Posts Tagged ‘china’

虹影詩七首 Hong Ying: Sieben Gedichte

12月 20, 2012

风筝

我进不了那房间,哪怕它不上锁
经过楼梯
想到一只被丢弃的风筝
和一个、两个不得不
流产掉的孩子
我只能朝下走

河水泛着冰凉的气泡
从河面飘过
年华,我走得更快

虹影                            1997.2.9

Drachen

Ich kann nicht hinein, auch wenn das Zimmer nicht versperrt ist
Auf der Treppe
Denk’ ich an einen weggegebenen Drachen
An eins, an das zweite
Kind dass ich abtreiben musste
Ich kann nur hinunter gehen

Auf dem Fluss treiben eisige Blasen
Über das Wasser schweben die
Jahre, ich gehe schneller

Hong Ying    1997-02-09
Übersetzt von MW 2005-2012

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用我的身体象征水伸展
透亮, 与网若即若离
风声象高叫的弦
积蓄光, 倾洒在你有折皱的脸上
我沉落
以一生平静日子为代价

燃烧, 吸尽能飞的音色
和节奏, 稳稳挽留目标的河流

虹影                                            1996.1.4

fisch

mein körper wie wasser sich erstreckt
klar, auf eine gewisse distanz zum netz
der wind wie eine hohe saite
sammelt licht, leert es auf deine faltigen wangen
ich sinke
und geb meine ruhigen tage dafuer

anstecken, abbrennen, fliegen können
in klang und takt, der fluss behält das ziel im blick

Hong Ying                                       1996-01-04
MW    Übers. 2005-2012
_______________________________________________________________

写作

原地走行的人,家乡
渡口的对岸
石头房子
欲望的秘密,三十几年
不停地称颂的

一个名字,备受折磨
自由的夏季
幻想过现在
写作,从你受伤的童年描叙起
包括你怀中金黄的虎,跟着你说
严冬结束

虹影            1996.2.16

schreiben

wer dort geht am ersten ort, der heimat
das ufer der anlegestelle gegenüber
die steinernen häuser
das geheimnis der begierde, mehr als dreissig jahre
besungen

den namen, durchgemacht hat er
den sommer der freiheit
hab ich mir vorgestellt jetzt zu
schreiben, beginn bei der kindheit verletzung
eingeschlossen den goldenen tiger in deinen armen stimmt er mit ein
der strenge winter ist zu ende

Hong Ying        1996-02-16
MW    Übers. 2005

_________________________________________________________________

避开我
避开旧居,从发音开始
尖到我一看就会笑
亮到我一碰,大雨就汹涌而下
那是一个人吗
暴露在面前?首先烂掉,然后
发芽。咸味的舌头

呼唤我,从任何角落奔来
要我,再要我
这儿就是目的地
垂直的火燃到水底

虹影            1997.6.14

Hong, der Regenbogen

vermeide mich
vermeide den wohnort, beginn bei der aussprache
scharf, ich sehe hin und lache
hell: ich tippe mit dem finger, und der regen stürzt herunter
ist das ein mensch dort
bloss vor meinen augen? erst verfault, dann wachsen
keime. salzige zungen

rufen nach mir, sie kommen aus jeglichen ecken gerannt
suchen mich, sie wollen mich
hier, das ist der ort des ziels
ganz gerade hängt das feuer, brennt bis an des wassers grund

Hong Ying        1997-06-14
MW    Übers. 2005

_______________________________________________________________

鱼教会鱼歌唱

扶梯深入水, 房子的泪
雕刻在墙上
四年, 还是十一年
红色
再红色

想着我将横穿过这儿
你跑
你是一条鱼
被抽断了脊骨

虹影                              1997.8.7

fische lehren fische singen

die leiter haltend, geh ins wasser, die tränen des hauses
geritzt in die wände
vier jahre, oder elf jahre
rot
wieder rot

wenn ich daran denke werd ich hier durchbrechen
lauf
du bist ein fisch
dem man das rückgrat durchschlug

Hong Ying                                        1997-08-07
MW    Übers. 2005

_________________________________________________________________

安葬

逃亡具体的一分钟
躺进风信子的香气里
我呼吸
魂浮游,前往

来路
你作为一个障碍物
在黑暗中
闪着红光
擦过敞开的窗口

虹影            1996.4.7

zur ruhe gelegt

in der konkreten minute der flucht
gelegt in den duft der hyazinthen
atme ich, die seele treibt

auf dem herweg
bist du ein hindernis
funkelst du rot
in der finsternis
streiftst du das offene fenster

Hong Ying        1996-04-07
MW    Übers. 2005-2012

_______________________________________________________________________

速度

转机,车轮独自承受
这个时代
经纬线交叉进墓地上的云
往下拉
杜鹃花朵朵
吞噬雨
喊一声:你需在这儿

虹影        1996.1.14

tempo

in einer wendung, wagenrad trägt allein
diese zeit
kreuz längen und breiten dring in die wolken über dem grab
zieh herunter
azaleen blühen
verschlingen den regen
schreien: ich brauche dich hier

Hong Ying        1996-01-14
MW Übers. 2005-2012

維也納台灣詩選

12月 19, 2012

2009年在維也納大學讀了三本《國民文選 · 現代詩卷》(2005年,林瑞明選編)。幾年前已經知道2000年有英語、德語有兩本台灣詩選,到現在是英語、德語裡最全的台灣詩選。英語的是馬悅然(Göran Malmqvist)、奚密(Michelle Yeh)、向陽主編的《二十世紀台灣詩選》,中文版2001年出。到現在最全面的,將來還是最全面的德語台灣詩選是廖天琪(Tienchi Martin-Liao)、李敏勇、Ricarda Daberkow主編的《鳳凰樹》。《國民文選 · 現代詩卷》第三本有四首李勤岸詩:<距離學>、<解嚴以後>、<白髮>、<輓聯一對>。2009年春季應台北書展的邀請翻譯了幾首鴻鴻的詩。那年三月他去德國萊比錫書展,我抓機會去見面。
曾經有兩年在台灣學習中文,1988-1990年。那時候還未大學畢業。雖然從小喜歡詩,讀了歐洲幾種語言傳統和現代的詩文,但那時候中文水平相當限制,除了唐詩等等沒讀過很多中文詩歌。那兩年可惜沒學會台語,但是因為碰巧在現任台文筆會主席廖瑞銘台北家租了房間,晚上經常有寶貴的機會談天說地。那時候雖然剛解嚴了,魯迅等現代作家可以公開賣書了,但台灣的大學給外國人教『國語』的老師還都必須是國民黨黨員。記得有一位老師思想比較自由,因為長大喜歡聽收音機聽外地電台有比較寬闊的視界。聽了大陸電台讓他教老外算對他已經不錯。思想比較開放,但當老外學生跟他問二二八,他就說那是武裝起義,至多有幾百人死亡。幸虧只要回家晚上跟房東廖瑞銘先生聊天就可以比較詳細地了解台灣歷史和1980年代末的情況。1990年以後回維也納讀碩士比較專心德語文學。1992年-1993年在上海教德語,1994年在奧地利難民營給因為南斯拉夫戰爭從波斯尼亞來奧地利的難民教德語,替代服兵役。1995年碩士畢業,1995-1996年在武漢教德語,1996年-1998年在歐洲教德語文學。1998-1999年在重慶,1999年-2008年在北京。從2000年開始在北京做翻譯,出了幾本書。因為多年在大陸,雖然非常喜歡黃梁1998-1999年、2009年主編的《大陸先鋒詩叢》,但沒有很多機會認識台灣詩壇。2008年帶妻子杜鵑跟孩子2008年從北京搬回維也納。中文很容易用“回”這個字。孩子們在北京生的,2002年和2005年。
2009年讀了《國民文選 · 現代詩卷》,第三本裡除了李勤岸詩文還很喜歡包括宋澤萊的<告別二十世紀>、利玉芳的<憑弔>、王麗華 <這是自由的國度 >、莫那能的<恢復我們的姓名>、拓拔斯 · 塔瑪匹瑪的<搖籃曲>、<孤魂曲>,還有溫奇的<失眠>、<剝落的日子>等等。《鳳凰樹》和《國民文選 · 現代詩卷》都有陳黎、利玉芳等等。《國民文選 · 現代詩卷》和《二十世紀台灣詩選》都有楊澤、焦桶、瓦歷斯 · 諾幹。《國民文選 · 現代詩卷》竟然沒有夏宇。《二十世紀台灣詩選》有夏宇28首詩,從1980年到1999年。《鳳凰樹》沒有夏宇,但《鳳凰樹》蒐集的詩人到1956年為止。夏宇恰好那年才生出,沒有入選也許還不算那麼奇怪。
《鳳凰樹》一本包括覃子豪(1912年生於中國四川,1925-1937年留日,1963逝)、紀弦(1913年生於中國河北)、陳秀喜(女詩人,1921年生於新竹,1991年逝)、周夢蝶(1920年生於中國河南)、陳千武(1922生於台中縣,先寫日語詩)、林亨泰 (1924年生於彰化,選集題名從林亨泰一首<鳳凰樹>)、杜潘芳格 (女詩人,1927年生於新竹)、錦連 (1928年生於彰化, 會日語)、洛夫(1928年生於中國衡陽)、羅門(1928年生於海南島)、蓉子(女詩人,1928生於中國江蘇)、向明(1928年生於中國長沙)、余光中(1928年生於中國福建)、管管(1929年生於中國青島)、瘂弦(1932年生於中國河南南陽)、何瑞雄(1933年生於高雄,留日)、鄭愁予(1933年生於中國濟南)、林冷(女詩人,1938年於中國四川)、林宗源(1935年生於台南,寫台灣話)、非馬(1936生於台中)、白萩(1937年生於台中)、李魁賢(1937年生於台北縣)、葉維廉(1937年生於中國廣東中山)、朵思(女詩人,1939年生於嘉義)、張香華(女詩人,1939年生於中國福建)、許達然(1940年生於台南)、楊牧(1940年生於花蓮)、杜國清(1941年生於台中縣)、吳晟(1944年生於彰化)、曾貴海(1946生於屏東縣)、陳芳明(1947年生於高雄)、李敏勇(1947年生於恆春)、陳明臺(1948年生於台中縣)、江自得(1948年生於台中)、羅青(1948年生於中國湘潭)、莫渝(1948年生於苗栗)、鄭炯明(1948年生於台南)、陳鴻森(1950年生於高雄)、百靈(1951年生於中國福建)、陳坤崙(1952年生於高雄)、利玉芳(女詩人,1952年生於屏東縣)、陳黎(1954年生於花蓮縣)、楊澤(1954年生於嘉義縣)、詹澈(1954年生於彰化縣)、向陽(1955年生於南頭縣)、莫那能(1956年生於台東縣)。
《鳳凰樹》總共有46位詩人,34位譯者;是一本非常全面的、多元化的、具有台灣本色的詩選。不過沒有1930年出生於中國四川、2010年逝世的商禽,沒有1951年出生的李勤岸、1954年出生的王麗華。(尚禽有一本《夢或者黎明》2006年在德國出版,譯者Peter Hoffmann.)
2009年我翻譯了周夢蝶、鄭愁予、楊澤幾首詩,選入在德國法蘭克福書展代表台灣的一本《台灣現代詩選集》,中德雙語。除了周夢蝶、鄭愁予、楊澤還有余光中、洛夫、尚勤、瘂弦、隱地、楊木、席慕蓉(女詩人,蒙古族)、夏宇、鴻鴻。可以說外省人比較多。
我最近翻譯了陳克華,今年春天翻譯了吳音寧。2012年二月受邀去參加台北國際書展,同樣二月份在台灣參加了一些文化、文學活動,包括去台南參觀台灣文學館。那時候覺得雖然最近十幾年多半做翻譯,翻譯了中國文學作品,也出了幾本書,但是沒有翻譯很多台灣文學。所以回奧地利一面為文訊雜誌做翻譯,一面讀書、考慮翻譯台灣文學的計劃。最後覺得編詩選可以採用自己的詩歌熱愛和經驗。可以翻譯不同時代、作家的詩歌,並翻譯賴香吟的小說。希望可以讓德語讀者更深地了解台灣當代文學、文化、歷史、社會等等。可以促進文化交流,互相更多了解、合作。
我的同事梅儒佩(Rupprecht Mayer)已經翻譯了尚勤、陳黎的詩,還有鴻鴻。我這幾年也翻譯了鴻鴻的詩,還有夏宇、陳克華、吳音寧等等。夏宇還想翻譯很多,應該單獨出另一本書。新竹市教書的倪國榮先生幫我們聯繫到莫那能,倪老師自己的詩作也很值得收入幾首。還有幾位年輕的詩人,都聯繫上了。到現在未能聯繫到瓦歷斯 · 諾幹。如果維也納台灣詩選還可以採用上面提到的宋澤萊、王麗華、利玉芳、拓拔斯 · 塔瑪匹瑪、溫奇就會最理想的。詩選計劃在2013年秋天在維也納Löcker出版社出版。奧地利筆會(Austrian PEN, Dr. Helmuth Niederle 主任)支持本計劃。已經申請了台灣文學館的補助。

12月 10, 2012

請按這裡

please click here

you can find comments here (MCLC List)

Mo Yan’s Nobel lecture is worth seeing and hearing. The link above doesn’t work in China. Tried to post it on Weibo 微博, didn’t work either. Nobelprize.org is still banned in China, it seems. The video of Mo Yan’s speech is of course accessible on many websites in China. What is also accessible, to my surprise, is a video of Gao Xingjian’s Nobel lecture, 12 years ago. One Weibo user made this comment:
对莫言的指责,不尽赞同。但与高行健相比,莫言的差距不是一点点。结局是一个不能回国、只能在海外流浪,而另一个可以继续做作协副主席,备受当下世人追捧。相对于莫言的获奖演说,高行健2000年演说,恐怕更堪称是中文世界的骄傲。

“I don’t agree with Mo Yan’s critics. But if you compare him to Gao Xingjian, there is a huge difference. In the end, one of them can never return to his home country, the other one can keep his job at the Writer’s Association and be celebrated. Comparing the two Nobel speeches, Gao Xingjian’s could be the one more deserving of pride in the Chinese-speaking world.” Hard to translate, because it’s very good and rather literary Chinese.

They had heated discussions in Sweden, for example between Göran Sommardal and Björn Wiman. Read all about it, in Swedish or Chinese (萬之譯) …

Mo 莫

12月 9, 2012

Please click on the image

mo

Thanks to Charles Laughlin for his eloquent and far-reaching defense of literature. A defense, at least a deeper discussion of art and literature, is what has been missing from the debate. We’ve had apologies of Mo Yan 莫言, or the Nobel prize 諾貝爾獎. From himself, in his storied speech. From commentators, including me. I said debate in China is the best thing, perhaps the only thing, that comes from this prize. But what kind of debate? And why? Shouldn’t we be glad about the attention for Chinese literature, and for literature in China? Isn’t it enough to read more, and read more carefully?

Nick Kaldis has observed that Anna Sun’s article was the first attempt to debate Mo Yan and the current situation of Chinese literature in literary terms. Charles has pointed out the crucial flaws. The concept of Mao-speak or Mao-ti 毛體 came up in the 1980s in the context of a renaissance of culture, writing, philosophy, debate- everything that had been missing in the Mao-aftermath. Charles has emphasized that new literature in the 1980s, like the fiction of Yu Luojin 遇羅錦, Dai Houying 戴厚英, Zhang Wei 張煒, Zheng Yi 鄭義, Zhang Jie 張潔, A Cheng 阿城, Wang Anyi 王安憶, Liu Suola 劉索拉, Zhang Xianliang 張賢亮, Han Shaogong 韓少功, Jia Pingwa 賈平凹, Can Xue 殘雪, Ma Yuan 馬原, Yu Hua 余華, Ge Fei 格非 and many others, along with the critical writing, philosophy etc. around it, was supposed to overcome the effects of Mao-speak. Charles has also shown how Anna Sun’s view deliberately blocked out major portions of Chinese literature in many centuries, including the last 100 years.

But let us go back to the 1980s. In hindsight, it was very naive to believe that art and literature could renew the nation. What nation? What kind of nation, stemming from which revolution? It’s very easy and futile now to say all the hope of renewal was naive. The hope ended in 1989, and has been ending ever since, in the selling off of land 地, air 空氣, culture 文化, heritage 傳統, water 水, people 人 – with steadily worsening consequences. On the other hand, art and literature are still involved in an ongoing renewal, with very interesting results.

The only flaw in Charles’ essay, from my point of view, is what I’ve said before, too many times perhaps. I believe that ideology isn’t harmless. Questions involving ideology and philosophy aren’t harmless. At least they were thought of as relevant in the 1980s. Copying Mao’s seminal 1942 speech on literature and art in 2012 is just a ritual, yes. But what do Mao Zedong, the “Yan’an Talks” 延安講話, the involved concepts and the furious critique of ritual obeisance signify in the first place?

Are they all more important than reading more art 藝術? Maybe not. Still, how about a little theory 理論? What is ideology 意識形態? Lacan’s 拉岡 answer, according to Žižek 齊澤克, comes down to emptiness 空虛. No, this is not about Buddhism 佛教. Ideology is what people hold on to in their hearts and minds, in order to belong. To belong to a group. To have an answer, the hope of an answer, a meaning. Do you need to know what your ideology is all about, where it came from, what it involves? Not really. It’s there. Like the believe that everyone is entitled to buy automatic weapons. Every citizen.

In the 1980s, such questions, or more intelligent ones than I can elaborate here, there and anywhere, were asked a lot. A very, very big hope was involved. That’s where Liu Xiaobo 劉曉波 comes from. That’s where Wang Shuo 王朔 comes from. That’s where Yu Hua 余華 comes from. With some writer’s, it’s not always obvious where they come from. Liu Zhenyun 劉震云 and Feng Xiaogang 馮小剛, who are known for lively comedies, with sometimes well-hidden serious issues, have just released “1942”, a film about famine 飢荒. Man-made famine, mostly. And campaigns. Campaigns to unite the nation, to beat intruding foreigners.

It is rather obvious where Gao Xingjian 高行健 comes from, when you hear him speak. Some Weibo 微博 users did that last weekend, for a comparison in Nobel literature speeches 諾貝爾文學演講. Gao’s Nobel speech was available, copied on Chinese servers, which had not been policed very severely in this case, apparently. Gao Xingjian’s Mandarin has a southern accent. He is not hard to understand, but it’s not the kind of Mandarin Mo Yan commands, rather effortlessly, it seems. Mo Yan is the Writer’s Association’s 作家協會 vice chairman 副主席. The chairwoman is Tie Ning 鐵凝. I like her stories, they are very much about memory. But I haven’t heard her speak in public. Don’t know if a shining, booming Mandarin like Mo Yan’s is the standard at official cultural associations these days.

Is it obvious where Mo Yan comes from? Everybody knows where he comes from, we know his aunt, father, wife and brother, as far as they have been interviewed and compared to how they might appear in his novels. That’s what Mo Yan said in his speech. Is that all we need to know? Mo Yan spoke about is mother. It was very moving, at least to me. It’s a great text, that speech. Censorship-resistant. Available in six or seven languages on the official website. Which is blocked 被阻擋 in China, of course.

Gao Xingjian and Mo Yan are very different in their language. Everyone who has read Soul Mountain 靈山 and One Man’s Bible 一個人的聖經 in the original knows that. Mo Yan and Gao Xingjian are very different in their attempts to overcome Mao-ti. Both have written great novels, in my experience. Both stay away from day-to-day political issues and debates. But Gao Xingjian emigrated in order to write and paint in peace, comparatively. Mo Yan worked on his spoken Mandarin. Ok, that was unfair, I don’t know how he sounded in the 1980s. His novels from back then are great, especially The Garlic Ballads. Liu Xiaobo liked Red Sorghum 紅高粱, because it was very sexy, in the 1980s. I like The Garlic Ballads 天堂蒜薹之歌, and The Republic of Wine 酒国. Life and Death Are Wearing Me Out 生死疲勞 and Big Breasts And Wide Hips 丰乳肥臀 are fascinating, too. All stories about more or less recent decades. Sandalwood Death 檀香刑 is a 19th-century-story. Sex, gore and folklore. Very well done. And maybe as moving as Mo Yan’s words about his mother.

Yu Hua’s first novel Cry In The Drizzle 在細雨中呼喊 has a guy running amok in China’s 1970s. The hero’s father, if I remember correctly. Gao Xingjian’s Nobel made many exiled and self-exiled writers and other culture workers think about their paths. Maybe the prize was for all of them, in a way. Is Mo Yan’s prize, in a symbolic way, a reward for everyone in China? Depends on your ideology.

(Sorry, I am not sure where exactly Žižek 齊澤克 published what I’ve related above. Maybe in Has Someone Said Totalitarianism?)

再说中国新诗 300 首 (中英对照) 300 Modern and Contemporary Chinese Poems (Chinese-English)

11月 15, 2012

再说中国新诗 300 首 (中英对照)
Lucas Klein, translator of Xi Chuan 西川, has commented on 野鬼’s new anthology of 300 Modern and Contemporary Chinese Poems (Chinese-English) 中国新诗 300 首 (中英对照). Lucas Klein’s blog is called Notes on the Mosquito, like his new Xi Chuan translations compilation. Notes on the Mosquito as a title reminds me of Bei Dao’s 北岛 Harvest 收获, don’t know if that is intended.

There is Zhang Xinying’s 张新颖 fine anthology 中國新詩 from 2000 (in Chinese), incl. 2 interesting poems by Zhou Zuoren 周作人. Zhang has close to 100 poets and up to 10 poems from each of them. If you cover the last 30 or 40 years, it would have to be rather thick to include at least ten or twenty examples each from 食指、芒克、多多、楊煉、于堅、韓東、西川、伊沙等等,to mention only a few older living males.

My favorite contemporary anthology is 黃梁’s 大陸先鋒詩叢. 10 volumes came out in 1998/1999 – Bai Hua 柏华、Zhu Wen 朱文、Meng Lang 孟浪 etc. 等等. Another 10 came out in 2009, incl. Tibet’s poetess and dissident blogger Woeser 唯色, migrant worker poetess Zheng Xiaoqiong 郑小琼(鄭小瓊), and a few more not-so-well-known poets like Pang Pei 庞培(born 1962).

The new 300-poems-anthology is Chinese-English, but it seems the English versions will all be done by Chinese translators. Some translators could be native speakers of English, and/or writing poetry in English. But it does look like an inner-Chinese project, so to speak. The Chinese Issue of The Drunken Boat from 2006 provides a very broad spectrum in the categories minorities, gender and localities in Asia and beyond. Xi Chuan is prominently featured. The 2008 China issue of The Atlantic Review also has an interesting mixture and beautiful poems, incl. Xi Chuan. But these two anthologies are all in English. In my earlier blog post on this topic of anthologies I have written about the advantages of starting from women writers and minorities. That was in Chinese, sorry.

Huang Liang is operating in Taiwan, but he still had some trouble with Mainland authorities about meeting and publishing Woeser 唯色. The 300 modern poems anthology includes the blind folk singer Zhou Yunpeng 周云蓬, who is also in the 10/19/12 New Statesman issue curated by Ai Weiwei, along with Zuoxiao Zuzhou 左小祖咒. On the other hand, compiler Diablo 野鬼 (Zhao Siyun 赵思云 is not the editor) told me they could never include Li Qin’an’s 李勤安 When Martial Law Was Lifted 解嚴以後, because with books you have to worry much more about (self-)censorship than online. I think When Martial Law Was Lifted 解嚴以後 is a landmark poem in any sense. I like Xi Chuan’s poetry very much, but on the whole now and then it needs to be complemented with something more explicitly political. Actually you could say the same about Hsia Yu 夏宇, maybe. Anyway, Li Qin’an 李勤安 still sounds relevant in Taiwan today, according to some of my friends there. On the Mainland, the role(s) of poetry are more acutely questioned, also by Zhao Siyun 赵思云 and Diablo 野鬼 (Zhang Zhi 张智), for example. See Diablo 野鬼’s “非诗” and Zhao Siyun’s Lili’s Story 丽丽传.

莫言得諾講起

11月 14, 2012

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the noble

the nobel is stronger than china

china jumping up and down

on feet of clay

The situation is maddening for every serious literature critic who cannot acknowledge the encroachment of such a hyper-prize-situation on their territory. On the other hand, this is the perfect opportunity to see, and maybe even acknowledge, the impossible challenge of writing a balanced political or literature and art history of the last 100 years, or even 20 or 30. You could see the huge discrepancy between the international relevance of China and its surroundings and the impossibility for Chinese Studies (and Taiwan Studies etc.) of doing it justice in research, of reacting in adequate or satisfying ways. Actually, Anna Schonberg has found a convincing personal way of talking about Mo Yan’s work and the current debate. Goenawan Mohamad has written an article on Mo Yan and Yu Hua, seen from Indonesia. And Yang Jisheng’s investigation of the Great Leap famine is spawning documentary work in villages in the way of writing “people’s histories” in the People’s Republic. Howard Zinn’s People’s History of the US came out in 1979. China is catching up. There is Yang Xianhui, and there is 1942, a new film centered on famine, after the story Remember 1942 Liu Zhenyun wrote in 1992. But how relevant is literature on the whole?

Li Bai, China’s most famous poet, has been constructed as a would-be useful patriotic official in a recent play. I remember one or two other political readings of his poems. The political role of all literature and art that the CCP ostensibly demanded led to, or enforced overwhelmingly political reading of everything. Now Mo Yan cannot escape political criticism because he is a CCP official. He has written great literature. But because he got this larger-than-anything-even-China-in-a-way-prize, on one hand he can finally be a public intellectual, let his conscience speak and speak out for a return to reason in Chinese-Japanese relations and for a release of Liu Xiaobo, both taboo topics. A voice of reason after “street protests” against Japan (?), somehow evoking both Cultural Revolution and Fascism. Tolerated and stoked by a system in the midst of a supposedly tightly choreographed leadership transition. Leaders of the Bo Xilai generation installed. They’re different, of course.

Yang Jisheng in the international media is the perfect contrast, or antidote, to the 18th Party Congress spectacle. Another good contrast is running a detailed article on the One Child policy, like Die Zeit did. Speaking of family planning, Mo Yan’s Frogs is coming out soon in English and German. Granta magazine has an excerpt online.

