Posts Tagged ‘literature’

Liu Xiaobo 劉曉波: [DU PLATZT] [你炸裂] (1997)

七月 22, 2017

Liu Xiaobo
[WENN DU PLATZT]

An Xia

 

Mit der Erschütterung, wenn du platzt
werd ich von deinen Splittern gerettet.
In deiner Verachtung
zeigt sich meine Seele.
Sie fleht nur um ganz bisschen Licht,
um einen Augenblick von Vergebung.

Niedertracht breitet die Arme aus
in Erwartung der Wölfe.
Der Tod ist durchsichtig und so durstig
wie bei der Geburt.
Er zwingt die Welt um die ich trauere
einen Grabstein zu finden
für abgelaufene Sprache.
Die Worte kommen als Müll in den Himmel,
dort lassen sie Vögel die Federn verlieren.

以你的炸裂震撼
让碎片拯救我
你的蔑视
呈现我的灵魂
只乞求微弱的光
和瞬间的原谅

卑鄙敞开着
等待狼群的到来
死亡孕育在透明中
象出生时那样饥渴
强迫我哀悼的世界
为过剩的语言
寻找墓碑
把垃圾倾倒进天堂
词句使鸟儿失去羽毛

Dein Platzen kommt aus weiter Ferne.
Der Endpunkt der Reise ist nicht der wirkliche.
Direkt vor dir steigt der Altar auf,
ein großes und glänzendes Opfer des Fleisches.
Deine Füße hängen fast in der Luft.
Nachdem du gegangen bist
ist mein Heimweg
das Meer geworden
mit dem Fluch einer Dichterin:
“So viel Platz, aber gehen kann man nirgends.”

你的炸裂来自遥远
旅程的终点很不真实
迎面生起肉体的祭坛
多么盛大而辉煌
几乎悬空了双脚
从你离去的那一刻
我回家的那条路
就变成了海
变成了一位女诗人的咒语:
“那么大的地方
却不能行走”

信仰的苍白攀附着
石头那飘飞的翅膀
你的炸裂仿佛是为了
从古至今仍然
散发着霉味的形而上欲望
红灯区开到苏格拉底的额头
不朽的殉难在卖淫

Streichle mich mit deinem Platzen.
Das Tor der Hölle schlägt krachend zu.
Schluchze, wenn ich schluchze,
sehen Geckos in der Nacht
deine Fußnoten zur Schande.
Wenn die Lieder der Hexen aufsteigen,
hab ich schon meine Ohren verloren.
Geschichte ohne Anfang und Ende.
Ah, geplatzte Zeit.
Nur die Helden bekommen Denkmäler,
auf den Gräbern der Verlierer
pflanzt niemand Blumen.

以你的炸裂抚摩我
地狱之门砰然关闭
抽泣,在我抽泣的时候
你对耻辱的注释
被夜晚的壁虎偷窥
女妖的歌声响起时
我已经失去了耳朵
无始无终的历史
啊,炸裂的时间
只为英雄们建造丰碑
却决不为失败者的坟墓
种植几株花草

Meine Liebe, es ist Zeit, aufzustehen.
Die Brücke in Richtung Abgrund stürzt ein.
Wenn du platzt, beiß dich fest an meinem Willen.
Zweifel beginnt mit dem Stein des Sisyphos.
Glaube fängt an mit dem Hausschlüssel, den du verloren hast.
All meine Panik und meinen Hass
geb ich dir, dir allein.
So kann ich noch einmal,
ganz kostbar,
meinen Kopf hoch halten
bis zur dunkelsten Stunde.

亲爱的,该起身了
通往深渊的桥就要坍塌
以你的炸裂咬住我的意志
怀疑从西西佛斯的石头开始
信仰从你丢掉家门的钥匙开始
我把全部的惶恐和仇恨
交给你,只交给你一人
让我的头再一次
高贵地昂起,直到
最黑的时刻降临

Du platzt in meiner Allegorie.
Sedimente der Sprache erzählen
Kafkas geheimnisvolle Testament.
Glaub nicht an die Klugheit,
besonders nicht an die geilen Weisheiten.
Wissen ist ein Bastard des Schreckens,
sucht immer Vater heim, den Philosophenkönig;
während Mutter. die weiß, was Not heißt,
sich an die Schandsäule lehnt, bis sie stirbt.

