-shaped wall lights, the pulse of electro shakes the entire space, comfy sofas divide the room into different nooks and crannies for people to drink in, pink nylon and muslin hang from the ceiling to the floor, prints of hundreds of bored faces are faintly discernible upon it. It could only be the hottest spot in Beijing this weekend.

Every three months a new nightclub appears in Beijing, and everybody trips over themselves to go there. The nightclub will normally be in a hutong, a dilapidated courtyard style house or a factory that’s about to be demolished. The same people every time scurry along to explore the new bar, they spout their cigarette smoke while telling you in lofty tones how the music in this new place is cool. After three months have passed, if it’s not that the style of the music has changed, or that the building which houses the club has suddenly been demolished by the city government, then it’s that it loses popularity for no particular reason whatsoever. Another bar opens, it’s also housed in an old factory, a hutong, or a traditional courtyard style house, wherever it may be, it always sounds incredibly cool.

Everyone vies with one another to be the first to spread the news. Then, at the new bar you meet the same familiar faces who recommended the old bar to you so enthusiastically.

When someone mentions the old bar, it’s as if they’re talking about a has-been celebrity. It’s so passé, they say. I don’t even know why it was so popular in the first place, it’s only logical that it’s become as out of fashion as it should have been in the first place.

It’s Friday night at 2am at the hottest bar of this couple of months, situated in the Sanlitun area. She has drunk quite a lot, but she’s still quite sober. She came with a friend who had a song twenty years ago which was popular throughout the whole of Beijing but who never followed it up with any other songs, when meeting a stranger he would always say “I’m so-and-so, do you want to buy me a drink?’. She would stand next to her friend, then not long after that she would ditch him, and sit down next to an immaculately dressed foreigner.

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The Sunken and Forbidden Islands – Huang Yuqian 沉沒與禁閉之島——黃郁茜

There are many islands strewn across the Pacific, they withdrew from the world, and hoped never to be found. The footsteps of the Han quietly snuck up upon them however, their persuasive words laced with the rhetoric of modernity and development. From Orchid Island to Yap, what does the trajectory of these footprints tell us?

 Islands Spirited Away

Rumung, a name that doesn’t appear on any Chinese maps.

The islanders don’t like outsiders, so Rumung is also nicknamed the Forbidden Island – because outsiders are forbidden to set foot there.

Northwards from the Forbidden Island is Sippin, the Sunken Island. Rumour has it that the islanders were so reluctant to being discovered by foreigners that one hundred years ago, at the beginning of the modern era of world history, they decided to disappear into the watery depths together. To this day, Yap islanders who fish in that area can still hear roosters crowing, dogs barking and human voices. Looking northwards from the Forbidden Island, one can even see smoke from cooking fires rising underneath the low lying clouds.1

They hid themselves for fear of being discovered. Several hundred years ago, the Yap islanders were already proficient enough in the art of illusion, that they were able to conceal the entire island from the Spanish as they explored the Pacific. Compared with Palau, which from the 19th Century onward was to become the headquarters of the German and Japanese Empires for the Pacific region, Yap, “discovered” by the Portuguese as early as the 16th Century, seems, like a pebble, to have skimmed along the surface of world history, watching impassively as the fleets of ships passed by, quietly praying that the outsiders never discovered their island, that they never docked there.

“Field Research” or something like it

After the defence of my thesis proposal, I set out for Yap in Micronesia to carry out my doctoral field research.

Wading through the mud of taro fields there, I often wondered how my classmates carried out their field research? “Observation” seems to be a synonym of “”skiving off”. Apparently French structural anthropologists in the 1970s always carried out field research in small work teams: the botanists would focus on collecting samples, psychologists would employ their erudite techniques to divine the psychology of the native peoples, and the economic anthropologists went about measuring the surface area of the fields and the daily food consumption of the residents and so on. They would stay for no more than three months. After collecting enough samples, they would up sticks and leave.

Of course there was also Bronislaw Malinowski (1884-1942), who anglophone anthropologists look up to as creating a bench mark for field work; if his return journey hadn’t been delayed by the First World War, a paradigmatic approach involving long term individual field work might not have been created, the indigenous people, I fear, would not have been endlessly pestered by the solitary Pole in his gold-rimmed spectacles and the tribal mountain villages of Taiwan would not be brimming with graduate students, naïve or seasoned, dull-witted or passionate, thinking back to the great anthropologists that preceded them over the last hundred years, while struggling to survive in the field.