Mo Yan spoke out, but he still was attacked because he didn’t speak out before, which is kind of unfair, because it would mean every writer has to be like Liao Yiwu, every artist like Ai Weiwei etc. The Nobel prize is very unique, because it entails so much international attention. And so especially societies with a huge inferiority complex, stemming at least in part from a rather recently constructed nation (as in Turkey) have to turn the recipient into an anointed emblem. The only alternative is to deny, like in Gao Xingjian’s case, that he/she belongs at all to the country he/she comes from and the language he/she wrote most of his/her works in, as Anne Sytske Keijser and Maghiel van Crevel have pointed out in a recent article in “De Groene Amsterdammer” (10/17/2012). In today’s China, for a virtual, fleeting audience online, you can show you are not part of this official face. Up to a point, that is. No mentioning of other recent Chinese Nobel laureates. But you can criticize Mo Yan, no matter if you have read his fiction or not. So anyone interested in freedom of speech has to be thankful to the Nobel prize and to Mo Yan for all the national and international attention they have generated. Mo Yan has chosen to speak out, so he should be respected. You can speak about your own impression of his work, as you should, according to Kant, if the question is “whether it is beautiful” (Critique of Judgement, Book 1). Or you can speak about your personal relationship with him and his work, as Howard Goldblatt has done. But you can also write about Mo Yan in a political light, which is what everybody has done, including me. Reading “Republic of Wine”, for example, both in Chinese and in translation, is much more rewarding.

The debate after Mo Yan won the Nobel is about debate. How much debate is allowed? How does debate get allowed or possible at all? It’s obedience vs. disobedience. What Charles Laughlin said on the MCLC list sounds like this: Demanding outspokenness from Mo Yan now is the same as demanding, in effect, obedience to the Party line in 1942. This is how it sounds like, not only to me, I am afraid. Obedience and disobedience are thus blurred. One-party systems enforce obedience and silence. Draconically, as the 8-year sentence on Oct.31 in Kunming of a young father of an unborn child for talking about a multi-party-system online shows. Multi-party systems include and tolerate traditions of disobedience. In some countries, civil disobedience is highly valued- think of Thoreau and Ghandi. Doesn’t mean these places are always better in every area and aspect.

Apart from Mo Yan and the Nobel subject discussed nobly or not, the New Statesman issue from Oct. 19-25 (guest-editor: Ai Weiwei) and the new issue of Words Without Borders provide worthwhile reading.

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Mo Yan 莫言 and Murakami Haruki 村上春樹 (二)

10月 22, 2012

I want to thank Charles Laughlin for his recent posts on the MCLC list and on Facebook. His conclusion included these words: “Mo Yan’s critics are expecting the same of him that Mao Zedong would have: the political subservience of writers and their responsibility to serve as the political conscience of the nation”. Now I have written another blog post about this. 罗老师多谢!
Mo Yan’s 莫言 situation is ironic, as Charles Laughlin says. But serving “as the political conscience of the nation” is not the same as “political subservience”. It is rather the opposite. As we know, Murakami Haruki 村上春树 and his colleagues can be “the political conscience” of Japan, making “politically progressive gestures”, but Chinese writers in China, because of “political subservience” cannot be “the political conscience of the nation”, except obliquely in their fiction, poetry etc. Or in the first few days after they win a Nobel.

Along with Charles and many other people I am very glad that after Mo Yan was announced as a Nobel winner, he finally felt up to, or forced to open his mouth as a public intellectual, in contrast to the meaning of his pen name. Now he can be a public figure, like Murakami in Japan, not just an ambivalent functionary and a reclusive writer. Or can he? Is he going to say anything more on China-Japan relations or political prisoners? Is he going to mention Liu Xiaobo 刘晓波 in Stockholm? He will certainly be asked about other Chinese Nobel winners. That’s the nature of this particular prize, whether you like it or not.

Murakami and his colleagues can “serve” as public intellectuals, when their conscience tells them to do something additional to their writing. The irony is that under CCP 中国共产党 rule, there are no public intellectuals in China. There are occasional trouble-makers and commentators, like Ai Weiwei 艾未未 and Murong Xuecun 慕容雪村, Yu Hua 余华 and Wang Shuo 王朔. But can any of them speak their mind in public at length about Sino-Japanese relations or other sensitive topics? Apart from these writers and artists, there are professors like Cui Weiping 崔卫平, who issued the call to turn back to reason in Sino-Japanese relations, which got censored on Sina Weibo 新浪微波. She has often been prevented from traveling abroad. And there are some civil rights lawyers, who sometimes disappear.

Murakami and his colleagues can “serve as the political conscience” of Japanese society in and out of their books. Mo Yan has to be very circumspect with his topics. The Garlic Ballads was censored and supressed for a while. Mao’s “Talks” 讲话 at the “Yan’an Forum” 延安文艺座谈会 helped to make sure writers and artists could not speak their conscience. Vague documents like this have played an important role as instruments of obedience inforcement in one-party societies, as Anne Sytske Keijser and Maghiel van Crevel have shown in a recent article in “De Groene Amsterdammer” (10/17/2012). Mo Yan knows about this dilemma. His comments after he won the Nobel, and even some comments before, suggest he cannot find hand-copying and displaying Chairman quotes quite as harmless as Charles. That would be the difference between working with political realities in China and teaching about them in the US. The conditions of these political realities are still determined by largely the same factors as decades ago. As Keijser and Van Crevel put it, Mao’s “Talks” and other directives are up on the shelf, routinely mentioned in speeches by present leaders, and ready to be enforced again as needed. Yes, Mo Yan and his colleagues fought successfully for enough freedom to write great literature. Isn’t that enough? Not outside the realm of fiction, unfortunately. The cultural achievements of the 1980s couldn’t prevent the 1989 crackdown and everything that stays vague and threatening in theory and practice today.

Mo Yan writes “stupendous” novels, as Charles Laughlin says. Yes, he does. His development as a writer was influenced by the threat of starvation, the brutality in the name of revolution, and by the ideology. Yes, including the Yan’an “Talks”, as Charles shows. Now, Charles says, “China’s writers are receiving much-deserved international recognition simply because they are devoting their souls wholly to literary art.” Yes, they do. Liao Yiwu’s 廖亦武 speech in Frankfurt was in Sichuan dialect 四川方言. The text is available on the Internet. Try to find a video not dubbed into German. The German translation was fine, it just wasn’t dialect or even colloquial German. And it didn’t sound half as humble as Liao himself did. Politics made him into the writer, musician, poet and activist he is now. And his temper, his foolhardiness, as he readily admits. Not a hero, as Jonathan Stalling suggested. The German Book Trade’s Peace Prize has often been awarded to writers such as Orhan Pamuk.

The irony is that in theory, as taught by Charles, “Mao Zedong would have” reminded writers of their “responsibility to serve as the political conscience of the nation.” In practice, he silenced them. Virtually all, in time. So there would be no political conscience. That’s what Orwell’s Nineteen-Eighty-Four is about. Words like “Ministry of Truth” 真理部 are very well-known in China. 1984 is a vision of the closed world of a one-party state. Some moments of life in other societies can feel just as eerie, like a progressive college professor who turns into a cult leader, as in Murakami’s 1Q84, or, even more so, the perfectly cultured killer with secret roots in Korea. But on the whole, Japan in the 1980’s, evocatively and masterfully portrayed, is not ironic enough for connecting to Orwell’s 1984. I guess Taiwan under martial law 台灣戒嚴, in 1984, could have just made it.

Hu Ping 胡平, elected as independent candidate in Beijing’s Haidian district towards the end of the brief Beijing Spring over 30 years ago, recently circulated an excerpt from Mo’s “Life and Death Are Wearing me Out” (Shengsi pilao 生死疲勞). The novel was already well-known before the Nobel. A land owner who had his head blown off in the land reform in 1950 is born again as a farm animal several times, most famously as a donkey. In this excerpt, the donkey/landlord laments his unreasonable and unnecessarily bloody execution, until the guy who shot him tells him he acted with expressive backing from local and provincial authorities, to make sure the revolution was irreversible. So was it “a matter of historical necessity”? I don’t know what Hu Ping meant by circulating the email that somehow ended up forwarded in my inbox, because I don’t follow Chinese exile communications very closely. To me, the excerpt sounds just as absurd, evocative, tragic and yes, “stupendous”, as Mo Yan’s novels usually do. And thus rather close to Orwell’s 1984, or Wang Xiaobo’s 王小波 2015, in a way. I don’t think most readers would think that the author wants to commend, recommend or even excuse such acts of brutality.

There is another irony. Gao Xingjian 高行健 was awarded the Nobel prize for literature in 2000 even though, or maybe because, he did not and does not make himself available for political comments. Gao emigrated to France in the late 1980s and rescinded his Party membership in 1989, and it doesn’t seem he wants to come to terms with the powers that be in China in his lifetime. But on the whole, Gao has made about as many explicit political comments in the last 20 years as Yang Mu 楊木.
Chinese writing in 2012 is very complex. At least there is “much-deserved international recognition”, finally. Yu Hua’s essays “China In 10 Words” 《十個詞彙里的中國》 were serialized in the New York Times 紐約時報, among other international papers. And now Yang Mu, Mo Yan and Liao Yiwu appear together in headlines, also in the New York Times. What more could we wish for?

Mo Yan and Murakami

10月 16, 2012


I like both Mo Yan’s 莫言 and Murakami Haruki’s 村上春樹 novels. But 1Q84 left me disappointed, although it’s brilliantly written. Great evocation of ordinary lives and neighborhoods. But not very much connection to Orwell. No prison. The two lovers escape at a terrible price. Maybe I sort of hoped neither Mo Yan nor Murakami would get it. Although I think they’re both great writers. Murakami deserves great credit for his political candor, both in some of his novels and otherwise. He recently spoke out for a return to reason in Chinese-Japanese relations. After Mo Yan got the Nobel, he also said something in this direction. Mo Yan has never made political comments before. Now he can do it. So maybe it is a good thing that he got the prize.
Making handwritten copies of the speech that was the reference point for decades of repression in literature is an absurd, shameful act.
On the other hand, Mo Yan’s novels could be called an important continuation of the magical realism tradition. The realism of The Garlic Ballads clearly shows the helplessness of peasants and ordinary people in the 1980s. The Republic of Wine is a fantastically powerful indictment of official corruption. Some other novels have broader historic scope. The stories take place in many different periods, under CCP rule as well as before and even in the 19th century. But they are all fantastic tales of familiar people in villages and small towns. Ma Lan’s 馬蘭 How We Killed a Glove 我們如何殺一隻手套 employs different techniques, but when you are in the middle of reading you also realize the details refer to massacres and tragedies that seem very fantastic in hindsight but which are actually quite familiar still for many people even now. So I have great respect for Mo Yan 莫言 and Tie Ning 鐵凝, even though they chair the Chinese Writer’s Association. They don’t even have Party members in their stories, as far as I recall. There are no chairmen or even higher functionaries at all in recent Chinese literature. There are no vindications of official policy, in contrast to the 1950s and 1960s. As to the Yan’an Talks or Yan’an Forum 延安文藝座談會, it was not really a discussion with different voices being respected. Maghiel van Crevel 克雷 has put the whole context together in his book on Duo Duo 多多 in 1995, on the basis of Bonnie McDougall etc. The Chairman had remarkable rhetoric skill, but it can’t be separated from the context of writers disappearing, getting imprisoned and killed, not to speak of other people, right then and there in 1942, on the grounds of what Mao was saying. It’s not the kind of literary theory you can discuss on its own. Socialist realism with its many facets and developments in Hungary, Czechoslovakia, GDR etc. is certainly worth a great deal of attention and discussion, but it is always very directly connected with politics. In some countries, like the former Soviet Union and China, this connection was compounded by dictators considered as intellectuals. Marxism, Socialism and Communism were taboo in the US for a long time. This kind of repression is still quite visible in the propaganda against Obama, who isn’t really leftist at all. And because of this, literary and social theory have a very strong and special status in US academia. Infatuation with China and/or what was perceived as its politics is an additional factor, also in other countries. When I look at the social and political context of literature in China, I prefer Yu Hua 余華 to Mo Yan. But it’s not that simple. Mo Yan is a soldier, joining the PLA was the only way for him to become a writer. He has done and is doing what is possible in his position, and deserves respect.

LILI’S STORY 麗麗傳

10月 9, 2012

Lili

Zhao Siyun
Lili’s Story

My name is Lili Wu
Nine years old
born in North Zhufeng, Tongshi;
Pingyi County, Linyi City district.
When I was very small
My parents were divorced.
I went to live with Mama and Grandma.
Now I am in 3rd grade at South Fuwan primary school.
I like English.
Got 80% in my last exam.
The math teacher is nice to me.
The ethics teacher is nice to me.
But
I haven’t gone to school for 4 months.
On May 30 this year
During Chinese lesson with our class advisor
Vice-principal Jiang Feng
Called me to the music classroom,
Principal Wang Jiasheng was there, too.
They gave me sweet pills
And took off my pants.
Wang Jiasheng put his weewee into my little hole
When Wang Jiasheng came out
Jiang Feng went in
They told me
Not to tell Mama
Otherwise they wouldn’t let me go to school here
And they would kill me and my mom.
They told me many times.
(Then I must have fainted.
Hearing screams
Class advisor Chen Yongxiang came running.
She pulled up my pants.
Then someone lifted me up
Put me in Wang Jiasheng’s car
And brought me to the clinic on the right side of the gate.
My classmate Xiao Wen wrote all this down on paper.
She said
Other kids saw it too.
On that day
I should have been home at twelve
When I came home at 1:30 p.m
Tottering left and right all the way to our door
Grandma had been waiting on the corner for a long time.
When I was home I wanted to throw up
Didn’t want to eat
Mama wasn’t home
She was at the county hospital visiting a relative
Didn’t come home till the evening
My face, hands and feet were all white
That evening
A nice teacher called Mama
Told her I had been raped by Wang Jiasheng and Jiang Feng
I liked going to school before
Now I don’t dare to go
When school is mentioned I break out in sobs
I am afraid
I took a rest at home for a month
On July 2nd, Mama went with me
To the Pingyi County People’s Hospital for a checkup
The medical record was written a follows
Patient complains of small bleeding in vagina
Accompanied by discharge for over one month.
Recent medical history:
Complains of vaginal pain, red spots, much discharge,
feels like another person forced in his sexual organ
Physical examination:
Normal vulva development
Hymen opening greatly slackened
Old fissures at #3, #8
No other …(I cannot read the writing)
Initial diagnosis:
Hymen ruptured, slackened
Actually
From last winter
I had been bleeding
One day I came home in the evening
There was blood on my legs
I wiped it off with paper
Mama has also helped me wipe it
Last winter
Wang Jiasheng and Jiang Feng
Put their cocks into my little hole several times
After school
I felt dizzy, sick, burning
Mama didn’t know then
She took me to the clinic to get some cold medicine
All winter
I got shots, took pills
Mama went to the police
People’s Police Uncles from the criminal police
Went to Xiao Wen’s home several times
So her folks complained at our house
They said Xiao Wen was frightened
And would hardly dare to go to school
So Xiao Wen said her testimony was instigated by my mom
The teacher who had called my mom that evening
Also denied it
The doctor at the clinic said first I was brought in unconscious
But then they said I came in with the principal and two classmates for checkups and shots
Reporters from the province came to our village
They interviewed six children on their way home from school
Five said they didn’t know anything
Another girl
Did not say a word
Our class advisor said
She took a bribe from my mom
She said my mom made her give false testimony
She said I was in class all day as always
She never pulled up my pants
Over one month later
I had another checkup at Pingyi County People’s Hospital
The results were the same
On Sept. 19th, 2012
Wang Jiasheng declared online
The whole affair was all defamation
Jiang Feng also declared
It was a frame-up, made up
To attain some unspeakable purpose
The Pingyi police
Said conditions were not fulfilled
For prosecution

2012-10-06

Tr. MW Oct. 2012

Source material

report

赵思运//丽丽传/我叫吴丽丽/9岁/出生在临沂市平邑县铜石镇北诸冯村/我很小的时候/爸爸妈妈就离婚了/我一直跟着妈妈姥姥过/现在南阜完小学读三年级/我喜欢英语/考了80分/数学老师对我好/品德老师对我好/但是/我已经4个多月没有上学了//今年5月30日/在上班主任的语文课时/副校长姜锋/把我叫到了音乐教室/校长王加生也在/他们喂我吃糖丸/脱了我的裤子/王加生把他的鸡鸡放到我的窝窝里/王加生出来后/姜锋又进去的/他们跟我说/到家不能告诉俺妈/要不就不让我在这上学了/把我跟俺妈都弄死/这话说过好多次了/(后来我被他们弄得昏迷了/听到喊叫声/班主任沈永祥老师跑过来/给我穿上裤子/然后有人把我扛起来/塞到王加生的车里/送到大门右侧的诊所/这些都是我同学小文后来在纸上写的/她说/班上还有其他小孩看到了)/那天/我原本应该在十二点回家的/一直到下午一点半还未到家/我东斜西歪地回到家门口时/姥姥在路口已经等了很久很久了/回到家我就想吐/不想吃饭/妈妈没有在家/她正在县城医院陪护亲人/直到晚上才回家/我脸和手脚都发白/当晚/学校有位好心的老师曾打电话给妈妈/告诉她我被王加生和姜锋强奸了/本来我很喜欢上学/现在我不敢去学校了/一提上学我就哇哇大哭/害怕/在家休息了一个月/7月2日,妈妈带着我/去平邑县人民医院做了检查/病历诊断是这样写的/主诉:/阴道少量流血,伴分泌物多一个月/现病史:/自述近一个月来,外阴疼,少量见红,分泌物多,觉别人用生殖器强进/体检:/外阴发育正常/阴道处女膜口大松弛/见3点、8点出有陈旧性裂口/其他不……(此处字迹看不清楚)/初步诊断:/处女膜外口破裂松弛/其实/从去年冬天/我下身就出血/有一次晚上回家后/腿上有血/我自己拿纸擦了擦/妈妈也给我擦过/去年冬天/王加生和姜锋/就有几次把鸡鸡放进我的窝窝里/放学的时候/我头晕恶心身子发热/妈妈那时什么都不知道/就带我到诊所开点感冒药/上个冬天/我一直都在打针吃药/妈妈报案了/刑警大队的民警叔叔/几次到过小文家里询问/小文的家人就到我家吵闹/说小文吓得/都快不敢去上学了/小文就说那证词是我妈妈教唆的/那天晚上电话提醒我妈妈的老师/也不承认了/诊所的医生第一次说我是昏迷中去的/后来说是校长跟两个同学陪我去打针看病的/省里的记者到俺村头了/问了6个回家的学生/有5个说不知道/另一个女孩/从头至尾一句话也不说/班主任老师说/她接受了我妈妈的贿赂/说我妈妈让她作伪证/她说我一天都在正常上课/她没有给我穿裤子/一个多月之后/我又到平邑县人民医院做检查/这两次的检查结果是一样的/2012年9月19日/王加生在网上发布声明/说这事纯属污蔑/姜锋也发了声明/说这事是诬告、陷害/是为了达到不可告人的目的/平邑警方/说是条件不足/没有立案/2012年10月6日
素材源自人民网 http://edu.people.com.cn/n/2012/0930/c1006-19159472-1.html

Happy_International_Day_for_the_Blind_Chen_Guangchen!

中國大陸漢英對照版《中国新詩300首》初選篇目

9月 7, 2012

Zhan Bing 詹冰(綠血球 Taipei: 笠, 1965), from http://chinaavantgarde.com/

中國大陸漢英對照版《中国新詩300首》初選篇目

當代詩歌很難選,就是因為比較未經沉澱。即將出的漢英對照《中國新詩300首》選詩歌盡力剔除非詩因素。讀一首詩就知道是否感人、聽到節奏、結構、語言啟示。不用曉得誰寫的。不過為什麼讀、在哪裡、經過什麼條件的介紹等等都是非這首詩的因素,而不能避免。

如果把周作人在2000年出來的那本《中國新詩1916-2000》裡的兩首當例子,<小河>寫自然環保,<飲酒>寫肉體和心理、精神的欣賞和共鳴,很濃的一首,節奏很強。不過盡力剔除非詩因素還是會有些社會中、讀書人中都存在的前提。我自己覺得如果有人問我家鄉奧地利現在最好的作家,隻說女作家,包括兒童書,都已經夠了,比如說寫話劇、小說、散文的E.Jelinek(得了諾貝爾獎),還有三位女詩人Elfriede Gerstl、Friederike Mayroecker、Rosa Pock。剛才說第一E. Gerstl已經逝世,她來自猶太家庭,二戰時被藏起來幸存。第二位F.Mayroecker已經80歲,第三位R.Pock不像前兩位著名,但也已經很久寫出風格很獨特的詩作。女詩人還可以加早一點已經去世的Hertha Kraeftner和Christine Lavant,不過加她們當然得加八十年代初去世的,曾經跟策蘭同居的Ingeborg Bachmann英格褒‧巴赫曼。還要加一兩位寫小說的,比如Marlen Haushofer。她寫的長篇《牆》Die Wand寫一位女性敘述者在山中一個人生活,突然碰到透明的牆。說了這幾位加三位寫兒童書的,年紀最老的Mira Lobe, 自己小時候最喜歡,現在還覺得她寫得最好聽、最感人,加上我當小孩就非常喜歡的畫圖。還有Christine Noestlinger,她寫了大人讀的詩,也寫了很多很多兒童文學。我最喜歡她的詩,還有兩本自傳式的,寫小女孩在二戰結束時的經驗,很寫實、很直接、不加修飾的感覺。她來自工人家庭,一輩子都寫工人和小資產階級等家庭的故事,從孩子的角度、從非權力的角度來講。昨天帶孩子到牙科醫生,盡力讓孩子合作不讓他痛苦。等候時看到了自己小時候聽父母念的一本<雨水筒快樂洒洒歌唱>(Lustig singt die Regentonne,作家Vera Ferra-Mikura), 都是兒童詩歌,畫圖也非常好。兒童書還可以增加很好的女作家,先暫時不說。

介紹這些女作家就很自然地介紹了當代奧地利社會。她們的作品毫無遜色男作家。但如果開頭隻說當代文學,我會先想到別人,很多都是男的,而不會像隻說女作家那麼直接可以包括時間和社會很廣的一面。剛才隻注意女作家,也應該看看非德語寫作的奧地利文學,結果從社會和文學方面都會比較全面,先注意女作家和少數民族比先注意一般先想到的奧地利德語男作家結果還是會更廣泛。

所以我讀目前寫作的中文詩人除了已經得到共識的西川等等盡量找女詩人,找非漢族詩人。你們有周雲蓬、沈浩波已經超過一般的詩壇。我建議加上馬蘭、顏峻都是因為自己翻譯了他們,所以知道一些力作。我也翻譯了車前子的作品,但是太少,不能點出他最厲害的詩作。說到翻譯,從中文譯成外語一般應該找外文為母語的譯者。比如我在上面英語裡提到的綠原,他在1990年左右作出選當代中國詩歌中德雙語本,介紹了於堅等等那時候在西方世界還比較不那麼著名的詩人,所以我覺得那本很寶貴。但是譯者都是中國德語系學者,內容可以翻譯出來,但節奏就漏了。英語不同,有很多雙語。還是覺得找一些已經得共識的西方譯者也許最佳。不過翻譯跟原作同樣總會存一些非詩意的因素。

300 Modern Chinese Poems (Chinese-English) 汉英对照版《中国新诗300首》

9月 2, 2012

300 Modern Chinese Poems (Chinese-English) 汉英对照版《中国新诗300首》

Zhao Siyun 赵思运, who was introduced on the MCLC list by Michael Day a while ago with a poem called June 5th 六月五日, has a list of authors and poems on his Blog, for a Chinese-English anthology of over 300 modern Chinese poems 中国新诗300首. Compiled by an institution called International Poetry Translation and Research Centre, IPTRC. Very welcoming, diverse and expansive. Including writers from Taiwan, and many young voices. Liao Yiwu 廖亦武 is included, though not with his most representative work, probably. Lü Yuan 绿原 is there, he did a Chinese-German anthology, introducing Yu Jian 于坚 in 1990, rather early. Bei Dao 北岛 was included in there, but with a comparatively insignificant poem. He is better represented in this new effort, although I miss the mosquito. It’s very hard to include one or two significant poems from an author who is obviously politically significant.

Interesting to compare this with other anthologies, in Chinese and other languages. Zhongguo Xin Shi 中国新诗 (Fudan UP 2000), ed. Zhang Xinying 张新颖, has two poems by Zhou Zuoren 周作人, one against unnecessary water dams and a drinking song, both very impressive. Zhou Zuoren has not made it onto the IPTRC list. Of course it’s rather easy to come up with some of your favorites who are not represented, compared to shifting through many thousand poems and coming up with such a list. Huang Xiang 黄翔 is included, despite his dissident status, but he is already in Zhongguo Xin Shi 中国新诗. As usual, I am looking at newer people first, although I only recognize two from those born in 1970 or later. Zhou Yunpeng 周云蓬 is there, the blind folk singer. But not Cui Jian 崔健. Woeser 唯色 is there, which is great! But in general there are hardly any poets from minority nations in China.

Ha Jin 哈金 is missing, but he writes in English. Gao Xingjian 高行健 does not appear, but is mostly known for fiction and drama. So who else hasn’t made it? Yang Ze 楊澤、Hsiang Yang 向陽、Hung Hung 鴻鴻、Mai Mang 麦芒 (Huang Yibing 黄亦兵), who sometimes writes in English and teaches at Connecticut (there is another Mai Mang 麦芒 in China, known for one-liners).

On with the non-list: Sun Wenbo 孙文波、Li Nan 李南、Yang Jian 杨键、Zhu Wen 朱文、Yin Lichuan 尹丽川、Zheng Xiaoqiong 郑小琼、Ma Lan 马兰、Hong Ying 虹影、Pang Pei 庞培、Che Qianzi 车前子、Yan Jun 顏峻. I would have included Yan Jun’s 反对 Against All Organized Deception (translated by Maghiel van Crevel) and Ma Lan’s 事故和理由 The accident and the reason, maybe even combined with 仿佛 As If. And How We Kill a Glove 我们如何杀一只手套, if it wouldn’t be too long. Hong Ying’s 饥饿 Hunger, also written abroad. And one of Zheng Xiaoqiong’s 郑小琼 new female migrant worker’s portraits.