你炸裂在我的寓言里
语言的沉渣讲述着
卡夫卡的神秘遗嘱
爱的史诗毁于微笑的吻
别相信智慧,特别是
那些性感的智慧
智慧是恐惧的私生子
总是寻找当了哲学王的父亲
而那个含辛茹苦的母亲
只能背着耻辱柱,了却残生

Meine Erinnerung steht als letzter Schatten
auf den Ruinen, am Eingang zum Albtraum.
Eine glänzende Eidechse
kriecht zwischen Blutflecken.
Mit ihren Tatzen macht sie dich,
obwohl du mittendrin stehst,
zum kühlen Beobachter
Mit einer scherzhaften Neugierde
genießt sie würdevoll eine Kippe.
Jemand poltert an der Tür,
zwingt durch den Türspalt
einen Anruf der ewig nicht durchkommt.

Meine Liebe,
ich brauch dein Platzen.
Die Klagemauer
braucht ihre Tränen.

Von Xiaobo, am 27. Januar 1997

Übersetzt von Martin Winter am 14. Juli 2017

我的记忆如同废墟上
仅存的影子,站立在
噩梦醒来的入口处
一条闪光的蜥蜴
沿着血迹的边缘爬行
它的脚趾很幸福
把置身于其中的你
当作冷眼旁观的看客
以恶作剧般的好奇
欣赏烟头上的庄严
有人粗暴地敲门
从门缝中硬塞进
一个永远打不通的电话

亲爱的
我需要你的炸裂
如同耶路撒冷的哭墙
需要泪水

晓波1997.1.27

http://www.liu-xiaobo.org/blog/archives/18318

Frankfurter Allgemeine Zeitung, 2017-07-14

Neue Zürcher Zeitung_15.07.2017

 

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廖亦武: 搶救劉曉波! Liao Yiwu’s Appeal for Liu Xiaobo

六月 27, 2017

Save Nobel Peace Prize winner Liu Xiaobo!

搶救劉曉波

中國監獄使劉曉波得了絕症。
這一消息轉瞬傳遍了世界。
作為劉曉波和劉霞多年的知交,我在此呼籲:
出於基本人權,西方各國政府首腦,特別是美國、德國、法國、
英國,以及歐盟政府首腦,應該敦促中國政府,盡快讓劉曉波夫婦出國就醫,不,人道搶救。

廖亦武,德國書業和平獎得主

2017年6月26日

Liao Yiwu writes:

“I know, we’re all so concerned with Turkey, Syria or that maniac in the US, and that’s alright, but it’s about to draw some attention back to human rights violations in China. Please. I do know some people personally who are or have been imprisoned in China for no crime but writing on behalf of humanistic endeavours.”

“The news that Liu Xiaobo’s time in a Chinese prison has left him terminally ill has spread across the globe.
Liu Xiaobo and his wife Liu Xia have been close friends of mine for decades. As their friend, I hereby call upon the leaders of Western governments, particularly leaders in the US, Germany, France, the UK, and the European Union, to urge the Chinese government to allow Liu Xiaobo and his wife to leave the country to seek medical treatment overseas.
This is a humanitarian imperative.”

Liao Yiwu
2012 Recipient of the Peace Prize of the German Book Trade

26 June 2017

LIU XIA. Eine Fotografin aus China.
Vernissage am 10.Februar 2015.
Ausstellungsdauer: 21.Februar – 19.April 2015 m Martin Gropius Bau Berlin.
LIAO YIWU, MARCUS HAGEMANN, MARTIN WINTER

“Dies ist ein Appell an die chinesische Regierung von Herta Müller, Liao Yiwu, Ulrich Schreiber und vielen Freunden. Inzwischen haben auch Elfriede Jelinek, Eva Menasse, Madeleine Thien, Salman Rushdie, Wole Soyinka, Ian McEwan und 100 weitere Autoren aus allen Kontinenten unterzeichnet.