Nor would the leader of the anti-nuclear campaign, many years later, on an island named Orchid Island by the Han, called the Island of Men by the islanders, have asked me with gravity, ‘As the ethnic group you are researching and that have treated you as one of their own, reach a critical juncture between survival and extinction; how do you deal with the fact that, whether you’re aware of it or not, your research shall be used as a reference for development projects by government agencies or entrepreneurs?’

(The friendly nature of the islanders prevented them from saying ‘Actually we hate you anthropologists above all, above everyone.)

Why here?

Eight years ago, I was weeding the fields of a little island that locals call the ‘Island of Men’ and that the Han call ‘Orchid Island’. It was for a period of just under six weeks. Every day I would put on sun cream and follow an old couple into the fields, listening to an Mp3 of ‘Country Road’ whilst I weeded. After listening to the melody around forty times on loop I could make my way back home. Or perhaps it was even longer than that? Memory tends to fail me.

One day my father asked me what I was actually getting up to on the Island of Men? I replied truthfully that I was weeding, moving taro, and carrying out interviews.

Due to my father’s swarthy skin, I was never able to read his emotions on his face, but I knew at that instant that his expression had darkened just then.

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“If you like working in the fields, I have a one hundred square yard patch of land near our ancestral home in the south, I can give it to you to plant vegetables on.”
“If you like taro so much, you can even plant taro there.”
“Actually, I really quite like taro.” my father would say.

I knew what my father had prevented himself from saying.

I’d already complained to my friend on the island. “My high school classmate is studying English Literature at Cambridge. Why am I here weeding the fields?”

My friend gave a chuckle, probably wondering where Cambridge was. Although he was only three years older than me, my friend still perhaps found it hard to understand the mindset of islanders from mainland Taiwan, just as I, even though I followed in their footsteps everyday as they came back and forth from the fields, found it hard to understand why the old people went to inspect and weed the taro fields and to make sure they were well irrigated, day in, day out – or rather, I only understood it rationally, just as I “knew” that their kinship system was bilineal with patrilineal tendencies. As the old people looked anxiously at the stalks and leaves of the taro plants and the rotten bodies of the taros themselves, inside I was just desperate to clarify the principle on which the social hierarchy was based.

“The taros have gone bad,” one old man said.
“The taro haven’t been good since the nuclear station came.”

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‘The Blue Child’ by Egoyan Zheng 〈藍孩子的故事〉伊格言著

ImageZheng Qianci (鄭千慈), whose pen name is Egoyan Zheng (伊格言)is a prominent science fiction writer and poet from Taiwan born in 1977. After dropping out of medical school, he completed his masters in Chinese Literature at Tamkang University. He’s won and been nominated for several literary prizes, including nominations for the Man Asian Literary Prize and the Frank O’Connor International Short Story Award. This is an extract from his science fiction novel The Dream Devourer (《噬夢人》), which was published in 2010. This extract was first translated for eRenlai magazine in January 2011 by Conor Stuart (蕭辰宇`).

The Western limits of the Pacific Ocean. The island nation of Taiwan.

The North coast. The beach at sunset. Although one might call it sunset, given the low latitude, even in the midst of late Autumn, night never fell early. Although the sunlight had actually already long vanished beyond the horizon; there remained the sapphire curtain of night permeated with a milky glean hanging down from the edge of the heavens.

K walked alone away from the bright lights of the fish market beside the quay and wandered along the deserted beach, enjoying the stirring chill of the sea breeze after nightfall. In the distance, above the dark coastal highway, several blimps passed by from time to time at irregular intervals, more intermittent than frequent; one had to wait quite a while to catch sight of the circular beam of the searchlights passing by.

When there were no blimps passing, the vast space in the distance on the margins of his vision was a pitch black. Nearby the neon lights of a seaside amusement park glistened, the carousel with its colorful vaulted arches shone with an orange light in the midst of the pitch black surroundings. It was on appearance a popular scenic spot, in the day time it would most likely be teeming with tourists. Now though, even the majority of those that had loitered had already dispersed. The part of the beach K was standing on was a long way off from the fairground. He couldn’t hear any of the voices or the music. Or perhaps it was because the sea wind rose up to carry away the noise. However, in his line of sight, the fine strokes of sketched light stood out amongst the vast dark background, and the flowing multitude of people and things as they followed the revolutions of the vaulted axis, appeared at that instant to be so beautiful and unreal, like a ghostly gathering of the after images of light…

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