Then there would be others. Not compatible, maybe. Wu Yinning 吳音寧 and Li Ch’in’an 李勤岸 are very much from Taiwan. Wu Yinning 吳音寧 is more well-known for her reportages. The poems contain many fascinating local expressions, hard to translate. I’ve only read two poems by Li Ch’in’an 李勤岸, in a three-volume anthology of about 100 years of poetry in Taiwan. One of these two poems is a personal favorite, 解嚴以後 – 一九八七年七月十五日臺灣解嚴紀念 After Martial Law Was Lifted – In Commemoration of Lifting Martial Law in Taiwan on July 15th, 1987.

I have been reading a great anthology of Lithuanian poetry in the last few days. And there are beautiful anthologies of recent Chinese poetry in English, like the online treasure in the Spring/Summer 2006 issue of thedrunkenboat.com, edited by Inara Cedrins, or the Atlanta Review China issue. Without any Chinese characters, unfortunately. But these are important collections, with some great translations. The Drunken Boat collection is very diverse, including minority people in China, extra sections on Hong Kong, Macau and Singapore, as well as very much else from abroad. Even half of the non-minority nation poets in China who are in The Drunken Boat are not in the IPTRC 300. The Antlanta Review China collection, edited by George O’Connell, contains some of the best Chinese poetry I’ve read in translation anywhere in any language. And there is a good volume in English of Che Qianzi’s 车前子 poems and some of his friends, with a note in the back that the Chinese text can be found in some university library. Oh well. Many contemporary poets from China, including some world-famous ones, are not easily found in China. This has been going on for decades. Anyway, there is not enough modernity, not enough experiment in Chinese literature in general, especially in China. So it would be great to include some people like Che Qianzi 车前子 in any anthology. There is also not enough performance, that’s where Yan Jun 颜峻 and other sound and music stuff would come in.

The Lithuanian anthology mentioned above is from Poetry Salzburg Press. I love the long hallucinating love poem Bird in Freedom by Vytautas Bložė, written while imprisoned and “treated” in a Soviet psychiatric hospital. And the song-like evocations of Vilnius’ old city and the empty Jewish ghetto by Judita Vaičiūnaitė. The translations of these poems and many others by Laima Sruoginis are hauntingly beautiful. Much of the identity of the Baltic countries is built on songs, a great foundation for poetry.

Punks, empathy and torture: Pussy Riot in China and Vienna

8月 17, 2012

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Aug. 25

Daniele Kowalsky showed me a very interesting interview with Jonathan Campbell in the L.A. Review of Books. Jonathan Campbell talks with Jeffrey Wasserstrom about 盤古 Pangu,崔健 Cui Jian,無聊軍隊 Wuliao Jundui and other details of rock music and punk in China.

Unfortunately, I can’t agree with Jonathan that yaogun 摇滚 (Chinese rock music) could galvanize China like Pussy Riot seems to have galvanized opposition in Russia. Cui Jian 崔建 did have some very memorable moments, and people in China do remember them, and they will tell you readily about the parts before 1989, mostly. But those moments in 1989 were so painful in the end that no one knows if there will ever be a similar broad-based protest movement again. 1989 brought hope in Europe. Risk, very risky change, and some very ugly violence in Romania. But overall there was hope, and whatever came out of it, 1989 is generally remembered as a year of wonder. In China it’s a trauma. A wound that is usually covered up, but even China is very much connected to the world nowadays, and the world knows. And there are much deeper and older traumata, which can be accessed and shared via 1989. So in that way, there is hope. Connected to underground music. Like the kind that Liao Yiwu’s 廖亦武 music comes from.

There are parallels, certainly. Parallels between Pussy Riot and Ai Weiwei 艾未未, in the pornography. Parallels in the way of some Ai Weiwei news or other embarrassing news everyone gets to know about, and the dark stuff below. The disappearances, the longer ones, see Gao Zhisheng 高智晟. And the corpses. I learned about the late attorney Sergei Magnitsky via Pussy Riot. He died in jail in 2009, and among people concerned with Russia he is as famous as Gao is in and outside China, which means not so many people want to talk about him or even admit they’ve heard of cases like that. Of course, there are corpses under the carpets in every country. Only China is the oldest 5000 year old one, of course.

Aug. 22

2 years for singing in church. Perfectly absurd. Punk music, controversial art. Public space and religion. Russia, Africa, China. What is art? Depends where you are, what you are, who you are, who is with you. What you believe.

One week ago I read two books. A few months before I got to know a poet. Still haven’t seen her. A Jewish poet in Germany, soon to be teaching in Vienna. Esther Dischereit.

Last month I finally got around to pick up a book that contains many poems I translated. Freedom of writing. Writers in prison. A beautiful anthology, edited by Helmuth Niederle, currently head of Austrian PEN.

Connections. Connected to China. Punk music isn’t all that subversive, not in a big way, usually. What if musicians insult the government on stage. Well, I’ve been to about 300 concerts in China, said Yan Jun. Sometimes someone was screaming something in that direction. But they aren’t big stars. They can be ignored.

Christa Wolf. Stadt der Engel. The Overcoat of Dr. Freud. Long and convoluted. Gems in there. How she was loyal to the Party in 1953. And insisted on protest against Party policy. How and what they hoped in 1989. How and what Germany was and is.

Aug. 21

2 years for singing in church. And many more arrested. It does sound more like China than Russia, doesn’t it? The case of Li Wangyang 李旺陽李汪洋) comes to mind. Li Wangyang died around June 4th 2012 in police care after being released from over 20 years of jail. He was a labor activist in the 1989 protests that ended with the massacre on June 4th in Beijing. Li Wangyang supposedly killed himself, but the police report was disputed in China and in Hong Kong, where tens of thousands of people protested. Li’s relatives and friends are still being persecuted. One has been formally arrested and accused of revealing state secrets, because he photographed Li’s body.

Parallels between Russia and China were drawn in media comments after the verdict in Moscow. One comment wondered whether Russia is trying to emulate China, where the word civil society is banned on the Internet. China has had economic success for decades. People put up with authoritarian one-party rule there, the comment said. But it won’t work in Russia, because the economy depends on natural resources, not on industry. The comment contained the old misunderstanding that in China, government policy and enforced stability have caused economic success. Beijing wants the world to think that, of course. However, the prominent law and economy professors Qin Hui 秦暉 and He Weifang 賀衛方 have been saying for years that the economic miracle of the 1980s depended on a consensus to move away from the Cultural Revolution, as well as on investment from Taiwan, Hong Kong and overseas. After 1989, there has been no comparable social consensus. After 1989, the social drawbacks and the gap between rich and poor may have grown faster than the economy. But the middle class has also grown. Regional protests are frequent but limited. Or the other way ’round. The Internet remains vibrant. With Weibo microblogs inside the Great Firewall, and very much Chinese going on outside. Not because the government initiates it. They let it happen. The economy, the art, the internet. Even protests, when they are against Japan, and/or not too big. And they profit. The oligarchy is the Party.

Religion and more or less independent art have been growing in China, about as much as the social conflicts. Art brings huge profits, so they let it happen. In Russia, Pussy Riot have succeeded in connecting independent art, oppositional politics and religion in a highly visible way. Art, political activism and religion are voluble factors, so much that societies where everyday news has been fixated on finance for at least four years now could almost grow jealous.

Pussy Riot were not mentioned in our church on Sunday, as far as I could tell. I had to look after the children. But the preacher drew on her experiences from jail work. She championed the rights of refugees and was a prominent anti-governmental figure in Austria in the 1990s. Direct relevance for religion in Austrian politics is rare. We had Catholic Austro-Fascism in the 1930s, paving the way for Hitler. Some Protestant Nazis as well. After the Holocaust, religion in Austria has a somewhat undead quality. A bit like traditional opera in China, which is rallying, hopefully.

For international discussion about the relevance of underground art, music and religion, China has Liao Yiwu 廖亦武. And Russia has Pussy Riot.

Photo by Vincent Yu/AP

Aug. 17

Worldwide empathy for Pussy Riot is great. The trial in Moscow ends today, so I don’t know yet if three women have to remain in jail for years after singing in a church. There was a lot of worldwide attention last year as Ai Weiwei 艾未未 was abducted and detained by Chinese state security. He was released and voted most influential artist worldwide. I have seen graffiti in support of Pussy Riot here in Vienna in the last few days. One at newly renovated Geology Institute. Not very nice. And there was some kind of happening at the Vienna Russian Orthodox church, I heard. Church authorities not amused. Well, hopefully worldwide support can help enough this time. Quite recently, many political prisoners in China have been sentenced to more than 10 years. There was a lot of attention abroad in one case. And a Nobel.

Austria is a nice place, generally. Sometimes it’s uglier than Germany. Generally uglier, in terms of police abusing, even killing people, always getting away with it. Have been reading Vienna Review and Poetry Salzburg Review in the last few days. News and poetry. Many of our friends here in Vienna are not from Austria. Coming from abroad often provides a clearer perspective.

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Aug. 14

Read two good books. Not in Chinese. Ok, in Chinese I’m reading poetry. And other books, not enough. Anyway. Cornelia Travnicek and Manfred Nowak. Both in German. Non-Fiction and Fiction. No connection. Like Liao Yiwu 廖亦武, Bei Ling 貝嶺 and that Berlin novel, what was it called? Plan D. Ok, there was a connection. Taipei Bookfair 台北國際書展. Ok or not, no connection. A novel. Punks in Austria. Young and female. Male protagonists dead or dying. Ok, not all of them. Anyway, good novel. Vienna, occupied, death, youth, love, society, 1980s, 1990s, 2000s. 2012 exhibition at Wien Museum. Empathy. And the other book? Torture. Human Rights, UN, Austria, torture in Austria (see this newspaper report, also in German), Moldavia, Equatorial-Guinea or how do you call that country, Uruguay and so on. Neglect. Conditions of/for empathy. Ok, so both books are about empathy. Good. And in German. Oh well, maybe some people who read this read German. Or they’ll get translated. The books, not you. Manfred Nowak’s books and other written sources are available in several other languages than German. You can get some very useful stuff in English for free here.

Wang Wei: Abschied 王維-送別

8月 9, 2012

Image王維

送别

下馬飲君酒,
問君何所之。
君言不得意,
歸卧南山陲。
但去莫复問,
白雲無盡时。

Wang Wei

abschied

steig vom pferd und trink,
wohin reitest du?
kehrst betruebt zurueck
suedlich ins gebirg.
geh, ich frag nicht mehr
wenn die wolken ziehn.

MW        August 2007

Wang Wei

to see you go

you get off and drink with me
and i ask you where you’re riding
you have not been satisfied
turn to southern border mountains
and i won’t ask you again
clouds are streaming without end.

MW        November 2007

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Murong Xuecun, Yu Hua, Liu Zhenyun, Bob Dylan and Rivers of Bablyon

8月 5, 2012

I don’t think Murong Xuecun exaggerates, like one commentator suggested on the MCLC list. Yes, you could encompass many alarming, saddening, embarrassing stories in one speech in other places than China, and people do it all the time, naming names, practices, products. The difference is that in China you will be silenced more swiftly and harshly. Yes, there are exceptions.

Does Mo Yan revel in cruelty like Dan Brown? Does Yu Hua make better use of the cruel parts in his novels? Ok, I’m an interested party, I can’t really say. Would be interesting to analyze in detail. Mo Yan’s novels are great works, at least those I have read, he has written a lot. Deep, cathartic, even accusing use of cruel events and structures. I love Yu Hua’s tone. And I associate Liu Zhenyun in Remember 1942, and Murong Xuecun’s Sky and Autumn speech.

We had Jeremiah in church today, along with that story where a guy goes abroad and gives his gold and silver to his servants. The ones that receive more trade with it, and when their lord comes back, they can give him double. The one who received very little buries it, and when the lord comes back, he digs it out and says, I know you are a harsh governor and reap where you haven’t sown, so I was afraid to lose what you gave me, and kept it double safe. His colleagues get to join the big party, and are rewarded with great posts. He is cast out into the darkness, which is filled with howling and chattering teeth. It’s a horrible story. Yes, it’s a parable, and if you have very little reason for faith, you should still risk it and try to make more, because if you bury it deep in your heart you might lose the little trust you had and received and be cast out into the darkness. But if you are the one who has reason to be afraid, how can you trust your lords? The ones who have more and get more have it easy. Even if they lose everything, they are often rewarded – those powerful managers and functionaries. And if there are enough of those who are cast out, and they get organized, maybe some bishops or other lords might dangle from lamp posts. A Hussite reading, said my wife. Yeah, maybe. No shortage of horrible stories in Chinese literature, like in the Bible.

Jeremiah is even worse, it’s a much bigger story, infinitely more horrible. And there is a detail, not in the Jeremiah parts used in church today, but in the songs in exile. By the rivers of Babylon, where we sat down, where we wept when we remembered Zion. And in the end the singer wishes, or the singers wish they will one day brutally kill the children of the oppressors. That’s the detail in Murong Xuecun’s speech I was thinking about.

The calling of Jeremiah, where he says he’s too young, and God says he has to go and obey, and open his mouth, and God will put His words into his mouth, and he will be set above nations and kingdoms, so he can pluck out and demolish, ruin and destroy, as well as plant and build. The preacher said she thought of parting and setting off to other posts, and how the Marschallin in Hugo von Hofmannsthal’s and Richard Strauss’ Rosenkavalier sings of what she will have to give up. What a horrible comparison! There is nothing light in Jeremiah. There are no waltzes. Ok, Rivers of Babylon, yes. But with Jeremiah, if you have to mention Austrian writers, Franz Werfel would be much more apt. Werfel was Jewish and used Jeremiah, a lot. Ok, she did mention, much too briefly how nobody would heed Jeremiah, and that it’s actually the most terrible story.

Anyway, when I heard Jeremiah, I thought of Bob Dylan. Masters of War. “How much do I know, to talk out of turn? You might say that I’m young; you might say I’m unlearned. But there is one thing I know, though I’m younger than you, it’s that Jesus would never forgive what you do. […] And I’ll watch while you’re lowered onto your deathbed, and I’ll stand on your grave and make sure that you’re dead.” I don’t know if Dylan thought of Nixon and Kissinger explicitly, when he wrote this song. America’s Vietnam War was raging, and I think the song came out when Nixon and Kissinger where in power. Anyway, there is that Monty Python song about Kissinger. Very explicit. Dylan and Monty Python would not be able to sing these songs in China on stage today, to say nothing about what Chinese artists can do. No, Murong Xuecun doesn’t exaggerate.

x and y

x was cruel

butt is sore

y was able

and suave.

both loved culture

both destroyed

hundred million

butts are cold

MW         March 2007

Yes, I thought of Mao and Nixon, and their sidekicks. But x and y could stand for many people, and could be mentioned anywhere, at least today. Almost anywhere, probably. Anyway, it’s about smoking, you know. Littering. OK, enough for today.

Murong Xuecun, Yu Hua, Liu Zhenyun and Dan Brown, among others

8月 3, 2012

Click on the image to go to the English version of Murong Xuecun‘s text.

写得很好,我觉得。写得就像说话,谈话。就是演讲,但也像偶尔跟你一块走一段路,跟你分一些心事。

I like Murong Xuecun‘s recent essay (or speech) The Water in Autumn And The Unending Sky very much. He quotes Lu Xun, very aptly. All the quotations are apt, within the text, of course. This kind of essay very easily gets misunderstood as a mere pamphlet. It is a pamphlet. It is meant as a very sharp critique. But just like Lu Xun’s non-fiction pieces, this one is also meant to be read and listened to very carefully.

The Republican era in the decades before 1949 was roundly condemned for its society and government by many writers. Its downfall was expected, and there was so much contempt, in retrospective, that it seemed the new era after 1949 had to be something better, simply because the war and the state of China before had been such disasters. The Chinese writers and commentators of the Late Qing and Republican eras very often understood themselves as patriots, especially in their most acerbic writings. Lu Xun is the most famous example.

I’m not interested in whether Murong Xuecun could write as well or could become as famous as some Republican writers. He is one among many present writers who are publicly critical of the PRC government. Many of the most critical ones are mostly or permanently abroad. I don’t know if Murong Xuecun can continue to live mostly in China. He is certainly more consequent than Han Han, for example. I don’t know what exactly has driven Murong Xuecun to non-fiction. Seems it has been a gradual process.

The present state and the more or less contemporary history of the PRC have been described and inscribed very starkly by many writers ever since the late 1970s, basically by almost everybody in the world of letters, whether or not they still go through the motions of hand-copying Mao’s totalitarian directives in 2012, as some of the most famous have done.

The Republican era was roundly condemned, in fiction and non-fiction. On the other hand, some people see it as an era of freedom, in retrospect. Both could be justified, it seems. Liu Zhenyun, who could be seen as just another member of the establishment and as a non-serious TV- and popular movie-collaborator, is actually very eager to mention the famine of around 1960 in his works. Remember 1942, Liu’s non-fiction story from 1992, has just been filmed. The story is about remembering a local famine that occurred in 1942. It was a terrible year around the globe. The Holocaust in Europe was coming into full swing. War was raging in many places. Total war was going to be proclaimed. 1942 is a year that has received a lot of historical attention. But the context of Chiang Kaishek’s and his government’s decisions about the famine in Henan is not very widely discussed. Liu Zhenyun manages to combine the Republican era and the PRC in a piece of stunning critique of both. The PRC part is mostly implied, but it works. I don’t know how or if this works in the film as well. Anyway the film, wherever it will be shown, will make some people want to dig out the text.

Liu Zhenyun, Murong Xuecun and Yu Hua have something in common in their tone. They are very close to the common people, aside from some stylistic differences. Yu Hua has only recently become well known for his non-fiction, which is not published in the PRC, but available on the internet. Maybe Murong Xuecun will turn to fiction again, and maybe he will continue to live in Mainland China. Doesn’t look like it at the moment, but it seems more feasible than, say, Liao Yiwu returning to China.

Murong Xuecun, Liu Zhenyun and Yu Hua are very conversational in their non-fiction. These pieces are written for popular appeal. They could be seen as very patriotic, in a way. Many very popular works in other languages are patriotic, like Dan Brown’s The Lost Symbol. Non-fiction in Chinese won’t become quite as world-famous, but it has come a long way in the last few years.

Murong Xuecun‘s text is a speech held in Hong Kong. There is a lot of classical Chinese at the end, although it is still very clear. The fragile heart sounds very 19th century to a Western reader. To me, at least. But so what? It’s not Wordsworth or Blake or one of the Shelleys, but it’s going in that direction. There have always been many kinds of writing at one particular time.

Flying over the sea, quietly

7月 24, 2012


Yan Jun
February 17

Like everyone parting we cry.
Like every old shirt. Dust and dirt on old clothes.

Like all days of old. Fire on snow.
For thousands of miles. The moon on the sea. Shines on old streets.

We’re parting, unlike everyone
from the night till the day we won’t cry again.

Like dust washed with snow. Words are just sound.
We talk. Flying over the sea, quietly.

2006-02-21
Tr. Martin Winter, July 2012

顏峻

2月17日

像所有要分开的人一样我们哭
像所有的旧衣服 旧衣服上的尘土

像所有旧日子 雪地上的焰火
几千里 月光照着海 照着胡同

所有人中的例外 我们分开
从夜晚 到白天 都不再哭

像尘土被雪清洗 言语也只是声音
我们说话 在海面上静静飞行

2006.2.21

Yan Jun
17. Februar

Wir weinen wie alle, wir trennen uns bald.
Wie alle alten Kleider. Der Staub in den Falten.

Wie alle alten Tage. Feuer auf Schnee.
Tausende Meilen. Der Mond scheint aufs Meer. Scheint auf alte Gassen.

Wir sind nicht wie alle. Wir trennen uns
Und weinen nicht mehr von der Nacht bis zum Tag.

Wie Staub weggewaschen vom Schnee. Alle Worte sind Klang.
Wir reden. Wir fliegen ganz still übers Meer.

2006-02-21
Übersetzt von Martin Winter Juli 2012

Poetry 詩歌 Gedichte

7月 2, 2012

Image

Abschied 送別

Reden und Sonnenschein 北京言論下雨

Gute Nacht, Mond 晚安,月

Wir trennten uns, der Frühling kam 李煜

Reis 復活

late night wrap 子夜歌

March 20: danube, cherries, liu xiaobo

Sommer nebenan 鴻鴻:夏天在隔壁

Erdbeben und tun, was man kann

Arbeiter Ah Fa möchte Liebe 阿發工人想要愛:吳音寧詩歌七首

Music and poetry in present-day China and Taiwan 當代台灣和中國大陸的詩歌與音樂

Peter and Paul Cathedral, Brno 八月 18, 2011

Drachenabend

5月 31, 2012

子尤(1990.4-2006.10),1990年生于北京,8岁开始创作,爱好文学、电影、话剧等;写诗歌、散文、小说、剧本。15岁出版文集《谁的青春有我狂》。 2004年,14岁时发现胸腔肿瘤,2006年去逝。2007年子尤去世百日,母亲柳红为子尤出版诗集《画天》,2011年,子尤去世五周年时,柳红为他出版讲述病中故事的遗作《英芝芬芳华蓉》。在中国大陆,子尤被视作90后写作者的代表人物。

Ziyou

Drachenabend, Tianan’men

4. Juni 2003, Drachenbootfest

 

Drachenabend, Tian’anmen.

Einzelne Lichter, lautlos klagende Seelen.

Weites, endlos leeres Feld,

Grab für Zorn und Widerstand.

 

Weint doch! Schreit durch die reißenden Jahre!

Weint doch! Hier liegt Fleisch und Blut der Jugend!

Ich will die deckenden Wolken zerreißen,

Die Sonne muss durch, durch den lastenden Himmel!

 

Spöttisches Lachen stört mich im Herzen,

Zynischer Witz stößt die Trauer hervor.

Wahrheit ist eingegraben im Inneren,

Spuren, die bleiben, egal was sie spinnen.

 

Kommt nur! Feiglinge. wo sind die Schwerter?

Ich hab’ den Stift des Gewissens, der hilft gegen noch so viel Zeit.

Mag doch der Sturm meine Würde verwehen,

Mit ihm tret ich offen das Gatter der Wahrheit!

 

Auf einmal heb’ ich den Kopf, durch die kläglichen Lichter

Im weißen Gewand kommt auf Flügeln des Windes der Dichter Qu Yuan, dessen Fest wir begehen.

Wenn standhafte Augen, wenn Treue und Glauben

Zerbrechen, dann bleibt er uns durch die Jahrtausende nah.

 

Warte! Wart’ noch ein bisschen!

Lasst uns sie wecken.

Das Blut, das einst wallte in Millionen,

Das Blut, das vergossene Blut ist noch warm.

 

Vor dem alten Palast, vor den uralten Mauern,

Ein gewaltiger Kampf hat die Seele getötet.

Lu Xun ist tot. Ideale sind leer.

Die Begeisterung von damals ist längst zur Taubheit verkommen.

 

Drachenabend, trauriger Tian’anmen,

Willenskraft, feurige Kühnheit sind längst versteckt in verständigen Blicken.

Die Seelen der Toten, opfert sie nicht der Verschwörung.

Lasst sie nicht ewig liegen in Särgen, die selbst die Friedhofswächter ermüden.

 

Wann können die Toten die Häupter erheben?

Wen frag ich in Tränen, ich frage die Seelen.

“Die Göttin der Demokratie ist gefallen,

der Platz wird die Schatten der Tapferen behalten.”

 

 

Übersetzung Martin Winter Mai 2012

 

 

夜幕下的天安门

子尤

2003年6月4日(癸未年端午)

 

夜幕下的天安门,

孤灯几盏,陪伴着无声哭泣的亡魂。

广场上空旷得如同凄凉的原野,

一片埋葬怒吼与反抗的坟。

 

哭吧!岁月的急流不应冲走呐喊,

哭吧!那里有带血的青春!

我要撕碎那些遮遮掩掩的乌云,

用涌出的阳光击破笼罩在天空的昏沉!

 

有一声讥笑扰乱了我的心灵,

有一语嘲讽碰撞出我的悲愤。

真理永远深刻在我的内心,

蜘蛛无法驱走它的裂痕。

 

来吧!胆小鬼,拔出利剑吧!

我有一支叫做良知的笔阻挡了时间的停顿!

狂风可以卷走我的尊严,

我却用它踢破真相的大门!

 

猛抬头,一身白袍的屈原在孤灯微弱的映照下乘风而来,

当他不甘流浪在无底的深渊时,刚毅的眼边有许许泪痕。

在忠诚的信念被粉碎的一刻,

过去与现实的历史间有了横亘。

 

等待!再等待一下!

觉醒能够唤起他们。

百万个生命的热血,

至今还能感知于逝者的体温。

 

在文明悠久的古老宫殿前方

一场浩大的战斗屠杀了生灵的单纯。

鲁迅死了!只留下空心的理想,

当年的活力也早变成了颓废的两耳不闻。

 

夜幕下的天安门何等悲凉,

刚毅沸腾的气魄已藏身在会意的眼神。

死去的亡灵不应成为阴谋的祭品

从此永远躲在棺材里,让守墓的老人也觉得发困。

 

何日能将出头之讯奉献于逝者的灵前,

我悲泣地向冤魂发问。

 “雕塑的自由女神轰然倒下,

烈士的身影在广场上永存。”

 

 

 

Wienzeile 62: 橫穿長城的頭顱 – Mit dem Kopf durch die Chinesische Mauer

5月 9, 2012


Die Nummer 62 des Literaturmagazins “Wienzeile” ist gedruckt! Mit Texten von Hsia Yü 夏宇, Yan Jun 顏峻, Hung Hung 鴻鴻, Zheng Xiaoqiong 鄭小瓊, Yu Jian 于堅, Ma Lan 馬蘭, Qi Ge 七格, Wu Yinning 吳音寧, Lin Weifu 林維甫, Tong Yali 彤雅立, Pang Pei 厖培, Liao Yiwu 廖亦武 und vielen anderen. Dazu gibt es Grafik und Bilder von Yang Jinsong 楊勁松, Chen Xi 陳熹, Emy Ya 葉宛玲, Ursula Wolte und anderen mehr.