Nobel Peace Prize Laureat Liu Xiaobo has been diagnosed with liver cancer. His wife, Liu Xia, who has been under house arrest for several years, is also gravely ill. They have the wish to travel to Germany so they can receive medical care. Their wish to leave China is so strong that Liu Xiaobo has stated that – if he is to die – he does not want to do so on Chinese soil. Liu Xia also no longer wishes to live there. Time is running. We urge the Chinese government to grant Liu Xiaobo and Liu Xia the freedom to leave the country!

Der Friedensnobelpreisträger Liu Xiaobo ist an Leberkrebs erkrankt. Er und seine Frau Liu Xia haben hat den Wunsch geäussert, nach Deutschland auszureisen, um medizinische Hilfe für beide zu bekommen – denn auch Liu Xia, die seit Jahren unter Hausarrest steht, ist schwer erkrankt. Der Wunsch der beiden geht soweit, dass Liu Xiaobo sagt, er möchte – selbst wenn er sterben muss – nicht in China sterben. Und Liu Xia sagt, dass sie nicht länger in China leben möchte. Die Zeit ist knapp. Wir appellieren dringend an die chinesische Regierung: geben sie diesen beiden Menschen die Freiheit, das Land zu verlassen!

强烈呼吁
诺贝尔和平奖得主刘晓波身患肝癌,他和他的夫人刘霞表示希望两个人都能够来德国寻求医疗救治。因为刘霞在长期软禁中也身患重病。他们出国求医的愿望非常坚决,刘晓波表示,如果必死无疑,那也不要死在中国。刘霞表示,再也不愿意在中国生活下去了。目前时间紧迫,我们强烈向中国政府呼吁,给他们自由,让他们离开中国。赫塔.米勒 廖亦武 乌里.赛博

El Premio Nobel de la Paz, Liu Xiaobo, está muy enfermo, tiene cáncer de hígado. Tanto él como su esposa Liu Xia han expresado su deseo de poder viajar a Alemania para obtener ayuda médica para ambos. Xiu Liu, con arresto domiciliario desde muchos anos, también está muy enferma. El deseo de ambos, así lo dijo Liu Xiaobo, es tan fuerte que dice no querer morir en China – si esto es su destino inmediato, y su mujer insiste que no quiere seguir viviendo en China. El tiempo apremia, y por ello pedimos al Gobierno de China: Por favor, conceden la libertad a estas dos personas para que puedan dejar el país.

Le lauréat du prix Nobel de la paix, Liu Xiaobo, est atteint d’un cancer du foie. Lui et son épouse Liu Xia ont émis le vœu de se rendre en Allemagne afin de recevoir des soins médicaux pour les deux. En effet, Liu Xia, qui est en résidence surveillée depuis plusieurs années, est gravement malade. Leur souhait est si profond que Liu Xiaobo dit qu’il ne veut pas — s’il doit décéder — décéder en Chine. Liu Xia quant à elle dit qu’elle ne veut plus vivre en Chine. Le temps est court. Nous en appelons d’urgence au gouvernement chinois: donnez à ces deux personnes la liberté de quitter le pays.

Fredspristagaren Liu Xiaobo är sjuk i levercancer. Tillsammans med sin Liu Xia har han uttryckt önskan om att få resa till Tyskland för att där få den medicinska vård de båda behöver. Också Liu Xia, som sedan många år befinner sig i husarrest, är nämligen svårt sjuk. Liu Xiaobo säger att om han måste dö så vill han inte dö i Kina. Liu Xia säger att hon inte längre vill leva i Kina. Tiden är knapp. Vi appellerar till den kinesiska regeringen att snarast ge dessa två människor friheten att lämna landet.

O ganhador do Prêmio Nobel Liu Xiaobo está com câncer de fígado. Ele e sua Liu Xia manifestaram vontade de viajar para a Alemanha, a fim de obter tratamento médico para ambos. Liu Xia, que está sob prisão domiciliar há anos, também está gravemente doente. A vontade deles, nesse sentido, é tanta que Liu Xiaobo afirma que não deseja morrer na China, mesmo que sua condição seja terminal. E Liu Xia diz que não quer mais viver na China. O tempo é curto. Por isso, dirigimos um apelo urgente às autoridades chinesas: concedam a essas duas pessoas a liberdade para sair do país.”