Wu Yinning 吳音寧, Hsia Yü 夏宇, Hung Hung 鴻鴻 und mehrere andere SchriftstellerInnen und KünstlerInnen in dieser Nummer sind aus Taiwan. Gedichte von Wu Yining gibt es auch hier. Zwei der sieben Gedichte, die ich von ihr übersetzt habe, zitieren taiwanische Rockmusik. Eines ist über einen Kanalarbeiter. Die lokalen Details in Verbindung mit Wu Yinnings starkem sozialen Engagement machen die Faszination aller ihrer Texte aus. Sie war z.B. 2001 in Chiapas in Mexico und berichtete von der zapatistischen Revolte.

Wir haben Texte über Wahlen und Demokratie, 1979 – zur Zeit der Demokratiemauer – und heute. Helmut Opletal, langjähriger Rundfunk- und Fernsehkorrespondent, berichtet von den politischen Verhältnissen im Peking der Demokratiemauer und zieht Vergleiche mit aktuellen Ereignissen. Wir haben Han Hans 韓寒 Essay über Demokratie, übersetzt von Ingrid Fischer-Schreiber. Das ist einer von drei Texten – über Revolution, Demokratie und über Freiheit- die Ende Dezember 2011 herauskamen, gerade als wieder einige Dissidenten zu hohen Freiheitsstrafen verurteilt wurden. Han Hans Texte wurden weltweit heftig diskutiert, unter anderem im Zusammenhang mit 100 Jahre Chinesische Revolution/ Abdankung des letzten Kaisers 1911/1912, auch bei einer großen Konferenz an der Universität Wien Anfang dieses Jahres. Wir haben einen Text des Computer- und Internetexperten Hu Yong 胡泳, ebenfalls übersetzt von Ingrid Fischer-Schreiber 殷歌麗, Kuratorin der Ars Electronica in Linz, Übersetzerin zahlreicher chinesischer Artikel und Bücher aus politisch-sozialen und wissenschaftlich-technischen Bereichen. Nicht zuletzt enthält diese Sonderausgabe einen Vergleich zweier hochbrisanter politischer Texte, der Charta 77 aus der damaligen Tschechoslowakei und der chinesischen Charta 08, erstellt von einer Politologin und Sinologin aus Tschechien.

Das Cover ist von Linda Bilda, einer Künstlerin aus Wien. Innerhalb der Redaktion war es von Anfang an umstritten. Aber eine wichtige chinesische Schriftstellerin, die in dieser Ausgabe vertreten ist, findet es gut, gerade auch wegen der Gewalt. Heutiges China, sagt sie.

Ein weiterer Punkt, der zuletzt heftig diskutiert wurde, war die Inkludierung von Texten von und über Wanderarbeiterinnen in China. Im September letzten Jahres war hier in Wien eine große Konferenz über Arbeitskonflikte in China. Vorträge und Berichte gibt es online auf den Konferenzwebseiten und bei Transform! . Eine der Vortragenden war Astrid Lipinsky vom Ostasieninstitut der Univ. Wien, die schon 2008 in der Zeitschrift Frauensolidarität über Arbeitsmigrantinnen, ihre Sprache und ihr Schreiben berichtet hat. In der Wienzeile haben wir den ersten Teil eines langen Gedichtes von Zheng Xiaoqiong 鄭小瓊. Sie ist Arbeitsmigrantin in Dongguan 東莞 und hat neben ihrer Fabrikarbeit seit ungefähr 10 Jahren viele literarische Texte veröffentlicht, die nicht nur auf dem chinesischen Festland, sondern auch in Taiwan und darüber hinaus bekannt und geschätzt sind. Für Hung Hung 鴻鴻, Regisseur und Schriftsteller in Taipeh, erinnern manche Gedichte von Zheng Xiaoqiong an “Akte 0” von Yu Jian 于堅, einem der renommiertesten chinesischen Dichter, der ebenfalls in dieser “Wienzeile” vertreten ist.

Mit dem Kopf durch die Chinesische Mauer – 橫穿長城的頭顱。Der chinesische Titel stammt von Liu Jixin 劉紀新 aus Peking. Liu Jixin unterrichtet klassisches und modernes Chinesisch am Ostasieninstitut der Universität Wien. Im jetzigen gesprochenen und geschriebenen Chinesisch sind klassische Wendungen durchaus häufig, und auch heute sind Bildung, Erziehung und Sprache in vielen Aspekten brisante Themen. Liu Jixin hat einen kleinen, recht subjektiven Artikel über Schulen in Wien und in Peking geschrieben. Die in Peking tätige Architektin Chen Ing-tse 陳穎澤 aus Taiwan schreibt über Lang- und Kurzzeichen in der chinesischen Schrift. Sie hat eine sehr prononcierte Meinung. 100 Jahre nach den ersten Ansätzen der Sprachreform, die eine enorme Kluft zwischen gesprochener und geschriebener allgemeiner Verkehrssprache und eine hohe Schriftunkundigen-Rate beseitigen wollte, gibt es auch auf dem Gebiet der Sprachen und Schriften im chinesischen Sprachraum viele aktuelle Konflikte.

Josef Goldberger interviewt eine chinesische Absolventin eines Studiums in Wien.

Wer erinnert sich noch an 1990? “Keine Mauern mehr” hieß der österreichische Beitrag zum Eurovisions-Songcontest. Leider begannen noch im selben Jahr die Jugoslawien-Kriege der 1990er Jahre, die 1999 auch China berührten, mit dem NATO-Bombardement der chinesischen Botschaft in Belgrad. Diese “Wienzeile” enthält eine Erzählung von Tamara Kesic, die 1990 in Kroatien spielt. Außerdem haben wir weitere literarische Beiträge von deutschsprachigen Autoren, etwa Gedichte von Isa Breier und einen Text von Thomas Losch.
Die Wienzeile 62 wird am 17. Mai im Venster 99 in Wien mit einer Multimedia-Lesung präsentiert (siehe Plakat). Der Dichter und Musiker Yan Jun 顏峻 tritt live auf. Die Zeitschrift ist bei der Redaktion, im Sekretariat der Abteilung Sinologie des Ostasieninstituts an der Univ. Wien und auch bei mir (Martin Winter) erhältlich.

Magazine presentation in Vienna

4月 25, 2012

Mit dem Kopf durch die Chinesische Mauer

Wienzeile, a literature magazine coming out in Vienna, Austria, with entries in Chinese, English and German. Lots of new literature by Hsia Yü 夏宇、Yan Jun 顏峻、Hung Hung 鴻鴻、Zheng Xiaoqiong 鄭小瓊、Yu Jian 于堅、Ma Lan 馬蘭、Qi Ge 七格、Wu Yinning 吳音寧、Lin Weifu 林維甫、Tong Yali 彤雅立、 Pang Pei 龐培、Liao Yiwu 廖亦武 and many others.

Art work and photos by Linda Bilda, Yang Jinsong 楊勁松, Chen Xi 陳熹, Emy Ya 葉宛玲 and others. 

Articles by Han Han 韓寒 and Hu Yong 胡泳. And an article comparing Charter 08 to Charter 77, written by Helena Nejedla, Czech Republic. If you get hungry while reading, we have a recipe for 四川鍋盔.

 

Two books in German

4月 25, 2012

Two books in German

Simon Urban’s Plan D appeared in August 2011, Bei Ling’s Ausgewiesen has come out in March 2012. Both are tied to my experiences in Taiwan, in different ways. Simon Urban is a young German author. He is not from the East, the former GDR, and there seems to be nothing in his biography to make him destined for writing a novel on history. And yet he belongs to a continuing thread of history in German literature, told in various forms, often through family stories. Female authors tell family stories, and there are many immigrants writing in German. Their writings are often set in the regions where they come from, and many tell histories of families. History is a topic that just doesn’t seem to go away in Germany and Austria. Nobel prize laureates Elfriede Jelinek and Herta Müller both write about painful topics from the recent histories of their countries. Herta Müller is from Romania. She is a Romanian author writing in German, mostly about Romanian contemporary history. And she’s living in Germany, for historical reasons. Elfriede Jelinek writes on Austria’s contemporary history, through her plays and novels. She writes in a very special language, a language that unmasks the thoughtless style of the media and contemporary discourse throughout Austrian society. One of her plays is called Winterreise, evoking Schubert, in her own special way. Another play relives a murderous party in the small town of Rechnitz in 1944.

Simon Urban’s novel is a thriller. It is the story of an East German police officer who has to find the murderer of a mysterious man, hanged near the Berlin Wall. The wall still exists, the GDR still exists, in 2011. Agents and counter-agents, state security and the Energy Ministry. Don’t trust anyone. Including your colleagues from the West. It’s a thick book, bursting with very evocative descriptions of situations in Berlin inside a frustrated policeman’s mind. Often funny, as well as haunting.

Simon Urban attended a creative writing academy in Leipzig. One of his teachers was the Austrian Writer Josef Haslinger, who also became famous through writing a thriller. It’s about a terrorist coup at the Opera Ball, related to Austrian contemporary history, of course. But Mr. Haslinger was not supportive of Mr. Urban’s project. “The GDR is deader than dead”, he used to say. Mr. Urban has proven him wrong. Plan D will come out in English in early 2013.

Bei Ling’s memoir begins in 2009, the year he got famous in Germany. He was invited as an exiled Chinese writer to speak at a panel at the China-focus Frankfurt book fair, then asked not to attend, along with Dai Qing, a veteran female writer and environment activist in Beijing. Both of them gate-crashed Frankfurt, with German media support. The book then jumps back to 1979 and the Beijing Democracy Wall. Activism and literature are inseparable for Bei Ling. He gives a very personal account of the 1980’s underground poetry scene, and goes on through his years in the US and his friendship with Susan Sontag, who helps him out when he is imprisoned for printing an illegal literature journal in Beijing.

Suhrkamp deserves credit for recognizing some of Bei Ling’s potential. They certainly helped to make him known in Germany. The translation of “Ausgewiesen” is good. Most of the book reads very similar to Bei Ling’s essays in the FAZ (Frankfurter Allgemeine Zeitung) and in Der Spiegel. The empathy, the little details, the very personal atmosphere. Bei Ling can make you feel as if you were there with him in Beijing in the early 1980s. Maybe you know some of the names, like all the famous Misty Poets. But nobody has  told it in such an intimate way, not even Bei Dao, in his fascinating recollections. When “Ausgewiesen” came out in March, the FAZ carried the first review. It was dominated by the complaint that Bei Ling didn’t include much, much more about all these fascinating topics. That’s the fault of his editors at Suhrkamp, of course. The original manuscript was easily twice as long. I’ve seen it. And like other publishers, they don’t have an editor who reads Chinese. Maybe you know Jung Chang, who wrote Wild Swans. I am pretty sure Bei Ling mentions her, but in the German text she becomes a man called Zhang Rong. Hu Ping, editor of Beijing Spring and one of the oldest Chinese exiles in New York, becomes Hu Pingzheng.

Plan D is a rather thick book. Well edited, nothing important peeled away. Simon Urban is a maniac for detailed descriptions, and you always feel these locations in action. Urban succeeds in creating a Berlin that can feel at least as real as the one you know. It is all there, this is how it could have turned out. How it is, behind the surface, at many places.

So how are these books related to Taiwan? Simon Urban was at the 2012 Taipei book fair. His book was very well received, and many people asked questions. They have a real life Communist country to deal with, which is related to them in various ways. Bei Ling runs a small press in Taiwan called Tendency, which grew out of the literature journal with the same name. They print works by Havel and Celan, among others. Taiwan is a place that accommodates many different ventures and makes many things possible. A long tradition of immigration, everything thrown together. They had a one-party dictatorship themselves, and an economic miracle too. But since 1987 they have an ongoing process of democratization, including recognition of their own history, their various ethnicities and so on. It makes one think of recent history and present times in parts of Europe and elsewhere. These are the connections, between the late Vaclav Havel and a fictional Undead GDR, between Paul Celan, exile and reckoning with the past, between poetry and stories of spies.

Addendum: Exiled Chinese writers, like Ma Jian and Bei Ling, have protested against official China monopolizing the China focus at the London book fair this spring. Click here for press coverage in Dutch, English and German.

March 20: danube, cherries, liu xiaobo

3月 21, 2012

6 on the beach near the northern tip of the island in the danube at vienna, march 20, 2012

island

the danube flows
vienna starts
somewhere downstream.
the island goes
a couple miles
or maybe four.
they have an ice-cream stand today
with buttermilk and radio.

i came to see the cherry trees.
they’re fast asleep.
they need another month or so.
in april we may still have snow.
the cherry trees are from japan.
i went there 19 years ago.
it was before i knew my wife.
i went by boat.
it took two days.
and almost everyone was sick
except the crew.
a boat from china to japan
in january, in ’93.
the plum trees bloomed among the snow.
in february, when i was there.

it’s nice and warm.
the danube flows.
they had an earthquake in japan
a year ago, a little more.
the biggest one they ever had
or maybe not. but very big
with 20.000 people dead
and nuclear power plants kaput.
and still the trees bloomed like before.

it’s nice and warm.
the danube flows.
a month ago the cherry trees
and rhododendrons were in bloom
in taiwan, just a month ago.
it was quite warm. we even swam
in mountain streams.
and austria had lots of snow.

today they read for liu xiaobo
they have a day for poetry
when spring begins, from the un
the 18th was for prisoners
in china and america.
for prisoners of politcs.
they have a day for everyone.

the danube flows.
i brought my son to therapy.
he goes to school. there’s progress now.
he speaks much more.
our daughter doesn’t read a lot
but on the whole we’re doing fine.

the danube flows.
this city is a crying shame.
they say it’s very beautiful.
a neonazi gets a third,
a little less.
a rightist. just like hungary.
a little bit more affluent.

the danube flows.

MW    March 20, 2012

This one’s for all the bloggers out there

Susan Sontag: Pay attention to the world

Elfriede Jelinek

政治與戲劇     Vaclav Havel/文  董恆秀/譯

March 21, Kardinal Nagl Square, U3 subway, Vienna. Many bees in the tree.

 

 

多瑙河滔滔不绝

从维也纳开始

顺流而下到某处

在这座岛上

行走几英里

也许四英里

有个卖冰淇淋摊点

还有牛奶和收音机

 

我来看樱花

它们睡得很熟

它们还需要大约一个月

四月份可能还会下雪

樱花树来自于日本

我19年前去过那里

在我认识我妻子之前

我坐船去的

花了两天时间

几乎所有人都生病了

除了船员

1993年1月

一艘从中国到日本的船

梅花在雪中开放

二月,我在那里的时候

 

天气美好怡人

多瑙河滔滔不绝

日本发生了地震

一年多一点点之前

他们有过的最大的一次地震

或许不是。但已经算是很大了

有两万人死亡

以及核电站泄露

树依旧像先前一样开花

 

天气美好怡人

多瑙河滔滔不绝

一个月前樱花

杜鹃花盛开

在台湾,就在一个月前

天气相当暖和,我们甚至在山溪里

游泳

而奥地利还白雪皑皑

 

今天他们为刘晓波读诗

在他们的诗歌日

春天到来时,联合国规定

18日是囚犯日

在中国和美国

因为政治犯

他们给每个人指定一天

 

多瑙河滔滔不绝

我带儿子去治疗

他去上学了,现在有了进步

他话说得更多了

我们女儿阅读不多

但总的来说我们做得很好

 

多瑙河滔滔不绝。

这座城市令人蒙羞

都说它非常漂亮

新纳粹占三分之一

少一点点

极右分子像匈牙利一样

稍微富裕一点

 

多瑙河滔滔不绝

 

2012年3月20日

 

伊沙、老G  译

 

 

February and June

3月 16, 2012

Yan Jun

Two Poems from 2007

Febr. 13 (For those who have never seen rain)

time difference carrying luggage going into the rainbow

the travellers the sleepy-heads

the cats in thailand fishing folk in shanxi

corpses in books female warriors coming up

seven o’clock in the morning darkness leaving these faces

they all have their names

in their passports in the papers

new babies awaken accordeons destroying a jail

taipei raindrops dancing calling me back

Febr. 13th, 2007

Tr. MW, March 2012

June 28

they all flew away from the moma development

over xidan over tanggu over berlin and cologne

it rained on the way bird flu broke out peach blossoms fell

stock market softly extinguished babies were born

central station capetown tea hawkers taking the lift

dusk finally changing into the night

they closed down lufthansa center the workers’ stadium

bombed olympic park they did it for love

but for the sleepless heart but jardin du luxembourg

but butterflies flying on lantau over the temple of heaven

but hashish bees helicopters took them away

all of urumqi changed into a park

finally changing into the night and they sighed

they changed into her they love her they flew

into another dream

June 28, 2007

Tr. MW, March 2012

Poetry and music

3月 16, 2012

Music and poetry in present-day China and Taiwan

How are poetry and music combined? What differences and what similarities are there within and between China and Taiwan in today’s relationships of music and poetry?

Yan Jun (Lanzhou/ Beijing) has become well known since 2003, both for his sound projects and for his poems. Yan Jun wrote about parts of the music scene in China in 2010. His article is collected in the book Culturescapes China (Basel 2010), with other representative texts on recent music and literature.

Some of Yan Jun’s poems are related to political events and concerns. All poetry is political, he once said, which may evoke discussions about art and politics in general, by Adorno and others. On the other hand, Yan Jun has tried to maintain a stance that avoids direct confrontation with the government and negotiates a largely underground breathing space for art and music.

Singers, musicians and poets, artists in general have to organize themselves and work in a way that gets noticed, without going to jail. The ones that do become dissidents and end up imprisoned or in exile are a small minority. Some are more concerned with politics than with art. Others, like Liao Yiwu, have made experiences that have linked their art and their concerns for society in a way that makes it hard for them to continue working, publishing and living in China. Liao Yiwu is a famous example. His approaches to poetry and music are inextricably linked to his experiences at the bottom of society in China. Liao Yiwu left China last year and currently lives on a scholarship in Berlin. He visited Taiwan in January and February 2012. I was fortunate to witness two of his performances in Taipei and Tainan. It was exciting to witness how fast people in Taiwan were able to connect with Liao Yiwu. In Tainan, the reading was at a university, introduced by professors teaching Taiwanese and Hakka, not Mandarin Chinese. The dynamics of music, history, language and poetry were very remarkable.

At the end of Liao Yiwu’s reading in Taipei, he asked Lo Sirong to sing a traditional song in Hakka, a lullaby sung by a working mother, sung mostly to placate herself, perhaps. Lo Sirong is part of a mostly female network of poets and musicians who collaborate on different projects in Taiwan and beyond. One recent project is Fullmoon (Sleepless in moonlight), a six-edition online poetry-sound magazine organized by Tong Yali. In Spring 2012, I translated seven poems by Wu Yining, a Taiwanese reporter, local activist and poetess. She first came to prominence in 2001, reporting from an uprising in Mexico. Wu Yinning quotes rock songs sung in Taiwanese, among other sources.

Singing in different languages, and the use of different languages in general are well integrated in today’s Taiwanese society. There is a general consensus on the protection of cultural diversity. But although Mandarin is no longer the only official language, social and economic conditions nevertheless serve to favor its use.

Cooperation with singers/ songwriters from Mainland China is increasing; there were many concerts by Mainland singers/ songwriters in Taiwan in February 2012. These artists were introduced in the magazine POTS (Weekly supplement Nr. 699, Feb. 24 – March 4, 2012, p. 14/15)

The famous Taiwanese poetess Hsia Yü (Xia Yu) is also famous for her song lyrics, published under pseudonyms. There is a history of pop, rock and DJ culture in Beijing behind Yan Jun’s sound projects, and there is a history of pop songs from Taiwan and Hong Kong since the end of the 1970s that has influenced Mainland China. People who were young at the beginning of the 1980s remember the pop songs of Teresa Teng (Deng Lijun). After the Cultural Revolution, such songs supplanted the Maoist propaganda – they were subversive because they were not political at all. Hou Dejian, who ran away from Taiwan to Mainland China, became the most important cultural figure in the 1989 Beijing Tian’anmen protests that ended with the June 4th massacre in the city. Other artists also performed on Tian’anmen Square, most notably “Rock Music Godfather” Cui Jian. But Hou Dejian was actually crucial to the outcome of the protests. He galvanized the protests in the last few days, along with Liu Xiaobo, Zhou Duo and Gao Xin. And because of his popularity, because even the soldiers knew his songs, Hou Dejian was able to help negotiating the retreat of thousands of students from the square in the early hours of June 4th.

Poetry and music, in traditional forms, such as opera, and in present projects, show the differences and similarities between more official and more informal settings and occasions. Present-day connections between poetry and music in China and in Taiwan enable informal and spontaneous social connections.

Taiwan and China

3月 6, 2012
Photo by 莊豐嘉, Febr. 2012. Plum blossoms & waterfall in Wulai, Taipei County.

Photo by 莊豐嘉, Febr. 2012. Plum blossoms & waterfall in Wulai, Taipei County.

Taiwan and China. Taipei, Hong Kong, Canton and Europe. Kalt & warm.

Taiwan can easily contain China. China cannot contain Taiwan. Because Taiwan is many things that China is not. Taiwan is open in ways that China cannot afford. These make it prosper. And attractive, also for China.

Just saw some great pictures from a snow-white Berlin, taken on Febr. 22.  I was in Tainan on Feb. 21 & 22. Very warm. Ran around barefoot on a public track next to the Confucius Temple. Stopped at a monument with a missile. They are not sure where and when it came from. It didn’t explode, and it won’t. But they are keeping it, like the temples and alleys. Went into the Patriotic Women’s Association. Nice place, from Japanese times. Sat around with a friend, wrote a poem into her notebook. Had been swimming in the mountains the week before, with another friend. Nice and warm there, too. It was cold on some days in Taipei, and in the wind on the island of Kinmen. But nothing like in Europe. Some of the people I went around with in Taiwan came from Berlin. Literarisches Kolloquium. Simon Urban was there, author of Plan D. Great novel, hilarious. Was just presented at Taipei Book Fair and will be translated into English, maybe also into other languages. It’s about a GDR detective, in late 2011. Yes, Communist East Germany still exists in this book. Now I am back in Vienna. The sun is out, but it’s cold. Was grateful for gloves yesterday on my bicycle in the afternoon.

Simon Urban and Tang Wei in Jiufen, Taiwan. Feb.5th, 2012

Simon Urban and Tang Wei in Jiufen, Taiwan. Feb.5th, 2012

An den Rändern und in den Ländern rundherum habe ich mindestens ebenso viel über China bemerkt wie in den Jahren in chinesischen Städten. Das ist auch bei Österreich so. In Taiwan hab ich viele Leute kennengelernt, auch einige, die schreiben und übersetzen. Auch alte Freunde wieder getroffen, einen ganz zufällig, nach 22 Jahren. Er war 1988-1990 mein Vermieter in Taipei. Die abendlichen Gespräche mit ihm waren sehr wichtig und lehrreich. Er unterrichtet heute in Taichung und ist Vorsitzender des PEN-Klubs für Autoren, die auf Taiwanisch schreiben. Taiwan ist ganz ähnlich wie Österreich, in mancher Hinsicht. Kleines Land. Viel Geschichte. Schöne Berge. Zeitgeschichte, je nachdem. Lang unterdrückte Sprachen und Volksgruppen. Und so weiter.

Liao Yiwu in Taiwan, America, Europe …

3月 6, 2012
廖亦武,撥算盤吟詩,圖片來源新新聞

廖亦武,撥算盤吟詩,圖片來源新新聞

廖亦武不是基督徒。也不是台灣的客家人、本省人、原住民、民進黨、工會、長老教會等等。不用支持美國右派,不用支持伊拉克戰爭等等。不用一直當知識分子。甚至不用當海外異議分子。因為不是基督徒,所以《上帝是紅色的》更自然地當報告文學。廖亦武不知是是流亡作家,是流浪漢、囚犯等等,可以引用《三國》的開頭說無論生活在哪裡都是四川人,不用關心一個中國等等政治詞彙。廖亦武無論在哪裡都可以當作家、詩人、音樂手、行為藝術家等等。詩歌朗誦繼承金斯堡、狄蘭·托馬斯等等,甚至讓我想起維也納已故的詩人Ernst Jandl和其他擅長上場並同樣擅長把自己的經歷和記憶配合反對專政、尊敬和承認社會底層的寫作。讀廖亦武不意味不可以讀任何其他作家或詩人。台灣作家可以讀小說家甘耀明、詩人夏宇、戲劇家和詩人鴻鴻等等。有很多作家,非常多元的文化,非常複雜的問題。而有了廖亦武就不用擔心中國會怎麼樣。社會底層的人關心的不是政治。是關心很多生活最基本的事。心、記憶、家、天氣、吃飯、來往。無論在哪裡,無論什麼時候都有作家等等人士讓你欣賞和注意比政治、歷史、國家等等更基本的生活瑣事。包括魯迅,也包括張愛玲。他們的文學裡、生活裡顯然都有社會、經濟、國家、戰爭等等大問題。不過文學、藝術不是為了先解決大問題。是為了不忘記每個人都有一些基本的、大家需要關心的東西。

讀廖亦武,同樣可以讀中國大陸小說家余華或莫言、詩人于堅、鄭小瓊、龐培等等。香港、海外作家顯然亦可以讀很多,包括用英語、法語等等寫作的華人。讀廖亦武也許就不會覺得如果讀北島就不應該讀劉曉波、不會覺得聽顏峻的詩和聲音就不用聽任何地方的民謠、跟踪艾未未就不用跟踪在台灣、奧地利等等地方藝術跟社會、政治、經濟等方面的關係。所以我2012年二月份在台灣的文學經驗跟廖亦武在台北、台南等地方的朗誦會在我的記憶裡是分不開的。很多作家很難跨越寫作和關心公民權利。你博客的讀者也許很多, 而真正喜歡你的詩或你的小說的人比起來可能就少了,或者說有很多人只關心你的博客,根本沒工夫多注意你的詩或小說,無論你是北京的西藏詩人唯色或上海的賽車作家韓寒。廖亦武跟很多作家、評論家等等不同,他不用說他喜歡誰,除非說他喜歡的四川民間歌手。

我各人喜歡的書有很多種。詩歌、偵探小說。。。最近讀了西蒙·無邦(Simon Urban)的《Plan D》。主要的主人公為一名東柏林警察。在這篇小說裡,德意志民主共和國2011年底還存在。很喜歡。黑色幽默。一月份,還未去台灣的時候讀了村上春樹去年的大作《1Q84》. 人物、地點、日常生活都寫得很棒。以前也讀了他的小說,都很喜歡,短片和長篇都很欣賞。很喜歡的長篇包括《舞!舞!舞!》、《世界盡頭與冷酷仙境》、《挪威森林》等等。《1Q84》的故事開一部分始在1968年的東京大學示威,就像《挪威森林》。我很喜歡《挪威森林》。但是讀完《1Q84》就覺得把社會的一些基本的問題只顧在一些局外者的生活裡會產生很大的矛盾。因為《1Q84》裡沒有《一九八四》這篇小說。沒有監獄、沒有博愛部,根本沒有烏托邦。只有兩個月亮。1980年代的東京的一些小街頭等等地方描寫得非常好,生生有味。有恐懼,有人懷疑她是否生活在1984年。可以說有大哥。但他不是人人都知道的人物。只有相當小的教派裡的人在某段時間裡認識那位原來在1968年當大學教授的領導。總共來說我還是非常喜歡喬治·歐威爾的《一九八四》,也很喜歡瑪格麗特·愛特伍(Margaret Atwood)寫的《使女的故事》。跟那兩本書比起來,《1Q84》就比較無害。廖亦武在監獄裡讀了《一九八四》。最近在台北演出的時候,廖亦武也提到《一九八四》跟他自己的經驗的關係。總共來說, 廖亦武可以讓你喚醒,讓你感覺到一些各人的問題和一些各國社會的問題。總會比只讓你感覺到1980年代的日本一些生活細節強。但廖亦武自己大概不會想到這樣的比較,因為根本不需要。

frankfurt

3月 1, 2012
the sun is bright,
we’re going down.
we’re late one day,
a little less.
or maybe more. 
it was the strike
or maybe not.
it’s morning now
or not yet noon.
I thought I could be home last night.
The lounge in Guangzhou was not bad.
The second one, the luxury.
You need an effort to get in.
Once you’re inside, they’re very nice,
if they decide to let you stay.
And all the others will be fine
without a shower or warm food.
That’s how it works in China, too.
MW        Febr. 29, 2012
從台北回維也納的旅途不能說順利。一共整整兩天,坐六架飛機,昨天29日晚上到維也納,今天早上維也納機場把行李送過來了。主要是因為德國法蘭克福機場罷工,不過也是因為德國漢莎航空飛機從香港起飛後不能收取輪子,這樣也不能飛十個多小時,必須回香港,還好降落相當順利。在香港大家都要過境、拿出行李。帶台灣護照的人還必須簽證!然後只能呆一天或著票改成其他旅途。都要很積極地找漢莎航空在港具最能幹、服務態度最活力的人員。都是港人,英語很好,找到了最能幹的拿到了經過廣州到法蘭克福的機票。還有她們的人員幫經過廣州的小組盡快找閘門。到了廣州發現去法蘭克福的飛機第二天早上才能起飛,因為法蘭克福機場人員罷工。所以又得跟廣州機場人員商量,要他們代表漢莎航空給我們提供能夠吃飯、休息的空間。機場相當新,不過最好的空間不一定給熬夜的客人,得反复很積極地跟人家商量。晚上十一點終於吃飯,也拿到舒服的椅子和乾淨的空間,竟竟還提供洗澡、上網。早上上了飛機,到德國發現去維也納的飛機取消了,其他航空到維也納也都客滿,不過我給他們建議經過奧地利其他城市。經過Linz,那邊換飛機才終於到達了維也納。總共因為德國機場罷工、德國漢莎飛機配件不足之處的原因,坐了六架飛機才能兩天之內從台北回維也納。

Liao Yiwu in Tainan

2月 23, 2012

“My father made me stand on a table when I was small, and recite ancient classical Chinese. I could only climb down after I was able to recite the whole thing by heart. I was only 3 or four years old, maybe. I hated my father.” This is how 廖亦武 Liao Yiwu began to talk to the students and teachers of 國立成功大學 National Ch’engkung University in 台南 Tainan, after he played a wooden flute, a very basic instrument he had learned in prison. Very basic sounds, mute and suppressed at times. Loss and regret. No uplifting fable. “I am not going to tell you very much about the time when I went into prison. You would have no way to understand everything. I was like any young person. I didn’t want to listen to anybody from older generations. And I had gone through 文革 the Cultural Revolution, when my parents couldn’t take care of me. For me, classical Chinese belonged into the rubbish bin, along with many other things. My father was 84 years old when he died”, Liao Yiwu said. Or was it 88 years? Only a few hours of dialogue and open exchange between father and son, in all those years.
Dialogue and open exchange. Between 四川 Sichuan and 台南 Tainan. Between Taiwan and China. Between languages and experiences. Feeling lost, between clashing dialects, conflicting histories. Feeling rooted, at the bottom of society.

On the podium, scholars of 台灣閩南語文學 Taiwanese literature sat along with Liao Yiwu. They spoke in Taiwanese. One professor recited a poem by a high school student. Before Dawn, or something like that. About the massacre from 1947, February 28th. I didn’t understand the words. But you could understand the feeling. The answer is very simple, he said, when a 客家 Hakka student asked what she should do, because the words and songs of her grandmother would die with her. There were too few people who could still speak with her in 客家話 Hakka, she was afraid her mother tongue, her grandmother’s words would become extinct. The answer is very simple, the professor said very gently. He spoke mostly in Taiwanese, so I didn’t understand it all. But he said you just have to study, you can even major in Hakka now. It’s not easy, but there is a common effort.

It was very simple, Liao Yiwu said, when people asked him how he fled from China. I went to 雲南 Yunnan province, bordering Vietnam, Laos, Myanmar and Tibet. I had made lots of interviews there many years before, with people at the bottom of society. You turn off your mobile. You could also bring extra mobile phones. You get lost in small towns. And then one day I was across the border in 越南 Vietnam, very wobbly on my legs. There was a small train, like in China at the beginning of the 1980s. I knew such trains from drifting around China when I was young. In Vietnam, I was afraid of a lot of things, getting on the train, of simple things to eat. But I could communicate by writing numbers on a piece of paper. 500, wrote the innkeeper. 100, I wrote below. And so on. Finally I was in 河內 Hanoi, in a simple inn. And then I went on-line and contacted my friends and family in China. When I got on the plane to Poland, I was still afraid. The year before, military police in full military gear had come and taken me out of the plane in 成都 Chengdu. But then I realized, although this was a Socialist country, I was in the capital of another country, not in China. And the plane took off.

The lecture hall was full. I sat on the floor in the aisles, like many others. It was a very welcoming atmosphere. “We have a few books to give away for students asking questions in the second part of the lecture.” What is 流浪 liulang? What is 流亡 liuwang? What is 旅行 lüxing? These three words sound rather similar in Chinese. This was another professor speaking. He had studied in Russia. He was from a Taiwanese faculty in 台中 Taichung, but at this occasion, to clarify this question, he spoke in Mandarin. What is drifting about? What is exile? What is traveling? When you are drifting around, you don’t know where you are coming from, and you don’t know where you’re going. When you are going into exile, you know where you are coming from, but you don’t know where you are going, where they will let you stay. When you are traveling, you know where you come from, and you know where you’re going. Very simple differences. But what about us here in Taiwan? 我們是否知道自己從哪裡來,到哪裡去? Do we know where we are coming from, and where we are going? In the 1960s and 1970s, many writers and intellectuals in Taiwan were in prison. It was very hard, but you knew what you were fighting for. Just like the writers and lawyers in China, they know they are fighting for freedom. Now in Taiwan we are very free, in comparison. But we can still be marginalized.

One of the professors was my landlord from 1988 to 1990 in Taipei. He is the chairman of the Taiwanese PEN. In 1988 he was a doctoral candidate in history, and a stage decorator. We hadn’t seen each other or heard from each other for 22 years.

freedom 自由

2月 18, 2012


自由不能宣傳。自由不屬於政府。自由屬於幻想。不過幻想不見得都是好的。沒有安居樂業會有怎樣的幻想嗎?今天看了環球時報又覺得看中國大陸報紙就有精神分裂症的感覺,記者和編輯當然比讀者得病顯然更嚴重、更絕望。同樣的報紙有又支持給意義分子判重刑,又報道紀錄片導演講文革的殘忍故事等等。其實自己沒看到支持給意義分子判重刑的文章,只是聽說,但看過類似的。生活、工作在大陸有一定的精神分裂,大陸人知道嗎?大部分都感覺到吧。那麽台灣和香港呢?香港最近有排斥大陸人的新聞。香港人好像不一定覺得自己屬於公共和諧鍋。那麽台灣呢?這次去台灣時間還算很短,不过還是覺得想要跟大陸統一的人非常少。那麽選出來加強跟大陸合作的政府有精神分裂症症狀嗎?前几天去金門一趟,金門人好像都覺得跟大陸有更多的來往是很自然的事。希望大陸學台灣的民主也許屬於幻想,但是最近大陸的微波畢竟有很多人非常羨慕和嫉妒台灣能直接普選議會和總統。

從佛洛伊德的故鄉奧地利這几年的民主選舉來說,接近三分之一支持極右派,算非常嚴重的症狀應該毫無疑問。

自由不能宣傳、不屬於政府、屬於幻想。所以美國政府宣傳自由有精神分裂症嗎?無論怎麽說,民主制度的政府能夠保護和支持幻想嗎?是應該盡量保護和支持。但政府畢竟不會主動來做,除非覺得也許有什麽對他們的好處。公民社會靠著非政府組織不斷奮斗很辛苦地贏得出來的。沒有公民社會哪里會有幻想? 也許幻想總是會有,雖然有的人不一定會承認大家都有表達幻想的權利。

總共覺得台灣的民主制度也許還不是很完美,但非常難得的,有點像台北的捷運。靠大家支持、要好好維修。 這几年高雄也有了捷運,而且台灣還有高鐵,星期一就會坐一下。


Liao Yiwu in Taipei

2月 12, 2012

I went to a great reading/ concert/ political happening by Liao Yiwu in Taipei tonight. It was organized by Wang Dan’s New School for Democracy. First time Liao performed his legendary poem Massacre from the night before June 4th, 1989 in public for a Chinese-speaking audience. Very memorable experience. People wept and remembered the White Terror and the Feb. 28, 1947 massacre in Taiwan. The case of Zhu Yufu, who got 7 years for a poem in China, was mentioned several times. Liao Yiwu was asked for his opinions about the controversy around the boss of the Want Want conglomerate and media czar (China Times etc.) who recently denied there was a major massacre in 1989. Liao Yiwu reaffirmed the answer he had given at Taipei International Book Fair. He just said he wasn’t very interested what some merchant would have to say. They would say anything to please Beijing, and unfortunately they would get away with it very easily. Liao was also very critical of the book fair. Glossy and haphazard in many ways, that was his impression. No dignity for authors, no thorough organisation of readings. Well, I must say I liked all the events I saw or participated in. The show girls and the people walking around advertising discounts did not give the impression of a very cultured event, rather like some market selling everything aside from books, just like Liao said. But they certainly did have some well organized readings, and international highlights in French and German, for example. Anyway, Liao Yiwu’s performance tonight was a very exceptional event. I think they recorded it, and I heard it was broadcasted live on the Internet. Don’t know where exactly. Liao was asked what he thought about the relation of literature and politics. He spoke about reading Orwell’s 1984 in jail, and talked about the parts leading up to the end of the novel, how Winston is broken with the use of a rat and made to rat out his girlfriend, and how he loves Big Brother as he is taken away to be shot. Perfect example for his own aesthetics, Liao said. He still supports people doing ‘pure literature’, goes to poetry readings about the Full Moon Sound Magazine (http://fullmoonsoundmagazine.tumblr.com/) and stuff like that. He was not interested in politics until 1989, he said. The Hakka songstress Luo Sirong sung a very poignant lullaby at the end. This part would not have been forbidden in China. Liao’s performance was so intense it made you vary of police barging in. But the most precious thing was the whole event together, the songs and the music, the talks and discussions. The strong interaction made it all very special and rare.

董恆秀的感想

文學、翻譯等等

2月 6, 2012


未說出要害

今天六月四日下午翻譯討論會我們四個人都說了翻譯的使命、條件、樂趣、難點、技巧等等。主持人唐薇讓我們報告自己怎么選擇了中文、怎么來到了翻譯文學一行業。其實我們有一部分說出來根本不是選擇中文、選擇文學。一步一步地碰到了機會而已。自己從小對文學感興趣,從十一歲左右開始讀詩歌,一開始就讀不衕語言。八九歲以后父母對亞洲的食物,對打坐、太極拳等等很投入。一方面想保著身體健康、一方面尋找生命的意義。奧地利第二次世界大戰結束重新建立經濟以后在六十年代末、七十年代初開始尋找、開始重新反省國家、社會、藝朮等等在這個世界上的意義。其實一直都得反省,一直必須自問我們到底從哪里來,到哪里去。只是大部分人未說出,沒功夫說出、沒辦法說出我們從納罪制度、從倫理、宗教、道德根本跨了的世界上從未發現的巨大罪惡出來。柏林文學學會代表東格斯(Thorsten Dönges) 昨天在另外的、也是書展的場合簡單地介紹德語戰后和現在的文學,他說得很清楚,德國在二十世紀兩次想控制歐洲,結果是在全世界發動了戰爭。沒說日本在亞洲有衕樣的目的,衕樣地發動了第二世界大戰在亞洲的一面。東格斯代表說當代德語寫作非常重視曆史。在二戰以后第一代作家,像君特·格拉斯(Günther Grass)、海因里希·伯爾(Heinrich Böll)等等他們講戰爭和戰后的恐怖,講納罪德國軍隊和支持他們的人在東歐作出的災難、以后德語民族被驅除的后果。很多作家都講曆史,克里斯塔·沃尔夫(Christa Wolf)等等`民主德國』作家都是。那麽第二、第三代作家,他們就講自己的生活和他們一代的社會嗎?不,很多還是講曆史,講當代曆史,包括奧地利的艾芙烈‧葉利尼克(Elfriede Jelinek)和從羅馬尼亞來的赫塔.慕勒(Herta Müller)等等。而且很多年輕作家這几十年都講家庭的曆史,以講出家庭的曆史講整個社會的曆史。柏林代表沒說奧地利老作家多德勒爾(Heimito von Doderer,1896~1966)他也講曆史,不過主要不是講二戰和奧地利人的罪惡。他有自己的原因,他在三十年代曾經有點支持納罪黨,不過戰后支持進步的、積極的實驗文學,像恩斯特·揚德爾(Ernst Jandl)等等。反正東格斯代表講出了要害,人家作品里到處都是曆史,包括他介紹的新作家西蒙.吾邦(Simon Urban)。吾邦在他第一本長篇(德語叫Plan D)把最近二十几年的曆史改寫,好像1989、1990的變化從未發生,德國仍被分割,2011年秋天還有民主德意志共和國,兩個德國的秘密警察和間諜在仍然分割的柏林勾心斗角、殺人等等。

未說出要害,其實未說出要點。台北書展講中文和德語之間的文學翻譯和介紹工作很好。但不只是文學,根本沒有人只作文學翻譯。譯者衕樣也是學者、當老師、當口譯,做其他方面各種東西的筆譯。其實我們都說出,只是自己未說我研究最近二十年,尤其是2000年以后的中國文學。自己未說出要點,是沒說出要害,沒說出研究得不夠,不夠清楚。也應該包括當代台灣的文學。

唐薇念了周夢蝶的詩,我念了我的翻譯,以后也講了翻譯詩歌像演奏音樂,每個人有不衕的演奏方式和風格,也得看場合、觀眾、編輯的需求等等。台灣當代文學跟德語文學一樣帶著當代曆史沉重的負擔。想到台灣這几十年的社會,就很快想到本省人和外省人。不過台灣文學不只是有中國和台灣的問題、有台灣當日本殖民地的事實、有漢人各種文化和原住民文化的問題。台灣當代文學跟中國大陸進二十几年的詩歌一樣可以分學朮性寫作和民間寫作。當然實際上不那麽簡單,有很多混合,朦朧詩人不是學者,有很多直接從民間生活拿來的寫法。所以也不能說於堅發明了民間寫作。但畢竟中國大陸這几十年有民間寫作和所謂知識分子寫作的分割,而且翻譯進來詩歌也有支持民間寫作和支持學朮派寫作的分區。說知識分子寫作和民間寫作的區別其實不如說學朮寫作和民間寫作的分割,雖然不是那麽簡單、有很多混合等等。廖亦武肯定是民間寫作,但他也是知識分子,坐牢的知識分子,雖然他坐牢的條件比他的老朋友劉曉波更慘烈。聽到廖亦武的朗誦就是非常特殊的經驗,跨越音樂和文學,跨越舒展和民間街上小巷生活、市場等等,明明涉及到社會和政治。

廖亦武在朗誦會被問對旺旺集團董事長最近好像否定六四屠殺的看法。回答了很好,說他一般不估計商人對政治說一些什麽,因為按照需要很 快就會變。如果明天劉曉波當中國總統,商人都會贊美民主。政治家也一樣,包括目前你們的台灣總統,廖亦武說。人家問廖亦武以后屬於什麽國家,他回答屬於永 遠屬於四川,也引用了《三國》開頭。以后中國因為制度不行了而分開了,我們四川就關心對陝西、湖北等等的外交關系,不那麽注意台灣。

其實今天已經二月五日。這几天睡覺沒規律,這次根本沒有入睡,先是樓下現場音樂未結束,后來出汗,也想到上說的要害和要點。廖亦武的朗誦以后有作家在出版社展位簽字的機會。以后廖亦武去跟他的朋友楊曉斌見面,晚上要回新竹。廖亦武在他的書里面給我簽字以后我就有機會跟新竹的詩人倪國榮先生談話。倪國榮老師給我講他的太太翻譯愛蜜莉.狄金生(Emily Dickinson)几十年的經驗,還介紹他怎麽分學朮寫作和民間寫作。說周夢蝶、亞弦、七等生等等詩人都比較屬於民間寫作。而余光中、樣牧、王文興等等比較都是學朮的寫作。

鴻鴻和他編輯的雜志《衛生紙+》里那些年輕詩人多半該屬於民間寫作吧。夏宇呢?屬於宇宙吧。那彤雅立呢?其實我不清楚。兩種都有,可能是。她辦的《月照無眠》詩聲雜志里有布萊希特(Bertolt Brecht)、有魯迅、有周夢蝶、有不少宋詞。為了詩聲雜志,我給她把一些詩譯成英語,包括周夢蝶寫恆河的那首。是的,我詩歌寫作和翻譯的目的語言是英語和德語,兩種都是。

那麽要點的要害在哪里?翻譯是中間人。而有時候必須明明站在一邊。就這兩點而已。

不過最后什麽叫做文學、什麽叫做藝朮等等往往都是重新被討論的話題,永遠講不完。我自己屬於什麽? 待續。

照相:Benny Au (Hong Kong)

龍年快樂!

1月 24, 2012

Photo by Ronnie Niedermeyer

祝大家2012龍年一切順利,願比2000年更好!
這幾天記得2000年,那時候我們第一年一直住在北京,住靜安裡,挨著左家莊。2000年天氣特別壞,到六月份才下雨。元旦電視上記得那时候的主席帶火把跑上世紀壇台階。也許有點像去年在台灣慶祝辛亥革命100年的奢侈。台灣聽說費用非常大,很多人大概不覺得記住1911年的一些象徵值得花他們交稅的錢。
那時候在北京很多民房可以看到支持那時候流行的氣功教會、詛咒那时候的主席和执政黨的塗鴉。不只是小區裡牆上樓梯裡等等,也有三環的地下通道等地方。那時候北京還禁止放炮,但越來越多人不管,包括警察。給他們這樣一點的自由就是很好的活門。2000 war auch ein Drachenjahr. In Beijing hat es im Juni zum ersten Mal richtig geregnet, die Sandstürme waren dementsprechend. Jiang Zemin lief am Neujahrstag mit einer Fackel das brandneue Milleniumsmonument hinauf. An vielen Hauswänden, in Stiegenhäusern, aber auch in Unterführungen unter den größten Straßen gab es Graffiti gegen Jiang und die KP, und für Falungong. Feuerwerk in der Stadt war noch nicht wieder erlaubt, wurde aber immer mehr toleriert. Die Blockfrauen fuhren mit einem VW-Bus durch den Hof und kämpften mit einem Megaphon gegen die Knaller. Sie wurden völlig eingenebelt und kamen kaum durch. Aber vielleicht war das 2002, 2000 wohnten wir noch in einem kleineren Hof.
大陸慶祝2000年的費用比起來也許不算多。共產黨慶祝2000年,因為馬恩主義肯定19世紀的西方發展,西方日曆就是共用的日曆。所有國家和地區都要跟著西方發展,並盡量超過西方。只是把黑格爾的歷史觀變成為無產階級當基本的社會制度。其實物產階級都是基本,每有便宜的工人無論什麼社會都不能發展很快。中國大陸改革開放的經濟模式肯定西方19世紀的一些經驗。因為有很多便宜的工人,經濟上到現在一直發展讓人嫉妒。只是價值上還一直停止在19世紀的西方。馬克思、恩格斯講的造反真的有理,可以說就是實現人類最基本的權利,而且馬克思、恩格斯關心整個世界,比現在德國、奧地利等等地方差不多到了週末都是說我們的社會怎樣那樣,所講的“我們”必定是歐盟最富裕的小組,哪怕說窮人,用“我們”這個詞彙就是奧地利說德語看講究的報紙的“我們”,要不就是歐盟裡有功夫搞理想的青年和有錢的大人,還有那兩種之間的一些讀者。馬克思、恩格斯在一百五十年前已經有很開放的世界觀,比現在很多人都開放。那時候馬克思、恩格斯的價值跟2011年在世界各地講革命、講更換社會制度有很基本的共識。他們那時候知道那時候歐美經濟制度的一些短處和限制。2011年、2012年的思想,至少在大部分媒體所看到、聽到的思想,大部分都肯定西方19世紀的想法。很少有人像馬克思、恩格斯挑戰經濟、社會的體制。中國大陸在天安門有世界人民團結起來的標語,是19世紀理想主義者的回音,包括馬克思、恩格斯等等。從現在看到他們是理想主義者,不像20世紀的革命家主要實現自己利益集團小組的權利,順便也講究思想。思想當實現小組的權利的工具。所以天安門二十多年來國際上都當悲劇的象徵。
中國大陸繼續肯定一些西方19世紀的經濟和價值,肯定不是理想的價值。歐洲媒體都比較自由,都報到去年阿拉伯之春、“我們是99%”等等運動都很興奮。但他們有一些基本的限制。2009年奧地利警察故意射死一個14歲的孩子,另一個孩子重傷。他們在超級市場偷東西,沒有武器。奧地利大部分報刊都站在警察的一邊。最後法官雖然判斷追獵和從後面殺死孩子做得不對,但還是讓的那位射手繼續工作,持續帶槍。在經濟方面,奧地利媒體和社會體制同樣顯得很限制。2012年一月份美國 Standard & Poor (名字直接翻譯就是“標準和貧窮”)財政顧問組織判定歐洲很多國家不是最好的投資對象。像他們那樣的財政顧問集團還有Moody’s、Finch等等,都在美國。他們在2011年一直說歐洲很多國家,包括最大的和最富裕的經濟當投資對象都不如美國。同時在無論什麼地區的媒體,無論美國、歐洲、亞洲等等都沒聽說過美國經濟和財政很健康,比法國等等健康的道理。但歐洲各地還是都繼續跟美國財政顧問組織合作,很缺乏講體制問題的討論。
不願意討論自己社會的體制問題,所以每次因為阿拉伯之春、因為艾未未、劉賢斌,因為2011年12月和2011年一月份中國大陸判重刑的知識分子有或大或小一點的新聞,有的讀者也許一時很興奮,但總編輯每次很快都健忘。反正有經濟問題。MIT DEM KOPF DURCH DIE CHINESISCHE MAUER lautet der Titel der Ausgabe 62. Bitte Beiträge (Prosa, Lyrik, Drama, Essay, Foto, Grafik, Kunst) als Openoffice-Dokument (zur Not MS-DOC, maximal circa 10.000 Zeichen/Text) beziehungsweise *.JPG / *.TIFF per email an wienzeile-redaktion@wienzeile.cc Wir können kein Honorar zahlen, die ausgewählten Autoren erhalten Belegexemplare. Das Copyright bliebt wie immer bei den Autoren. Einsendeschluss ist der 25.3.2012
跟你們說過,維也納文學雜誌 Wienzeile 在2012年春天有中華專輯。我們對中華文化涉及的所有地區的問題都感興趣,包括中國大陸和台灣的異族,等於不是漢人或不是漢語、不倡導國語的文化,也包括本人或家族從中國等地區來的,在世界各地生存的文化,只要在某種方面跟中華文化、歷史等等有關係的。德語題名為 Mit dem Kopf durch die Chinesische Mauer。直接翻譯就是人頭穿長城。低頭撞牆本來不是很健康的做法吧。但這幾年來無論中國大陸的官方或歐洲等地方的限制都沒辦法完全活埋社會的一些討論,包括所謂新媒體,像中國的微博。我們編輯這份雜誌請大家提供自己做的文章和圖案。投稿可以用中文或英語,我們會譯成德語。目前我們不能給稿酬,但每位作者會收到幾分雜誌。
而且請你們提供你們想這分專輯也許能收容的作家和信息的線索,多謝!

維馬丁 敬上

Christmas crackdown

12月 29, 2011

“中國總是在耶誕節期間對異議份子大開殺戒,因為這段期間西方人都去過節放假,比較無暇看到中國的手段。”

Picture by Yang Jinsong

“Christmas means different things around the world, but in China one of the things it’s come to stand for is crackdown. In recent years Chinese courts have chosen the holiday season as the time to hand down the harshest sentences to political dissenters, possibly in the belief that their rulings will receive the least attention abroad. On Dec. 26 a court in the southwestern city of Guiyang sentenced longtime dissident Chen Xi to 10 years in prison for “inciting subversion of state power,” Reuters reported.

notes from prague (2)

11月 6, 2011

去捷克三天,在布拉格犹太庙里印象很深的有小孩在集中营做的画和其他艺术品,还有诗歌。

Čtrnáctiletý Hanuš Hachenburg a s ním i ostatní nově hledají své místo na světě, které jim bylo
ukradeno.

„Co jsem?

Ke kterému patřím z národů?

Já děcko bloudící?

Je mojí vlastí hradba ghett,

či země zrající,

spějící, malá, spanilá,

jsou Čechy vlastí, svět?“ [8]

Odpovědí na Hanušovy otázky mohou být verše Františka Basse. Tento chlapec vyjadřuje hrdost na svůj
původ a neochotu poddat se. Promlouvá ke všem Židům, podněcuje je k tomu, aby se nestyděli za to
kým jsou a aby po zemi vždy kráčeli se vzpřímenou hlavou.

“Jsem žid

Jsem žid a židem zůstanu

i když já hlady umírati budu

tak nepodám se národu

Bojovat já vždy budu

za můj národ na mou čest

Nikdy se stydět nebudu

za můj národ na mou čest.

Pyšný já jsem na svůj národ

jakou má ten národ čest

Vždy já budu utlačený

Vždy já budu zase žít.“[9]

Upstairs in the Pinkas Synagogue at the Old Jewish Cemetery of Prague, they have a collection of children’s art works from Theresienstadt (Terezin), where the Jews from Bohemia, Moravia and other regions were imprisoned before further deportation. Very few children, about 100 of 50.000, survived. I don’t remember the exact numbers, please check the links in the pictures, there is a lot of information, and there are pictures of the synagogues in Prague, some of the children’s art works, and so on. At the other end of the Old Jewish cemetery, at the Klausen Synagogue, in a glass case somewhere among the explanations about Jewish holidays, customs and traditions, was a little poem that begins with “Jsem žid“, “I am Jewish”. It was written by František Bass, or Franz Bass, don’t know how they called him at home. Franz Bass sounds very much like Franz Kafka. Many Jews spoke German, or Jiddish, others spoke Czech, many spoke and wrote all three and more. František Bass was 11 years old. The poem is not very long, and rather conventional, as a patriotic poem. It is very forceful, very powerful, in the circumstances. So I wrote it down, in Czech, tried to copy all those letters and symbols exactly. There was an English translation next to the original poem. But although I don’t speak Czech, I could tell that the original was a real poem, there is economy in the words, there are very few words compared to the clumsy translation. I wrote it down, and a few days later I got around to Google the poem. So I found this paper online, a thesis or a dissertation at a Czech university, just a text file. The little poem by Franz Bass is quoted in full, and it is put in context with another poem by the 14-year-old Hanuš Hachenburg. Hanush Hachenburg asks, asks himself and the listener what he his, which country or nation he could belong to. He should be Czech, at least he writes in Czech. But no, Hachenburg is answered by Frantishek Bass, he can only say for certain that he’s Jewish. And you can be proud of being Jewish, says Frantishek Bass. That’s what his poem is about, so I’ve called it patriotic. I think it’s very powerful. Jsem žid a židem zůstanu, i když já hlady umírati budu, tak nepodám se národu. I am Jewish, I will stay Jewish, even if  I die of hunger, I won’t give up my nation. Or I won’t give in to any other nation, it doesn’t really matter, you’ll see. Bojovat já vždy budu, za můj národ na mou čest, Nikdy se stydět nebudu, za můj národ na mou čest. I’ll always be fighting, for my nation, on my honor. I’ll never be ashamed of my nation, on my honor. Big words. I grew up in Austria, and I’ve lived in China for a long while, and there is ample reason in Austria and in China and in many other places to be suspicious of such words. But in this Czech Jewish poem, they are different words, their meaning is different. Pyšný já jsem na svůj národ, jakou má ten národ čest. I am proud of my nation, an honorful nation. Vždy já budu utlačený, Vždy já budu zase žít. I will always be oppressed and killed, and I’ll always live again.

Reading and on the radio in Vienna

10月 10, 2011

Ni hao, hope this finds you well. We are fine, the kids are in school. The new issue of the magazine Wienzeile has come out in Vienna, with a few of my poems. Die Zeitschrift Wienzeile ist gerade erschienen, inkl. einer Doppelseite mit Gedichten von mir. In den letzten Monaten sind Übersetzungen von mir in vielen Zeitungen und Zeitschriften in Hongkong, Deutschland, in der Schweiz und in Österreich erschienen, inkl. FAZ, Die Zeit, Neue Zürcher Zeitung, South China Morning Post, Lichtungen, Dianmo. Am Montag, 17.10 um 13 Uhr war ich im Radio. (39:08-49:08)
Am Freitag 21. Oktober 19:30 war die Lesung. 10月21日有朗誦會,請看圖。保重,有空請跟我們聯絡一下!

There is a China issue planned for spring. Could be titled Die Chinesische Mauer. Please start thinking of contributions!

Ai Weiwei’s wife Lu Qing writes to National People’s Congress

9月 30, 2011

Lu Qing’s letter to China’s National People’s Congress from Sept. 28 (working translation)

Expressing an opinion on Amendments to The People’s Republic of China’s Criminal Procedure Code (draft legislation)

To the Working Committee For The Rule of Law of the Standing Committee of the National People’s Congress:

As an ordinary citizen, I have seen that the Standing Committee of the National People’s Congress has publicly requested opinions on draft legislation for amendments to The People’s Republic of China’s Criminal Procedure Code. Paragraph 30 of the amendment stipulates that public security organs can, under special exceptions, set up a place for a suspect to live under surveillance without notifying the family. Paragraphs 36 and 39 stipulate the special exceptions in which arrest or detention by public security organs can take place without family notification. This means that a Chinese citizen cannot have protection of his or her most basic rights. Residential Surveillance [originally conceived as house arrest] thus becomes secret detention, this is a blatant violation of the constitution. I ask the National People’s Congress, when you debate paragraphs 30, 36 and 39 of the amendment, not to pass the special exemptions. In this way you can clearly state that when public security organs take up forceful measures of detention, arrest or surveillance against any citizen, they should notify the family without exemption and within the period stipulated by law.

My name is Lu Qing, citizen of China, I am a painter. My husband Ai Weiwei, artist, architect and participant in civil society, designer for FAKE Cultural Development Ltd., was taken away at customs at Beijing International Airport. He disappeared for 81 days. We did not receive any notification from the authorities. We did not know why he was kidnapped, where he was held, or about his health condition.

Family and friends were all very worried and angry about his disappearance. Ai Weiwe’s mother, who is over 80 years old, worried day and night. She could hardly sleep or eat and had to take medication. It was a huge mental and physical strain on her. Family members have tried to get information from any direction, reported the case at police stations both where he disappeared, where he had lived and where he was registered. We wrote Missing Person ads and sent letters to the Beijing City Police Bureau, the Procurator’s Office, the Politics and Law Commission, the Discipline Inspection Commission and the Ministry of Public Security, without receiving any answer. Ai Weiwei’s disappearance for 81 days was very harmful for the physical and mental state of his family.

On June 22, Ai Weiwei was “released on bail to await trial” and returned home. [Again], we have not received any notice from the public security organs. After he was taken away by public security organs, they demanded he sign a notice about “residential surveillance” before they brought him to a secret place in the outskirts of Beijing.

When a citizen is taken away by public security, the family should be notified, to honor one the most basic human rights of a citizen. Family members are not co-defendants. They should have a right to know. If a society loses the protection of a citizen’s most basic rights, this is harmful for the whole society.

A cultured nation should respect the most basic rights of a person. If the above measures are passed, it will be a regression for China’s legal system, the deterioration of human rights, and will be a hindrance to the progress of our civilization. I hope that the current modification of amendments to the Criminal Procedure Code could restrain the arbitrariness the public security organs display in upholding law and order. I hope that citizens receive legal protection before the arm of the law, so that the basic human rights as they appear in the constitution are truly recognized.

Signed: Lu Qing, 2011-09-28

See the Reuters article

See the original Chinese text
Photos by Ai Weiwei, from Google+

Hope you had a happy moon!

9月 13, 2011

Hope you had a happy moon!

the moon is up in heaven
they talk of 9/11
you don’t know what to say
the moon is very bright now
a peaceful ball of light now
a rather dead one anyway.

and everyone remembers
the fire and the embers
a sudden act of war.
the city of the towers
of music and of flowers
and everything a city’s for.

you think of sarajewo
you think of srebrenica
of bagdad and belgrade
you think of senseless carnage
of buildings and of courage
and of some pictures people made.

das mondfest ist erst morgen
heut hat man andre sorgen
das wetter war recht heiss
und viele gingen baden
und kamen nicht zu schaden
die grillen zirpen gar nicht leis.

zum mondfest isst man kuchen
den braucht man nicht zu suchen
den gibt es ueberall
mit ananas und dotter
fast wie bei harry potter
ein fester kalorienschwall.

man steigt auf eine hoehe
dass man ihn besser sehe
man trinkt und singt ein lied
und denkt an seine lieben
im fernen china drueben
an alle die man selten sieht.

they have a wall in china
a wall in palestina
a wall in israel
and many politicians
who work for corporations
and get elected without fail.

the sun is up and shining
we’ve had a little whining
though school has started well.
we’ve had some cakes with poppy
the house looks pretty sloppy
I wish our son could show and tell.

MW     Sept. 2011

杜甫

9月 9, 2011

杜甫

絕句四首(選一)

兩個黄鹂鳴翠柳,
一行白鷺上青天。
窗含西岭千秋雪,
門泊東吴万里船。

Du Fu (712-770)
Short impressions (one of four poems, four lines each)

(three)

two orioles calling from willows,
one file of egrets up to the blue.
ranges of snow caught from my window,
docked at our gate is a passage to wu.

MW Tr. Sept. 2011

Photo by Angelika Burgsteiner

Recent publications

8月 22, 2011

August 28:  South China Morning Post Magazine,Bei Ling 貝嶺 on Ai Weiwei 艾未未

Ai Weiwei SCMP cover

Ai1

Ai2

Ai3

Ai4

++++++++++++++++++++++++++++++++++++++++++++++++

最近在德语报刊发表的翻译 (唐诗、顏峻、艾未未)

August 13: Du Fu,Auf der Yueyang-Pagode


登岳阳楼

杜甫

昔闻洞庭水,今上岳阳楼。

吴楚东南坼,乾坤日夜浮。

亲朋无一字,老病有孤舟。

戎马关山北,凭轩涕泗流。

MW  Übersetzt im August 2008

See also  du, brief etc.

July: Bai Juyi, gras

Neue Zürcher Zeitung Mittwoch, 20. Juli 2011

(赋得古原草送别)
白居易

离离原上草,一岁一枯荣。
野火烧不尽,春风吹又生。
远芳侵古道,晴翠接荒城。
又送王孙去,萋萋满别情。

MW Übersetzt im  September 2008

++++++++++++++++++++++++++++++++++++++++++++++++

the streets around our house in this old part of vienna have grass growing in the pavement between the cobbles. the grass is there, even though the cars drive on it every day. there was a lot of rain lately, so the air is good, you can smell the trees in the park and in the backyards. and there are weeds growing on the sidewalks. my daughter picks up chestnuts and makes them into necklaces and animals, at home and in kindergarten.

++++++++++++++++++++++++++++++++++++++++++++++++

2011年七月德國萊比錫大學中文系雜誌《點墨》發表了顏峻的詩歌

July: Poems by Yan Jun 顏峻, published in Dianmo 12, p.32-33. English versions see Yan Jun’s poetry in translation.

English version see Yan Jun’s poetry in translation

English version see Yan Jun’s poetry in translation

English version see Yan Jun’s poetry in translation

English version see Yan Jun’s poetry in translation

English version see Yan Jun’s poetry in translation

++++++++++++++++++++++++++++++++++++++++++++++++

July: Ai Weiwei 艾未未 Talk to you later 過一會再說 (incl. English version)

This poem by Ai Weiwei appeared in New York in 1987 in the first number of the Chinese-language magazine 一行 One Line/ Our Group [Yi hang/ Yi xing]
See United Daily News, Taiwan 2011.06.07

German Version (Die Zeit, July 7th, 2011)

德国《明镜周刊》披露艾未未被捕八十一天情况

The City: Beijing

Ai Weiwei speaks out – The Daily Beast, August 28, 2011. For context: China Takes Aim at Rural Influx -NY Times

81 Tage Haft – Der Spiegel 32/2011

Ein Besuch bei Ai Weiwei: Der Künstler und sein Blog-Buch (Basler Zeitung Di., 27. Juli 2011)

Ai Weiwei Poem

8月 8, 2011

Ai Weiwei – 81 Tage Haft. Der Spiegel, 8. August 2011

德国《明镜周刊》披露艾未未被捕八十一天情况

Diary 2011-07

7月 30, 2011

Sorry, didn’t write a lot these days. We have been staying in China four weeks now, and we’re going back to Austria soon.

Right. And now we’re back in Vienna, Maia and I. Kids are ok. Adults adapt much more slowly, as usual. 在北京有朋友写标题…走死呼看擾它蓋特昂嘖蠢,普利斯維特佛按納嘖蠢 … 是地铁5号线的蹩脚英语广播“those can not get on the train, please wait for another train”. 写完以后温州动车就撞车了。更有时政讽刺意味。

unser land

7月 18, 2011

land

unser land, ein wunderland
unser land, die besten zahlen
unser land, die meisten menschen
unser land, die schoensten schaefchen

unser land, ein schoenes land
unser land, die hoechste bahn
unser land, die laengste schnellste
unser land, ein grosses land

unser land, ein stolzes land
niemand hat uns was zu sagen
sagen alle grossen koepfe
unser land, ein armes land

unser land, ein enges land
rechtsanwaelte sind verschwunden
dissidenten arbeitslager
unser land, ein strenges land

unser land, ein altes land
drachen kinder gelber kaiser
sesambroetchen, hefekloesse
unser land, ein reiches land

unser land, ein wunderland
unser land, die besten zahlen
unser land, die meisten menschen
unser land, der goldne mond

MW    Juli 2011

Ai Weiwei News

6月 26, 2011
Liebe Freunde,
Ai Weiwei_Martin Winter
(Basler Zeitung Di., 27. Juli 2011)
Ai Weiweis Gedicht "Wir sprechen uns später" ist in der aktuellen Ausgabe der Zeit (7.-14. Juli). Kam am Donnerstag
heraus, nach China kommt die aktuelle Ausgabe immer erst am Montag, wenn sie kommt. Dann kostet sie 120 Volkstaler,
dreimal so viel wie in Deutschland. Die Übersetzung ist von Angelika Burgsteiner und mir. In den Tagen nach Ai Weiweis
Freilassung war dazu ein Artikel von Bei Ling, den ich übersetzt habe, in der FAZ, in der Presse und auf derstandard.at.
Das Gedicht erschien 1987 in der von Yan Li herausgegebenen chinesischsprachigen Zeitschrift Yi Hang (oder Yi Xing, d.h.
Eine Zeile/ Eine Gruppe) in New York. Ai Weiwei erinnert sich an das Gedicht, weil es das einzige ist, das er je geschrieben
hat, sagt er.
Zeit_2011_7.Juli_AiWeiwei
Wir haben Ai Weiwei am Freitag in der Früh besucht. Er wirkte noch ziemlich mitgenommen. Ich bekam den Eindruck, er wurde
eher zu von der Staatssicherheit vermuteten politischen Hintergründen von alten Fotos aus New York befragt als zu steuerlichen
Vorwürfen gegen ihn. Aber wir haben nicht viel gefragt. Für die Aktionen zu seiner Unterstützung war er sehr dankbar, obwohl
er bei manchen Sachen auch etwas skeptisch ist. Die aktuelle Ausstellung in Winterthur kommt bald nach Graz, und die Sache in
Bregenz fängt auch in diesem Monat an. Aber er kann ja leider nirgends selbst hinfahren. Manche Projekte, die er vorher begonnen
hat, scheinen ihm jetzt fast fremd geworden zu sein. Er möchte gerne gastfreundlich sein und frei reden wir früher. Aber wie er
selbst sagt, jetzt geht es ihm eben wie vielen anderen, und eher wie vielen gewöhnlichen Leuten, die auch nicht zuviel
den Mund aufmachen dürfen. Als Wegzehrung für den Rückweg haben wir ein paar Sonnenblumenkerne mitbekommen.
Herzliche Grüße, mw
http://www.newyorker.com/online/blogs/newsdesk/2011/07/liao-yiwu-leaves-china.html

Silence of the dissidents
The Ancient Roots of Chinese Liberalism 
台灣自由時報副刊全版刊〈草泥馬時代的艾未未〉文,照竟也全刊出了 
Yan Li's Chinese magazine in New York, 1987

The source for Ai Weiwei’s poem

严力:说说艾未未(之二) (2011.5)

严  力:说说艾未未(之三)

严力:说说艾未未(之四)

Hu Jia released after years in Chinese prison 

@faz_net Weit hinter der chinesischen Firewall http://t.co/LIbIuTv 貝嶺 Bei Ling (June 25). http://derstandard.at/1308679661187/Die-Freilassung-Ai-Weiweis-Ai-Weiweis-Zukunft Ai Weiwei mit Maulkorb: Wie lange wird er das aushalten? Der Aktionskünstler ist wieder auf freiem Fuß, aber unter scharfen Auflagen: Gibt es echte Freiheit für ihn nur um den Preis des Exils?

中文刊於6月24日台灣蘋果日報

英譯刊於6月25日台北時報(Taipei Times): What will be the price of Ai Weiwei’s freedom? By Bei Ling 貝嶺

Berliners for Ai Weiwei (He lost a lot of weight in prison, so he might as well have some!)

See also Berlin’s Tagesspiegel from June 23rd  柏林《每日鏡報》6月24日文化版

Objective

6月 13, 2011

According to Xinhua and Global Times, the newly published second volume of “History of the Chinese Communist Party” (1949-1978) is “seen as objective”.  So what’s the objective of this book? What are the objectives of this new “objective” party history? Was it written by party members? Does anyone among them, or among the people who planned, published, and distributed this book, think the PRC should evolve into something different from a one-party dictatorship/autocracy? (I find it hard to believe that many non-party members would use their own money to buy such a book. Or is it really that different? Why was it published, then?) Which major bookstores have had their sales rankings dominated by this book? Ok, the main objective seems to be seen as objective. “Experts say that objectivity, a founding principle of the CPC, was virtually banished during the late 1950s and 1960s, when “extreme leftist” thought dominated the governing ideology of the Party.” Founding principle? There must be some historians who can answer this question. Anyway, they still write their party with a capital P.

http://www.tinkin.com/arts/the-travelogue-of-dr-brain-damages/
http://www.tinkin.com/arts/the-travelogue-of-dr-brain-damages/

In Taiwan, there seems to have been pressure for change in the late 1970s and early 1980s. China was changing. Taiwan was and is still called Republic of China, but in the 1970s they lost their UN-Security Council seat to the
PRC. Because of that ping-pong tournament between Nixon, Zhou Enlai, Mao and Kissinger, or something like that. Yes, sports events have always been very important. So there was pressure on Taiwan to open up politically, to democratize. They couldn’t just go on calling themselves The Free China team. No-one was ever going to help them liberate the Mainland anyway. So the Chiang Ching-kuo administration eventually lifted martial law in 1987, and allowed real opposition. A real opposition party. In 1988 or 1989, you still had to be a Party member (GMD/KMT) to get into certain positions in Taiwan. In 1988 or 1989, even very liberal Party members still said that in 1947, maybe 200 people might have been killed after the February 28th incident, but it was an armed uprising anyway. In 1991, President Li Denghui publicly admitted that probably more than 20.000 people had been killed in 1947 by government forces, and apologized to surviving relatives.

Going back to China: If there is any real discussion about The Great Leap Forward famine, in conjunction with all the other campaigns, including the anti-rightist “movement” and the ones before and after, including the CR,
wouldn’t that mean one-party autocracy would have to be abandoned at some time? In 2011, we’re having 90 years of CCP, in addition to 45 years after 1966, the beginning of the CR. In 2009, we’ve had The Founding of a Republic (1949), and in addition 1959 (famine), 1969 (CR), 1979 and 1989 (In 1979, economic reform was ushered in under Deng Xiaoping, who prevailed over Hua Guofeng in the late 1970s, although Hua had been appointed by Mao. Does that mean Hua and Mao were part of the “‘extreme leftist’ thought [that] dominated the governing ideology of the Party” […] “during the late 1950s and 1960s”?).

The student demonstrators in 1989 explicitly stated in slogans on banners etc. that they supported the CCP. Even after they were called counter-revolutionaries in the The People’s Daily. (See the article by Su Yang 蘇陽 in the HK Xin Bao). But because protest leaders emphasized loyalty to the state, three peasants who hurled red paint at the Mao portrait at Tian’anmen were apprehended by the students and handed over to Public Security. They were from Hunan, where Mao came from. They got 17-20 years. After the massacre of June 3rd and June 4th in the streets of Beijing, who would still think that political reform would be possible under the Party?

“Objectivity” sounds rather like the 1980s. Objectivity and political reform, or at least pressure for political reform are interdependent. Any kind of national and international pressure, especially the latter. “Chinese
Communist Party seen as objective in writing its history” – doesn’t that sound like “Vatican seen as objective in writing its history”? Yan Lianke cannot publish his latest novel Four Books in mainland China, because it’s about the Great Leap Forward famine. Opposition party founder Liu Xianbin has been sentenced to another 10 years in March. He has been sentenced to 26 years since 1989. There are a few other people like him. They are not as famous as Liu Xiaobo and Ai Weiwei. And there are people in detention or in labor camps for political reasons who are not intellectuals or dissidents. Like Ai Weiwei’s cook and his driver. Anyway, would anyone call the present political and social climate in China hopeful? So what are the objectives?

so

6月 2, 2011

so (children’s day)

it is children’s day today
so i’m very very tired
as i’ve been for many years
so i don’t appear so often
so i’m very very late
so i’m here like anyone
so we’re doing what we can
so i’ll have another birthday
so we’ve china to remember
so we’ve 1989
so we’re doing what we can

MW June 1st, 2011

Maia & Leo

Ai Weiwei

4月 8, 2011

Interesting. Please click on the Global Times link (also at the bottom), read the article and then click on the “Related” links under the article. These other stories add a lot of perspective, through earlier and mostly positive Global Times coverage of Ai Weiwei’s various projects and activities. I remember seeing Lian Chan 連戰 on TV in Taiwan in the 1980s*. He was prime minister then, I think. Kept saying “Yi fa bali! 依法辦理”. To be handled according to law. Everything should be handled according to law. This was already after martial law 戒嚴 was lifted 解嚴 in 1987. But many opposition figures and activists were still in prison (they had a prison island, “Green Island” 綠島, for example) or barred from returning to Taiwan. Martial law had been lifted, but many laws from the One-Party-rule were still on the books, and actually still enforced (See the poem “After Martial Law Was Lifted – In Commemoration of Lifting Martial Law in Taiwan on July 15th, 1987” by Li Qin’an [李勤岸 – 解嚴以後 – 一九八七年七月十五日臺灣解嚴紀念] http://blogs.yahoo.co.jp/dujuan99nihon/30163376.html). Now which law is the Global Times article referring to? Let US bake our cake of social progress and eat it at the same time, and have it OUR way, and let nobody in the world talk too much about it, because this is the LAW. Right?
Very interesting how they keep on contradicting themselves. “Was said to have been detained”. Was he, or was he not? Maybe just kidnapped? “It was reported his departure procedures were incomplete.” Interesting. So which law will not concede before Ai Weiwei? Which departure procedures law? No, it’s THE LAW. Shoot first, deflect questions later.* Happens in every society.

Martin

======================================

Global Times (4/6/11):
http://en.huanqiu.com/opinion/editorial/2011-04/641187.html
Law will not concede before maverick
法律不会为特立独行者弯曲_评论_环球网: http://bit.ly/hwH7G4, most discussed on @dujuan99/china (http://bit.ly/evC5Ka) See also China Geeks (4/8/11).

魏京生: 从艾未未事件看中国法制的演变

Geremie Barme on Ai Qing and Ai Weiwei

Nude photos and other incriminating activities of Ai Weiwei

It’s really very simple, and even seems a bit tedious when you think about it. Yet I go on watching these shows. What else would you have me look at, dear readers?

Salman Rushdie

Who is afraid of Ai Weiwei?(Language Log)

貝嶺:裸體公民艾未未 (China Times, also in Ming Pao)

Naked Citizen Ai Weiwei (Ming Pao, Hong Kong, May 2011)

Photo by Katharina Hesse

There are many relations of this case to other arrests like the one on April 8 of Zhao Lianhai 趙連海, speaker for parents whose children had been poisoned by tainted milk.
Zhao had been released on parole after beeing imprisoned for “disturbing the peace”. But on April 6, he uplaoded a moving video, holding his child and trying to make a public statement at home.

FAZ

*This blog entry started out as a post on the MCLC email listserv. A lively discussion ensued. Andrew Field pointed out that Lu Xun 魯迅 and many other modern writers were banned in Taiwan under martial law. James Dew, Tim Wong, Kirk Denton, Christopher Lupke and others remembered how foreign students read these writers in a special room at Taiwan University, and how Chen Yingzhen 陳映真 connected to Lu Xun and the May Fourth tradition. Chen was imprisoned for “pro-communist activities”. Tai Jingnong 台静农 (1903~1990), a well-known writer and painter in Taiwan, was originally a student of Lu Xun.

* Jerome Cohen uses a similar expression in the South China Morning Post (4/27/11): “Second, it also seems clear that, whatever the evidence being assembled about tax evasion or other charges, this was not the motivation for Ai’s detention. This case started out on a ‘detain first and look for justification later’ basis.”

Chinese rock music related to Ai Weiwei: http://www.zuoxiaozuzhou.com/, via Jeroen Groenewegen

南都社论: 躺在时间的河流上怀念他们

Lesung 12.4. Gerhard Ruiss – Bei Ling

4月 5, 2011

Stichworte Lesung 12.4. Gerhard Ruiss – Bei Ling

Verhaftungswelle – Ai Weiwei, vorher schon andere Künstler wie Wu Yuren; auch Ran Yunfei und viele andere Blogger, Teng Biao und viele andere Menschenrechtsanwälte …

Gao Zhisheng (Anwalt) seit Jahren verschwunden, vorher mehrfach inhaftiert und gefoltert

Viele unter Hausarrest und abgeschirmt, in letzter Zeit verschärft, auch Liu Xia, Frau von Liu Xiaobo.

Seit Oktober durfte niemand Liu Xiaobo besuchen, auch seine Frau nicht. Falls Bruder oder Eltern doch einmal hindurften, dann unter Geheimhaltung, alles abgeschirmt, jeder Kontakt nach außen wird strengstens verhindert.

Liu Xianbin wurde letzte Woche wieder zu 10 Jahren wegen Anstiftung zur Untergrabung der Staatsgewalt verurteilt. Seit 1989 bekam er insgesamt 25 1/2 Jahre, u.a. wegen Gründung einer Oppositionspartei. Solche wie ihn gibt es noch mehrere, sie sind halt alle nicht so bekannt wie Liu Xiaobo. Liu Xianbin kam erst 2008 frei, unterschrieb aber sofort die Charta 08 und wurde 2009 wieder erhaftet. Er hat eine Tochter im Teenageralter, die ihren Vater hauptsächlich von Besuchen im Gefängnis her kennt. Es gibt einen sehr interessanten Text von Liu Xianbins Frau Chen Mingxian (leider nur auf Chinesisch), in dem sie von ihrem Leben seit 1995 erzählt. Sie ist einfache Lehrerin, lernte zufällig Liu Xianbin kennen, wurde langsam in die Dissidentenszene hineingezogen, beschreibt sehr eindringlich ihr tägliches Leben in einer kleineren Stadt, mit häufigen Polizeibesuchen.

Seit Februar gibt es im Internet Aufrufe, in 10-15 Städten auf die Straße zu gehen, jeden Sonntag, gegen hohe Lebensmittelpreise, Korruption und viele Misstände; ohne Transparente, einfach Spazierengehen an bestimmten Orten, höchstens manchmal Sprechchöre; darauf wird jedoch mit großem Polizeiaufgebot, Brutalität und vielen teils willkürlichen Verhaftungen reagiert.

Der Dichter Liao Yiwu, der 1989 wegen einer Radioausstrahlung seines Gedichts “Massaker” ins Gefängnis kam, die 90er Jahre hauptsächlich in Lagern verbrachte, dort viel Stoff für Reportagen und Erzählungen fand, die auch ins Deutsche übersetzt wurden, und von einem alten Mönch Flüte spielen lernte, durfte im Herbst 2010 erstmals ins Ausland, nach den Solidaritätslesungen am 20. März (Tag der politischen Lüge, Authors for Peace, Internationales Literaturfestival Berlin) und nachdem sich sogar Angela Merkel für ihn einsetzte. September und Oktober 2010 war er in Deutschland, dann ging er zurück nach Sichuan. Sofort wurde er wieder überwacht, öfters zur Polizei beordert, etc. Heuer wurde er in die USA zu einer Lesereise eingeladen, durfte aber im März wieder nicht ausreisen. Auf diese Weise wird er auch die folgende Reise nach Australien, wo er dasselbe Buch vorstellen sollte, nicht antreten können. Seit den 90er Jahren wurde er 16 Mal in verschiedene Länder zu literarischen Veranstaltungen und Konzerten eingeladen, 1 mal (im Vorjahr) durfte er ausreisen, 15 mal nicht. Liao Yiwu ist nicht das einzige Beispiel; der Dichter Bai Hua durfte lange Zeit ebenfalls nicht ausreisen; ich habe noch von anderen Fällen gehört.

Zhao Wei, der Student, der unlängst auf einer Zugfahrt umkam, ist auch ein Fall, der einen an viele ähnliche Fälle erinnert, von denen man ebenfalls in China gehört hat.

Liu Xiaobo, Ai Weiwei und Bei Ling kennen einander aus den 80er Jahren. Alle Künstler, Musiker, Schriftsteller etc., die jetzt über 30 sind, sind durch das Proteste-Desaster und Massaker von 1989 miteinander verbunden, auch wenn sie künstlerisch, intellektuell etc. überhaupt nicht miteinander übereinstimmen. Dissidenten, auch im Ausland, sind teilweise sehr zerstritten. Liu Xiaobo wird von manchen nicht als geeignet angesehn, die Arbeiter, ArbeitsmigrantInnen etc. zu vertreten, die in den letzten Jahren mit Streiks, Selbstmorden und schon länger auch durch die vielen Arbeitsunfälle in den großen Fabriken in den Industriestädten um Kanton und anderswo von sich reden gemacht haben. Aber auch da gibt es eine Verbindung: Zheng Xiaoqiong, die Arbeitsmigrantin und Dichterin, die 2003/2004 bekannt wurde. 2009 kam eine Auswahl ihrer Gedichte in Taiwan heraus, in einer Serie, in der auch Gedichte der tibetischen Schriftstellerin Woeser erschienen. Am 5. April 1976 begann die Öffnung Chinas, noch vor Maos Tod, auf dem Tian’anmen-Platz mit Gedichten. Auch heute ist Lyrik bedeutender und integrativer, als man glauben möchte. Natürlich ist nicht alles davon immer ‘nur’ Literatur – Kunst und Politik sind in Wirklichkeit weiterhin sehr eng miteinander vebrunden, auch wenn seit den 90er Jahren alle sagen, alles sei nur noch kommerziell geworden. Unter Mao war allles Politik. In den 80er Jahren waren die Verbindungen noch sehr deutlich. Jetzt sind sie auch sehr deutlich, wenn man die Nachrichten hört.

Lesung am 12. 4. 2011 im Museumsquartier in Wien
12.4. 19 Uhr
Lesung mit Gerhard Ruiss und Bei Ling (Lyriker, Essayist, Dissident, Biograf des Friedensnobelpreisträgers Liu Xiaobo)

Raum D / quartier21
Gedichte von Liu Xiaobo und Liu Xia

Auszüge aus Essays von Bei Ling und aus der Biografie von Liu Xiaobo

Gedichte von Bei Ling

Es lesen Gerhard Ruiss (IG Autorinnen Autoren) und Bei Ling

Nach der Solidaritäts-Lesung für den inhaftierten chinesischen Friedensnobelpreisträger Liu Xiaobo am 20. März (mit Gerhard Ruiss im Radio – siehe
http://archiv.literadio.org/get.php?id=766pr1602) kommt sein Biograf Bei Ling zu einer Lesung nach Wien ins Museumsquartier. Der Versuch der Überwindung von Zeit und Raum ist für Bei Ling seit mehr als einem Jahrzehnt bittere Realität. Der Lyriker war – wegen der Veröffentlichung einer Literaturzeitschrift – selbst in Haft, wurde 2000 auf internationalen Druck hin freigelassen und aus China ausgewiesen. Seither lebt er im Exil.
„Es gibt keine Wahl mehr. Das Blut vieler junger Menschen, jene Seelen, jene eingekerkerten Menschen, und dann noch Xiaobo im Gefängnis – er wird mich verfolgen und auch das, was ich schreibe. Er wird mein Verhalten bestimmen“, das schrieb Bei Ling vor 22 Jahren als er erfuhr, dass sein Freund Liu Xiaobo nach dem Massaker vom 4. Juni 1989 verhaftet worden war – und er scheint recht behalten zu haben. Die Biografie seines Weggefährten Liu Xiaobo ,Der Freiheit geopfert´ ist erst kürzlich auf Deutsch erschienen.
Am 12. April liest Bei Ling mit Gerhard Ruiss Gedichte von Liu Xiaobo und Liu Xia (der Frau des inhaftierten Nobelpreisträgers, die seit Oktober in ihrer Wohnung festgehalten wird). Außerdem trägt Bei Ling aus seinem lyrischen Werk vor und liest aus der Biografie über den Friedensnobelpreisträger.

Die Veranstaltung in Kooperation mit dem quartier21/ MQ wird von der IG Autorinnen Autoren mitgetragen.

Der Freiheit geopfert. Die Biografie des Friedensnobelpreisträgers Liu Xiaobo

© Angelika Burgsteiner und Martin Winter
Martin Winter
0043-650-7209592

Liu Xiaobo worldwide reading

3月 23, 2011

The world-wide reading on March 20 was a big success. In Leipzig, as far as I heard. In Vienna, it was interesting. Instructive. Great experts. Reporters Without Borders. Amnesty International. Writers in Prison, with Helmuth Niederle from the Austrian PEN. Professors from the East Asia departments of Vienna and Bratislava. Poetry. Protesters in China, in prison. Women, peasants, workers. In spirit. In between. Over 90 cities in 33 countries on six continents. At least. Gerhard Ruiss and Bei Ling read in Leipzig. At the book fair.

Herta Müller’s speech on March 20 in Berlin was published in the FAZ on March 26. Very good speech. She has read the biography. Maybe a little too fast. The labour camp didn’t come immediately after the first prison term. He wrote the confession in prison at the end of 1990 and went free in January 1991. Everything else is correct. The episode with his father, who wanted him to give in. And the labour camp. She does take a side, very emphatically. The last sentence is the most important one. “More and more supporters of Charter 08 are disappearing in jail.” Liu Xianbin was sentenced to 10 years a few days ago. Altogether he has been sentenced for more than 25 years since 1989. His most serious crime seems to have been one of the founders of an opposition party at the end of the 1990s.  Liu Xianbin’s wife Chen Mingxian chronicles her life in the last 20 years in this account: http://08charterbbs.blogspot.com/2010/10/blog-post_23.html

There is also a good piece in the NY Times by Geng He, wife of the human rights lawyer Gao Zhisheng: http://www.nytimes.com/2011/03/28/opinion/28geng.html

Teng Biao has disappeared, Ran Yunfei has been detained for a while, and now Liu Xianbin has been sentenced to 10 years, to name but a few. The situation is very clear. No progress, just the opposite.

MuseumsQuartier Wien, Raum D / quartier21 - Photo by Pernille Koldbech Fich

There will be a reading with Bei Ling, poet and publisher, in Vienna at the same location on April 12.

Translation

3月 12, 2011

It’s like stepping outside in the little courtyard out back with the garbage cans and old bicycles to look at the sky before you go to sleep. No, it’s more like stepping out onto your spacious balcony seven floors up in an ordinary drab neighbourhood, not yet demolished, and see birds soaring in circles through the morning sky around the high-rise next to the bicycle shelter, both very drab and ordinary in a very ordinarily ingenious way, in the direction of sunset or sunrise.

Freedom for Liu Xiaobo!

3月 12, 2011

Wir laden herzlich ein:

Solidaritäts-Lesung für den inhaftierten Friedensnobelpreisträger Liu Xiaobo

20. März 2011

Österreichische und chinesische Künstlerinnen lesen Texte des chinesischen Bürgerrechtlers. Im Anschluss findet ein Gespräch mit SinologInnen, SchriftstellerInnen und MenschenrechtsexpertInnen statt.

Zeit:

Sonntag, 20. März, 19 Uhr

Ort:

Raum D / quartier21, MuseumsQuartier Wien

http://www.mqw.at/de/programm/detail/?event_id=6339

http://programm.mqw.at/programmdatenbank/index.php?result_page=1&tmp=q21-det&TID=6339

LXBVienna2011March20

Vienna, March 20, 2011

慕容雪村

3月 2, 2011

One of the best texts I have read in a long time is Murong Xuecun‘s recent speech in front of the Foreign Correspondent’s Club in Hongkong. It was a speech he had wanted to give at the occasion of receiving the People’s Literature magazine’s “special action award”. But they didn’t let him speak at the ceremony. Time magazine has the full text, they say (acc.2011-03-02). Please read this text. If you like it, maybe you’ll agree that literature is a very good indicator of the state (of a nation), exactly because you can’t really know what it states. This is true for art in general, or a capacity for innovative culture. You can’t really know what it states, or maybe you’re sure you know, but you can’t really say, or what you can say is only one aspect. You can analyze the structure. You can try to translate it, and still keep the spirit. I haven’t read the original text, haven’t had time to look for it. Is there an original text in Chinese? Did he write it in English? He probably gave the speech in English, because it was at the foreign correspondent’s club. If the text in Time magazine is a translation, I’m pretty sure it is translated well. Yes, maybe there is something universal about it. Maybe Chinese writers have said similar things through the centuries. And millenia. But not only Chinese writers. And I am pretty sure, on the other hand, that this text is a very powerful indicator for the present state (of things). It’s both. Perfect example for Yomi Braester’s Witness Against History. Art has something else, something that goes far beyond History. Or also keeps record more faithfully.

Chinese Studies blogs

2月 28, 2011

In 2004/2005 or so in Beijing, my wife and I became friends with some parents of other kids at the local kindergarten. One mother had studied art in Japan and introduced me to blogging. Since early 2008 I have a website at Yahoo Japan. (I had spent a few weeks in Japan in early 1993, on a boat trip from Shanghai.) There is a blog I maintain at Langmates (translation and localization), another one for poems only (almost) and a harmonized teaser, among others. My translations of poems and various signs and banners in China can also be found on websites set up by Sam Brier (2004) and by Charles Laughlin (Ma Lan’s poetry). MCLC (Modern Chinese Literature and Culture), edited by Kirk Denton, has not only spawned an extensive treasure trove of Modern Chinese Literature and Culture sources, but also an Email-list server which has maintained professional and other exchange services for the international Chinese Studies community and beyond, including some very lively discussions. Recently, list members have introduced their blogs, such as Anne Henochowicz, Andrew Field, Jeanne Boden and Charles Laughlin. The initiative was started by Paul Manfredi.

Zhan Bing 詹冰(綠血球 Taipei: 笠, 1965), from http://chinaavantgarde.com/

Libya & Other Countries

2月 22, 2011

As rich European countries go, maybe Austria is just as bad as Italy or France. Only smaller, more provincial. Newest anti-foreigner laws package passed on Tuesday, Feb. 22nd, 2011. The protesters in Egypt didn’t really look to America or Western Europe, but to protest experiences in Serbia and such. At least that’s what I remember from reports in the NY Times, among others. A Chinese friend told me he was watching the Arab protests very much,while he was in Europe, because the pictures from Egypt reminded him of Beijing in 1989.

China has had too many so-called revolutions under Mao and a big failure with protests for civil rights and democracy in 1989. But there are many protests in China all the time. Labor unrest, land seizures, health hazards etc.. There may also be a big craving for stability, hence the hesitation to participate in larger protests. The op-ed in the NYT (IHT) by Daniel Bell, designated Western politics professor in Tianjin, was very academic. Or very wishy-washy. Civil rights are universal. No, China’s not so special. Reporters know, especially when they go to see the blind Women’s rights activist lawyer in Shandong and get waylay-ed and beaten. No, nobody cares about supposed academic discussions on why democracy might not work. Yes, people try to lead a good life, individually, for their family, and sometimes they notice the limits, and try to work around them, and many do talk about it. Sorry for the rambling. As I said, rich countries are no beacons. Maybe I am more politics-sensitive than before, since we moved back to Austria from China, after 10 years in Beijing and a few more in other cities. Roger Cohen is right, the EU doesn’t look very good at all these days.

Don't bother

Don't bother

Egypt and China

2月 3, 2011

A sign in Cairo

Chinese sign in Cairo

Any discussion on forbidden topics is worthwhile. And this topic seems to be at least semi-forbidden on websites easily accessible in China. Social unrest is widespread and continues to grow. China is built on denial. Not on the Nile. There is no river in Beijing. I wonder if there has been any precipitation by now since fall. It was pretty bad in 2000, I remember. They dug huge canals all the way from around Nanjing and Wuhan to bring water for Beijing and Tianjin. Imagine a new canal dug through a city center, 100 meter down. That’s what I saw somewhere in Henan in 2007 or so. Maybe most people don’t take part in uprisings yet. As anywhere, people are concerned with their family and their livelihood. Not with the government. Unless something bad enough happens, you don’t need to take action. Maybe you’ll discuss something, like Premier Wen visiting the Beijing Petition Bureau. They do seem to feel the need to address some problems publicly, and not only through suppression. They continue to suppress many words, such as eleven or civil society. Actually I’m not sure if eleven is still sensitive, but it wouldn’t surprise me, since a certain dissident who was sentenced to eleven years on Dec. 25, 2009, got a lot of publicity lately. Any comparison of China with countries in volatile situations is worthwhile. It’s important not to end up in the Nile, or in denial. That’s a nice little joke I heard from our friend Liam, very nice if you’re far away, I guess. To a very large extent, China is built on denial. The same could be said about other societies, like Austria. But maybe at least there is less denial now than 30 or 40 or 50 years ago. In Austria, maybe. It’s a dialectical process, maybe. There is still a lot of denial. But in China denial is at the base of the system. In private talk, if you’re a friend, people will tell you what they went through in the 1950s, -60s, -70s and so on, or what they are doing now, even if it’s against official policy. But is there enough public discussion of past and present grievances and problems? This is already very close to the question Adam (see below) has put in his post. Adam is right, saying that China is very special and very stable and so on often gets very obnoxious. I am very wary of any big-time supportive international collaboration with institutions in China. Just look at what happened at the Frankfurt Book Fair 2009. The organizers cooperated with China’s GAPP, the general administration of pressure and prodding to toe the government line in publishing. The Ministry of Truth. Maybe they had to, to stage a China-themed fair. And the ensuing scandal was good, except for a few officials. Any kind of discussion is good, any kind of publicity, if there is a lot of denial. I wonder if the Robert Bosch trust fund and other Western sources of funding for cooperation with China learned anything. In December there was a discussion in Germany and Austria, after an article in the Sueddeutsche Zeitung suggested that Chinese Studies institutions staid away from the topic of the Nobel Peace Prize award for a Chinese dissident. Maybe some of them do, if the people in charge are too closely affiliated with the Confucius Institutes situated right inside the Chinese Studies department, as it is usually the case now. In Vienna, this wasn’t a problem. There was a big discussion on January 11 at the Sinology department of the East Asian Institute, one of the most engaged and open events at Vienna University in a while, probably. Bei Ling, author of the Liu Xiaobo biography was there, reading and talking to an enthusiastic crowd, in a very interesting discussion about the roles of intellectuals and public institutions. Professor Weigelin was fully in her element. Prof. Findeisen and Dr. Wemheuer contributed important points on literature and society. Who would have thought that in January, people around the world would spontaneously think of 1989? At least for me it feels like back then, very sudden change sweeping through several countries. So of course there are many comparisons. It is nice to live in exciting times, and important not to end up in the Nile. May they have peace and better times in Egypt soon!

Shanghai Scrap (2/1/11):

Comparing Egypt and China ­ wrong questions, meaningless answers

Sign in Arabic and Chinese

From Language Log

Liu Xiaobo biography events

1月 17, 2011

Liu Xiaobo, the Chinese dissident sentenced to 11 years on Dec.25th 2009 for “inciting subversion“, was awarded the Nobel Peace prize in absentia in Oslo on Dec. 10th, 2010. Liu’s old friend and Independent Chinese PEN co-founder Bei Ling has written a biography of Liu Xiaobo. Bei Ling started off from an essay he wrote in June 1989 in New York, after Liu Xiaobo had been arrested in Beijing in the aftermath of the massacre throughout the city, as People’s Liberation Army troops forced their way through the streets blocked by protesters in the last phase of the demonstrations on Tian’anmen Square. Liu Xiaobo had returned to China from New York and led a hunger strike of intellectuals on the square, supporting the students and Beijing residents in their demands for civil liberties. Bei Ling‘s essay from 1989 was re-published in Chinese in Hongkong and Taiwan in June 2009, and in the German newspaper FAZ on October 12th, 2010, a few days after the Nobel Peace prize announcement from Oslo. Soon after, the German publisher Riva expressed interest in a biography of Liu. Bei Ling had recently written a literary memoir of his years a Beijing underground poet in the 1980s and a literary magazine editor, shuttling between China and foreign countries, in the 1990s. Liu Xiaobo and other old friends such as Liao Yiwu are important figures in Bei Ling’s memoir, to be published by Suhrkamp in Germany this year. So Bei Ling was ready to write his biography of Liu Xiaobo on short notice. It was a crazy idea, but it worked. We worked around the clock in November 2010, and in early December the book hit the shelves. In the first week, from Dec. 9 to 16, it sold 2500 volumes, according to the publisher. Since then, Bei Ling’s biography of Liu Xiaobo has been reviewed in many newspapers, magazines, on TV and radio stations etc. throughout Germany and in neighbouring countries. This month (January 2011), according to the publisher, the book has started to appear on the Spiegel magazine’s bestseller list, the standard list in the German-speaking realm. On January 11th, 2011, a symposion with Bei Ling, Prof. Weigelin-SchwiedrzikProf. Findeisen, Prof. Zhu Jiaming, Dr. Felix Wemheuer and others was held at Vienna University and met with great interest among students and teachers from various faculties. See here …

Liu Xiaobo 劉曉波 discussion at Vienna University 1/11/11, featuring Liu Xiaobo biographer Bei Ling 貝嶺, Prof. Weigelin 魏格林, Prof. Findeisen 馮鐵, Dr. Felix Wemheuer 文浩, Prof. Zhu Jiaming 朱嘉明 and many others. Felix Wemheuer, noted for research into the Great Leap Forward famine, moderated the lively discussion following Bei Ling's lecture.

Liu Xiaobo biographer Bei Ling at Vienna University on Jan. 11th, 2011. Photo: Angelika Burgsteiner

Warte mit dem Staub auf mich – Liu Xiaobo

12月 26, 2010

Warte mit dem Staub auf mich – Liu Xiaobo

(Für meine Frau, die den ganzen Tag auf mich wartet)

Es bleibt dir nichts übrig

als mit dem Staub auf mich zu warten

Schicht um Schicht

füllt er die Ecken

Du lässt die Vorhänge zu

Die Sonne soll den Staub nicht stören

……..

 

和灰尘一起等我–给终日等待的妻 – 刘晓波

你一无所有,只能

和家里的灰尘一起等我

它们一层层

积满了所有角落

你不愿拉开窗帘

让阳光惊扰它们的安宁

…………………….

Literature Nobel winner Elfriede Jelinek on Liu Xiaobo and the new biography now out in German

12月 10, 2010

This is a book about an absent person, who is held in prison; who has won a Nobel Peace prize and is not allowed to collect it: Liu Xiaobo. His old friend Bei Ling writes about him. He draws a many-faceted picture – only a knowledgeable friend can do that. This book is concerned with manifestos, petitions, political actions, but also with self-doubt and guilt, stubbornness and ambition. The author Bei Ling, who was imprisoned himself before, sees his duty in painting a complicated picture of this civil rights activist, with many different shades and colors. Bei Ling knows that he can see Liu Xiaobo only from one side, he can only portray him in profile, not from the front. But even if it is only part of a bigger picture, this part shows us a whole cosmos of courage and repression, of labor camps and life outside watched by security agents, like the life that the wife of this civil rights activist is forced to lead. This book offers a lot of information, but it doesn’t explain everything, because it wants you to keep asking questions. This is why I think everybody should read it.
Elfriede Jelinek, Tr. MW

Read more …

Liu Xiaobo biography published

My essay on Liu Xiaobo and the new biography

Translating the bio

Liu Xiaobo and 1984

Elfriede Jelinek with Bei Ling and translator Martin Winter in Munich

Liu Xiaobo bio bibliography

11月 30, 2010

Bei Ling’s biography of Liu Xiaobo comes out in German on Dec. 9, 2010

Bibliography/ Bibliographie/ 參考資料目錄

 

Liu Xiaobo 1989 and today

10月 5, 2010

No Choice – My Memories of Liu Xiaobo Before And After 1989

Keine andere Wahl – Liu Xiaobo, 1989 und heute

Bei Ling

This article was published on June 16, 2010 in Ming Pao Daily, Hong Kong and in Lianhe Bao (United Daily News), Taipei.

Die chinesische Originalfassung dieses Artikels erschien am 16. Juni 2010 in den Tageszeitungen Ming Pao (Hongkong) und Lianhe bao (United Daily News, Taiwan)

Translation/Übersetzung: Martin Winter

Source/Quelle: Lianhe Bao (United Daily News, Taipei)

http://mag.udn.com/mag/world/storypage.jsp?f_MAIN_ID=235&f_SUB_ID=4595&f_ART_ID=255134

See also
英語報紙:In English:
http://www.taipeitimes.com/News/editorials/archives/2010/11/02/2003487492

In German:

http://www.faz.net/s/Rub117C535CDF414415BB243B181B8B60AE/Doc~E3AB4F19D97FC404CB097C726A204806D~ATpl~Ecommon~Scontent.html

En espanol:

http://www.abc.es/20101010/internacional/xiaobo-1989-ahora-20101010.html

From the Noble Committee:

https://docs.google.com/View?id=dc7f6bh9_884dj3m7sfh

別無選擇——記1989年前後的劉曉波

【聯合報╱貝嶺/文】

2010.06.17 03:28 am

He is very gentle, but he cannot stand any false kindness; he emphasizes individualism, though in daily life he needs his friends very much … His unique personality highlights exactly the kind of character that is so extremely rare among Chinese intellectuals …

Er ist ein sanfter Mensch und kann doch faule Kompromisse nicht ertragen. Er tritt für die Freiheit des Individiums ein und ist doch im täglichen Leben sehr stark auf seine Freunde angewiesen. Sein eigenwilliger Charakter ist gerade unter chinesischen Intellektuellen sehr selten und kostbar…

他喜歡溫和,卻又無法容忍平庸的溫和,他強調個體,可在日常生活中他又如此地需要朋友……他獨特的個性恰恰反襯了中國知識分子極其缺乏個性……

Author’s comment:

This text has been modified. I first wrote it in New York in June 1989, after the June Fourth crackdown, and after I heard that Liu Xiaobo had been arrested in Beijing. I had to vent my feelings. The Liu Xiaobo in this article is my very personal Liu Xiaobo from over 20 years ago.

Read on …

英語報紙:In English:
http://www.taipeitimes.com/News/editorials/archives/2010/11/02/2003487492

德國報紙 Auf Deutsch:
http://www.faz.net/s/Rub117C535CDF414415BB243B181B8B60AE/Doc~E3AB4F19D97FC404CB097C726A204806D~ATpl~Ecommon~Scontent.html
西班牙報紙 En español:
http://www.abc.es/20101010/internacional/xiaobo-1989-ahora-20101010.html

挪威諾貝爾委會 Noble Comittee Communique
https://docs.google.com/View?id=dc7f6bh9_884dj3m7sfh
中國留學生 Chinese students abroad
http://www.dailyillini.com/blogs/different-perspectives/2010/10/31/chinese-illini-not-sure-how-to-feel-about-chinas-first-nobel
王超華 Wang Chaohua
http://www.thechinabeat.org/?p=2793

Chinesische Literatur 2000-2010

9月 10, 2010

Die Literatur der Volksrepublik China ist, wie das Land selbst, vielseitig und widersprüchlich. Es ist immer schwierig, die unmittelbare Gegenwart zu beschreiben, das gilt auch für die Literatur anderer Sprachen und Gebiete. Einige Tendenzen lassen sich dennoch wahrnehmen:

1. Soziale Relevanz ist wichtiger als je zuvor, und zwar in Abgrenzung zu staatlichen Organisationen. Reportagen, Essays und ähnliche Textsorten sind dementsprechend bedeutend.

2. Film und öffentlicher Diskurs werden, wie schon in den 1980er- und 1990er-Jahren, immer wieder in Zusammenhang mit Literatur wahrgenommen. Neu sind Künstlerinnen und Künstler, die sowohl schreiben als auch Filme drehen.

3. Frauen sind in der literarischen Welt prominenter als früher.

4. Internet, Ausland und Exil sind ebenfalls wichtiger geworden. Heute gibt es nicht nur viele chinesische Autorinnen und Autoren in den USA, sondern auch in Frankreich, Deutschland und anderen Ländern. Nur einzelne Emigranten (wie etwa der Dichter Duo Duo, der inzwischen auf der Insel Hainan an einer Universität unterrichtet) konnten zurückkehren. Wegen der anhaltenden Zensur sind alle Schriftsteller, die in China leben, für eine freiere Verbreitung ihrer Werke auf Medien in Hongkong, Taiwan und anderen Ländern sowie auf das Internet angewiesen.

5. Die Ereignisse von 1989 und die Traumata der ersten Jahrzehnte der Volksrepublik sind im kulturellen Leben keinesfalls überwunden.


CHINESE LITERATURE 2000-2010

8月 31, 2010

Current events – trends – chronology – examples

1) Current events

This presentation is based on my article on current Chinese literature for the Swiss festival Culturescapes, which is about China this year. A book with all the texts on Chinese art and literature written for this festival has come out in September 2010.

Read on …

AN EINEM VERSCHNEITEN TAG 雪天裡的幾種事物 – 伊沙 Yi Sha: POLICE CAR, POET, SNOW

1月 11, 2010

Yi Sha nearly 50

Yi Sha

AN EINEM VERSCHNEITEN TAG

an einem verschneiten tag
spritzt matsch auf der strasse
einmalig auf dieser welt
brüllend wie sonst
ein polizeiwagen
flott unterwegs
und sehr unterhaltsam
in seinem kleid
ganz gleich wie er drängt
das kriegt er nicht runter
auf einmal ganz gleich
nicht zu unterscheiden
von anderen autos
sie schleichen daher
wie leichenwagen
das macht ihn nervös

von seinen rädern
spritzte der schmutz
auf den der vorbeikam
den stapfenden zeugen
dem kamen die tränen
es dachte der dichter
an die poesie
die sei doch wie schnee
in beziehung
zum wagen des staates
Übersetzt von MW im Februar 2008

Quelle: http://china.poetryinternational.org

Snow

聖誕節國際新聞

12月 27, 2009

domestic product

gross domestic christmas news
polished china shining bright
liu xiaobo eleven years
years of gross domestic growth
everything looks promising

MW December 2009

http://chinadigitaltimes.net/2009/12/liu-xiaobo-sentenced-to-eleven-years/

http://china.huanqiu.com/roll/2009-12/654476.html

长城

我孑然的身子,
彳亍在万里长城上
饥饿侮辱着我的尊严
我向我的民族伸出了手
巴掌打在我的脸上
指印烙在我的心上
我捶着这悠久历史的脊骨
为昨天流泪
为今天号哭

黄翔            1962

Die Grosse Mauer

Eine einsame Figur
Wandert auf der Grossen Mauer
Der Hunger beleidigt meine Würde
Ich streck’ die Hand aus nach meiner Nation
Ohrfeigen sind meine Antwort
Fingerabdrücke brennen ins Herz
Ich klopf an das Rückgrat dieser langen Geschichte
Und weine für Gestern
Und heule für Morgen

Huang Xiang            1962
MW 2006 übersetzt

1

我是一次呼喊
从堆在我周围的狂怒
岁月中传来

2

我是被粉碎的钻石
每一颗碎粒中都有一个太阳

3

我是我    我是我的死亡的讣告
我将从死中赎回我自己

黄翔        1978年10月11日于北京民主墙揭幕日

ICH

1

Ich bin ein Schrei aus der Wut all der Jahre, aufgetürmt rings um mich.

2

Ich bin ein zersplitterter Diamant.
In jedem Bruchstück ist eine Sonne.

3

Ich bin ich. Ich bin meine Todesnachricht.
Ich löse mich ein und komm’ wieder zurück.

Huang Xiang                1978, zur Eröffnung der Demokratiemauer in Peking

MW 2006 übersetzt

http://mclc.osu.edu/rc/pubs/huangxiang.htm

Liu Xiaobo trial

Urumqi and Kashgar

8月 4, 2009

Ana Escobedo, founder of the Facebook Cause Save Kashgar, has written a blog article for Saving Antiquities. It can be found at http://safecorner.savingantiquities.org/2009/08/saving-kashgar.html. I like Ana’s article very much, and I have great respect for her dedication. As Ana suggests, it is apparent that a lack of awareness for cultural heritage is directly connected to the social problems behind the July 5 incident. There is a lack of respect for culture that goes back to the Cultural Revolution and earlier. Tianjin is being destroyed, too, like many, many culturally rich places in China. There is no “rational” progress behind much of the demolition, but it’s always a great step forward for the developing companies and the party secretaries in their pay. Yes, many old streets and houses in many cities were in a sorry condition due to decades of neglect. It’s not easy to renovate them. Beijing has finally begun to rebuild some courtyard houses. At the same time they tore down the whole Qianmen area at the south of Tian’anmen Square and replaced it with a sort of Disneyland. Protests and suicides because of the demolitions in various cities have been in the news for years. In China, Southern Weekend (Nanfang Zhoumo) and other media have often reported on housing and cultural heritage problems. Most of the time they are allowed to do that. They cannot report on the arrest of dissidents such as Prof. Ilham Tohti of Central Nationalities University in Beijing. He has been detained since August 8. Amnesty International has issued an appeal for writing petitions in English and Chinese to the Chinese Prime Minister and other figures, because Prof Tohti has not been heard of since his arrest, raising fears for his health. Cases of torture and death in police custody are not unheard of in many parts of China (and other countries, of course). See http://www.chinafreepress.org/publish/Othernews/Petition_for_Ilham_Tohti_under_detention_presented_by_Wang_Lixiong.shtml, or http://bit.ly/q3BX4.
Yes, I think that Ana is right, raising awareness is crucial. One thing that has been lacking on the Uyghur support groups side is an outspoken condemnation of the massive looting and killing on July 5th in Urumqi. Yes, the demonstrations may have been peaceful in the beginning, just like in Lhasa last year, and maybe the police could have prevented them from turning violent, or maybe they could have at least contained them. And yes, thousands of Uyghurs have been arrested, some have been killed, and no one knows how many of them didn’t have any connection to the violence at all. But still: Both the Dalai Lama and Mrs. Rebiya Kadeer should have condemned the looting and killing in Lhasa and in Urumqi. The Dalai Lama said he prayed for victims on all sides, but that’s not enough. And the Uighur support groups such as Save Kashgar should have swiftly and loudly condemned the massive looting and killing by Uyghurs. Instead, Ana told us on Facebook that many Uyghurs may have died in Urumqi. Just that, as far as I have noticed. It was the same lack of awareness that was apparent after the Lhasa riot last year. So maybe there is a lack of awareness on both sides. Anyway, let us try to help in any way we can think of. Unfortunately, social websites such as Facebook and Twitter and their Chinese equivalents have been widely blocked and closed in China. The blocking of Facebook was said to be in response of aggressive Uighur support groups. They were mostly not aggressive at all, but they did fail to condemn the Uyghur looting and killing. As I have mentioned, Chinese media and intellectuals are sometimes able to speak out against social and cultural problems. Sometimes Chinese intellectuals in China can speak out in the international media and get noticed. See Asia Times (7/8/09): http://www.atimes.com/atimes/China/KG08Ad02.html, Ghost of Marx haunts China’s riots, By Jian Junbo. We concerned individuals and groups outside of China should support these efforts, and at the same time help to show the connection to Human Rights cases. And we should have condemned the Uyghur looting and killing first, and/or more loudly. The more we show our awareness on this side, the more we are credible on all sides. I never understood why Abu Ghraib was not raised as a central question by the Democrats in the 2004 US election. Where is the connection, you might ask. At least we have Obama now. Well, I think we have to look at and work on the most painful questions on our side first, whoever we are. Yes, I am on the side of Kashgar Old City. And on the side of minorities in my home country Austria. Maybe I should have cited a painful problem in Austria’s contemporary history. We certainly don’t have a shortage there. Anyway, I like Ana’s article very much, and I have great respect for her work. Let us continue writing and signing petitions, and most importantly, like Ana says, raising awareness. Peace!

5月 8, 2009

Wer ist das? Was tun sie? – von Ma Lan, Übers. MW

In der Früh mach ich die Tür auf und seh eine lange Schlange von Leuten, immer zwei zusammen, das trifft man selten in unserer Gemeinde Krummhalsmarkt, hier ist das Glücksspiel seit 50 Jahren verboten, Massenbewegungen sind deshalb fast gänzlich verschwunden. Three’s a crowd. Manche halten es gar nicht mehr aus, die spielen dann mit den Augen. Wieviele Male blinzelst du in einer Minute, welche Autos hast du gefahren, war das Kennzeichen eine gerade oder eine ungerade Zahl, darüber kann man zum Beispiel wetten.

Ich liebe es, wenn etwas los ist, so wie ich das Sonnenlicht liebe.
Ich dränge mich in die Menge und frage: “Was ist da los, dürfen wir wieder spielen?”
“Brautschau”, sagt ein alter Mann, “freudiges Ereignis”.
“Wer ist auf Brautschau?”
“Die Bürgermeistertochter sucht einen Bräutigam.”
Auch die Bürgermeistertochter, sie ist doch erst 28.
Ich dreh mich herum und schaue nach vorn und nach hinten, da warten Männlein und Weiblein, zwischen 18 und 70. Bei uns ist zwar das Glücksspiel verboten, aber jetzt haben sie die öffentliche Brautschau eingeführt. Aber ich bin doch ein bisschen irritiert, was soll das heißen? Sicher ein Vorzeichen für Unruhen.
“Kaufst du jetzt Fleisch oder nicht, was rennst du herum?”
“Was? Was ist mit Fleisch kaufen?”
“Weißt du es wirklich nicht, oder tust du nur so? Wenn du frisches Fleisch kaufen willst, stell dich in die Reihe.”
Der Alte scheint sich geirrt zu haben mit seiner Brautschau, jetzt steht er schön da.
Grinsend schlendere ich zum Ende der Schlange und frage leise die Dame vor mir, welches Fleisch hier verkauft werde.
“Was soll das? Ich verkaufe kein Fleisch! Fotzenschädel!”
“Na, warum stehen die Leute hier in der Reihe? Ich weiß es wirklich nicht, ich wollte Sie nicht ärgern.”
“Mein Papa hat mir gesagt, die Gemeinde will günstige Wohnungen vergeben, hier stellt man sich um die Hausnummern an, wer zuerst kommt, kann sich die Nummer aussuchen.”
“Hausnummern? Aber nein, unser Abteilungsleiter hat mich hergeschickt, damit ich Tickets für das Fussballmatch übermorgen gegen Steifhalsmarkt besorge.”
“Dein IQ ist zu niedrig, das ist eine IQ-Erhebung, unsere Gemeinde hat gerade moderne Geräte importiert, mit denen man bei der Blutuntersuchung den IQ bestimmt, die unter 80 wohnen dann im Westbezirk, die über 80 kommen in den Osten, wer 120 erreicht, der wohnt im Norden, dort ist es schön.”
“Hm, ziemlich eingebildet. Es ist eine Blutuntersuchung, aber durch diese Untersuchung wird festgestellt, ob du Asylant bist, man kann auch bestimmen, ob du die Absicht hast, Asylant zu werden. Denn wenn du lügst, ändert sich sofort deine Blutgruppe.”

Jetzt wird mir alles klar. Jeder Mensch hat eine Seele.
Brautschau, Metzgerei, Immobilien, Mannschaftssport, Blutuntersuchung, was kommt der Wahrheit am nächsten? Oder ist es nur die Vorführung eines Zauberers, ein böser Streich, das Reich ist im Frieden, diese Schlangensteher haben schon genug angestellt mit ihren Gerüchten.
Aber ich gebe nicht auf, ich werde herauskriegen, was hier vor sich geht vor meiner Tür. Ich kümmere mich um die aktuelle Politik! Genauso wie um das Wetter.
Ich glaube, diese angesehenen Menschen, mit ihrem glanzvollen Leben, mit ihren Schulterstreifen, diese Menschen vor mir in der Reihe sollten wissen, woher diese Truppe eigentlich kommt?
Woher kommen wir?!

“Das ist ein Geheimnis, du bist nicht befugt”, sagt mir ein Mann mit drei Streifen auf seiner linken Schulter.
“Wenn du dich angestellt hast, wirst du es wissen, die jungen Leute wollen nur ernten, ohne zu säen”, belehrt mich ein älterer Herr.
“Wir treten im Kampf der Partei bei, wirst du mir das glauben?”, sagt mir ein zorniger junger Mann.

Jetzt habe ich verstanden, dass ich die Wahrheit nicht aus der Erfahrung von anderen Menschen erlangen kann, und auch aus keinem Munde erfahren werde, worum es sich dreht. Jeder Mensch hat sein Geheimnis.
Ich muss mich ganz nach vorn drängen, um zu recherchieren. Die Schlange wird immer länger.
Aber das Hauptproblem ist, neben mir ist auf einmal noch jemand, schleicht mir nach, redet mich an, sie ist ich, ich bin zwei, bin ich gespalten?
Ich bin ganz verwirrt und frage sie, wer sie sei?
“Ich bin Amy.”
Amy sagt mir, mein Leben sei eine einzige Niederlage, warum kehre ich noch immer nicht um? Ich müsse mein Leben ändern. Ich brauche eine Revolution.
“Eine Revolution? Wo soll die beginnen?”
“Bei dir selbst, streck deinen Finger ins Feuer und schau, wie er verbrennt.”
Ich muss lächeln und sage, sie habe mich nicht verstanden, ich verbrenne mir nicht die Finger, ich habe Angst vor dem Schmerz. Könne ich vielleicht ein Haus verbrennen? Das Hochhaus da vorne dem Erdboden gleichmachen.
“Du hast aber gar keinen Mut mehr, nicht einmal dich selbst steckst du an.”
“Amy, laufen wir doch um die Wette. Wir setzen über den Fluss, siehst du ihn? Das ist das abgefallene Laub, das sind die Blüten, das ist der Herbst, das ist unser Schicksal.”
“Sperr doch die Augen auf, die Leute sind alle nicht mehr da, niemand stellt sich mehr an, das ist die Täuschung des Lebens, wieviele Trugbilder haben wir vor den Augen?”
“Sie sind doch hier, sind das keine Menschen? Im Herzen willst du sie nicht sehen, deshalb sind sie für dich nicht da.”
Ich müsse das Feuer verstehen, wenn ich das Feuer verstanden habe, werde ich auch die Asche verstehen.
“Amy, kämpf nicht mit mir, wir sollten einander lieben. Ich möchte so gerne mit einem Menschen in Liebe verbunden sein, ist das das unerträgliche Schwere, von dem alle sprechen?”
Sie sei mein, sei mein anderes Ich, sei mein Herz.
“Amy, lass mich dich berühren, kann ich auf dich schießen?”
“Das kannst du, aber wahrscheinlich erschießt du dich zuerst selbst, ich fürchte, ich bin stärker als du.”
“Amy, sag mir, warum stehen sie hier in der Reihe?”
Ich solle mir sagen, es sei nur ein Traum. Wir stehen einander gegenüber, sonst niemandem, nur diesem Hochhaus. Und weiter hinten wimmle der Markt, lauter Menschen, die uns gleichen, die haben es ebenso schwer, denen sei ebenso langweilig, sie seien ganz sicher nicht glücklicher, ob ich verstehe?
“Amy, umarme mich und lege mich flach in die Ebene.”

Amy ist verschwunden. Ich sehe, ich laufe noch immer der Schlange nach, ich habe schon lange die Richtung verloren, ich scheine nur auf der Stelle zu laufen, ich quäle mich in meinem eigenen Kreis.
Ich kann die Wahrheit nicht aufhalten, sie ist die Zukunft.
Ich sage Amy, ich brauche sie, genau wie mich selbst.

2004-11-22

http://blog.sina.com.cn/s/blog_533705990100beuq.html

es

3月 20, 2009

es

es ist alles die geschichte
es ist alles ein gedicht
es ist alles bei tabori
es ist alles einfach nicht

es ist alles sarajewo
es ist alles tiananmen
es ist alles srebrenica
es ist alles nicht so schoen

es ist alles gute arbeit
es ist alles fremdenrecht
es sind alles die pensionen
es ist alles konkurrenz

es ist alles stadtentwicklung
es ist alles zuckerbrot
es ist manches ungeheuer
es ist manches ziemlich tot

es ist alles gazastreifen
es ist alles engagement
es hofft alles auf obama
es ist alles kompliziert

es ist alles die vererbung
es ist alles das geschlecht
es ist alles die umgebung
es ist alles nicht so schlecht

es ist alles in der zeitung
es ist alles im journal
es ist alles in der werbung
es ist alles kapital

es ist alles in der erde
es ist alles in der luft
es ist alles in den sternen
es ist alles in der gruft

es ist alles gazastreifen
es ist alles israel
es ist alles schoener wohnen
es ist alles ein befehl

es geht alles immer weiter
es bleibt alles wieder stehen
es wird alles wieder heiter
es wird alles untergehen
MW  Januar 2009

Wie wir einen Handschuh töten (Manuskript)

2月 5, 2009

Wie wir einen Handschuh t öten (Manuskript)

Abbildung 1

Zeichnung auf Skizzenpapier. Originalformat: 21,3 x 12,5 cm

Jedes Jahr im Winter verhandeln wir in der Küche des Bürgermeisters darüber, wie wir im Frühling einen Handschuh töten.

Es ist jedes Jahr dasselbe. Wir haben alle genug davon, aber wir können nicht aufhören.

Wir diskutieren, wie man einen Handschuh tötet.

Der Bürgermeister sitzt in der Mitte, rundherum sitzen wir zwölf, jeder an seinem Platz, und flüstern einander zu.

Es ist nicht einfach, einen Handschuh zu töten.

Continue: https://erguotou.wordpress.com/%e6%88%91%e4%bb%ac%e5%a6%82%e4%bd%95%e6%9d%80%e6%ad%bb%e4%b8%80%e6%94%af%e6%89%8b%e5%a5%97%e8%8d%89%e6%a1%88%e9%a6%ac%e8%98%ad-ma-lan-januar-2001/

11月 4, 2008

草 (赋得古原草送别)白居易离离原上草,一岁一枯荣。野火烧不尽,春风吹又生。远芳侵古道,晴翠接荒城。又送王孙去,萋萋满别情。

gras

gras soweit das auge reicht

welkt und blueht es jedes jahr

feuer brennt es nicht ganz weg

fruehling blaest es wieder her

wuchert alte strassen zu

leuchtet in ruinen auf

duftend waechst es, wo du gingst

ich begleit dich noch ein stueck

Bai Juyi (772–846)

MW  September 2008 uebersetzt

谢谢合作

8月 16, 2008
Thank you for your cooperation!

Thank you for your cooperation!

beben – 玫瑰花

8月 16, 2008
Roses in Soong Chingling's garden, May 2008

Roses in Soong Chingling Garden, Beijing 2008

roses

it is the best time of the year
when all the roses are in bloom
this year the rain was very good
and so the air is not too bad

it is the best time of the year
a cyclone and an earthquake too
and everything that went before
it is the best time of the year

MW  May 2008

+++++++++++++++++++++++++++++++++++++

rosen

es ist die schoenste zeit im jahr
wenn ueberall die rosen bluehen
der regen ist ja richtig gut
ich weiss nicht was noch alles kommt

es ist die schoenste zeit im jahr
ein erdbeben und ein zyklon
und alles was noch vorher war
es ist die schoenste zeit im jahr

MW   Mai 2008

+++++++++++++++++++++++++++++++++++

prayer

4月 3, 2008
A small kindergarten in Beijing

A small kindergarten in Beijing

prayer flags

prayer flags are fluttering
it is just a kindergarten
little flags are fluttering
all the way across the yard
prayer flags are fluttering
it is just the wind today

MW April 2008

discussion

4月 3, 2008

please see this page: 讨论/discussion

some

3月 31, 2008

some

quite a few have been arrested
some have simply disappeared
somebody has picked them up
riots go with violence
all the witnesses are saying
peace and order are restored
like in some andean countries
and at many other places
all the witnesses are saying
quite a few have been arrested
some have simply disappeared
somebody has picked them up
some of them turn up again

MW March 2008

manche

3月 30, 2008

manche

manche sind verhaftet worden
manche andre sind verschwunden
jemand hat sie abgeholt
unruhen sind nicht gewaltlos
sagen alle augenzeugen
recht und ordnung gibt es nicht
wie in manchen andenstaaten
oder auch an andern orten
manche sind verhaftet worden
manche andern sind verschwunden
jemand hat sie abgeholt
manche tauchen wieder auf
manche haben ueberlebt

MW            Maerz 2008

Rechenberg Couture in Beijing

3月 24, 2008

Sign

karsamstag

3月 24, 2008

also

gestern war der zweite mond
morgen ist der ostersonntag
zweiter nach dem fruehlingsfest
gestern war der volle mond
fruehlingsfest ist zweiter neumond
nach der wintersonnenwende
ostern ist der erste sonntag
sonntag nach dem ersten vollmond
nach dem aequinoktium
tag ist gleich lang wie die nacht
fruehlingsaequinoktium
also gestern war karfreitag
orthodox ist nochmal anders
jedes jahr ein andrer tag
aber immer fruehlingsanfang
tibet ist nicht ganz wie china
vietnam hat eine katze
qingming-tag ist auch nicht weit
qingming ist der graebertag
oder auch die zeit des pfluegens
ueberall ein bisschen anders
wenigstens hat es geregnet
also wird es hier in beijing
mit dem sandsturm nicht so schlimm

MW Maerz 2008

late reports

3月 21, 2008

late reports

evening papers!
late reports
they were shooting in the sky
finally we have some rain in beijing
latest stories from tibet
sound like taiwan ’47
taiwan and tibet in china
they are different views of china
vietnam or mongolia
there are many different views
wanbao, wanbao!
zao you zaobao
wan you wanbao
bushi bu bao
shijian wei dao

MW March 2008

art

3月 20, 2008

Two days ago I went to Wikipedia in Chinese and stumbled on a photo of the Dalai Lama. The browser started generating error messages. When I tried to get there again, my screen went black. Then it was blue, with a message from Microsoft about a serious system failure. “Starting memory dumping” was at the bottom. I had been using Gladder, a Firefox extension for circumventing the Great Firewall when you’re in China.

In the 1980s, when I was an undergraduate student, we had a Chinese reading class. It was mostly Chinese government-issued information on Tibet. There was one phrase I remember. The soldiers of the Chinese People’s Liberation Army were generous, so they didn’t ask the Tibetan people immediately to pay back the cost of pacifying their land. That was a memorable sentence. Then in 2001 or so I was translating and dubbing films for the Ministry of Culture in Beijing. There was a report on celebrating 50 years of liberating Tibet. Somebody important called me and asked me to please finish it quickly. It was a very important piece. Hu Jintao, who was already very important back then, had led a central party delegation on a fact-finding trip through Tibet to prepare for the celebrations. They stayed at ordinary people’s homes. And when they left in the morning, they gave the peasant family gifts to thank them for letting them stay. They gave them framed pictures of the core leaders of the Chinese Communist Party. Chairman Mao Zedong, Chairman Deng Xiaoping and Chairman Jiang Zemin. That was a memorable scene.

What is art? What is music? Music makes you dance or cry. Art is truth. It’s the truth in the ear of the beholder. Or in other orifices. Or somewhere in between. They call it the heart. There have always been found objects. And pictures of leaders.

er

3月 19, 2008

er

er ist eine gruene maske
er ist wieder ziemlich kalt
sandsturm war erst heute morgen
hoffentlich hat jedermann
einen warmen unterschlupf

MW Maerz 2008

memory

3月 17, 2008

memory

we were discussing poetry
the one in scots was very good
and we had a dog with us
reading fathers’ hands aloud
we were having memories
back in 1989
didn’t hear of tibet then
it was early in the year
at the time i was in taiwan
haven’t found the shadow yet
shadow on the other side
there my son broke through the ice
actually there was no ice
when we stepped down from the island
it was getting warm already
we had asked a little girl
did she think the ice was safe
they were swimming in a hole
they have done it every year
it was getting warm already
no more skating on the ice
a touch of blue
the sky was fine
not far from here
in memory
we walked across the shichahai
we walked the ice
the island round
my son broke in
up to the leg
the beijing sky
back in 1989
i remember january
didn’t hear of tibet then
my father’s hands
his hands were warm
when i was small
we were discussing poetry
we climbed out on the other side
we warmed up in a coffee shop
and then we took a taxi home
actually we took a bus
yesterday back from the lake
it is early march this year
actually it’s not so early
it’s the middle of the month
please remember carefully

MW March 2008