Liu Xia’s handwritten letter

廖亦武: 眼下,刘晓波夫妇已被严密控制,我不得已公布刘霞的手迹。我还有刘霞向国宝提出出国申请的手迹,暂时不便公布。媒体,以及大伙儿可以此为凭:出国治病是他们最迫切的心愿,劉曉波説死也要死在西方,千真万确!
“I am sick of my life, this grotesque life. I want to tear the version of myself who lives this grotesque life to pieces. I long to escape.
I can hardly believe that Xiaobo agreed to leave China together with me and [my brother] Liu Hui. When he finally learned about it, he was very concerned about my illness.

I am grateful to you and to our friends for everything you’ve been doing and cannot wait to embrace you.

Liu Xia
20 April 2017”

我厭惡我的生活,我的生活很難看,我想撕碎這醜陋生活中的我,我渴望逃離。

沒想到劉曉波同意跟我和劉暉一起離開,在有機會*的時候,他非常擔心我的病。

拜托你和朋友們為我們奔波,我想儘快擁抱你!

READING ON JUNE 29 IN VIENNA

六月 24, 2017

Juliane Adler, David Howard & Martin Winter im Sovieso

+ special guest: Esther Dischereit!

+ MUSIC: Violin virtuoso Darya List

Reading at 7:30 pm – Lesung um 19.30 h

im Sovieso, 1100, Hackergasse 4, 1. UG
mit anschließendem Aperitivo

Juliane Adler liest aus dem noch unveröffentlichten Manuskript VERGEGENWÄRTIGUNGEN
David Howard (Neuseeland) liest aus seinem neuen Buch THE ONES WHO KEEP QUIET (Otago University Press 2017)
Martin Winter liest aus ÜBERQUERUNG DES GELBEN FLUSSES 2 von Yi Sha und eigene neue Gedichte

U1 Keplerplatz, D-Wagen Alfred-Adler Straße

Free admission!

Yi Sha2_Cover

端午六四

六月 4, 2017

端午不按照阴历

已经很烦
年年端午
都是六四
不按照阴厤
儿童节类似
在海外网上
昨天星期日
带孩子们玩
中国端午节
五月底年年
重复信息
因为没办法
昨天跟朋友玩
朋友妻子去世
最近意外去世
他们不会中文
但喜欢杜甫
把杜甫当流亡作家
妻子教中学拉丁文
奥维德也被流放
他们用德语版本
几乎象散文
但节奏不错,也很清楚
丈夫很喜欢朗读
昨天跟他们玩
三口人,原来四口
一共七个人
玩得很愉快
同时也难过
就是没办法

2017.5.29

100_DAYS_OF_T, 100_YEARS_OF_WORLD_WAR

五月 3, 2017

Photo by ClaireVoon / Hyperallergic

BEAUTIFUL ANIMALS

animals are we, beautiful animals
trees are we, fair as the light
ranges are we, strong as the wind
animals are we, frolicking animals
animals are we, miserable animals

MW January-Mai 2017

漂亮动物
@维马丁

我们是动物,漂亮的动物
我们是树,漂亮的光
我们是山丘,風一样强壮
我们是动物,快乐的动物
我们是動物,可憐的動物

2017/1

 

아름다운 동물
@마틴 윈터

우리는 동물, 아름다운 동물
우리는 나무, 아름다운 빛
우리는 산언덕, 바람처럼 건장하고
우리는 동물, 즐거운 동물
우리는 동물, 가련한 동물

2017/1

(韓)郭美蘭 译

 

SCHÖNE TIERE

tiere sind wir, schön wie die tiere
bäume sind wir, schön wie das licht
hänge sind wir, stark wie der wind
tiere sind wir, froh wie die tiere
tiere sind wir, erbärmliche tiere

MW Januar 2017

JOHN GRISHAM

the firm
the not-so-firm
the altogether weak
the dead
(oh! that last one is by mr. james joyce, another great american writer!)

MW April 2017

 

 

MOSTLY HARNESS

三月 29, 2017

MOSTLY HARNESS

i mostly harness
the universe
and also the other way
a win-win situation

MW March 29th, 2017

Martin Winter 維馬丁: Der Mond muss perfekt sein SHE HAS TO BE PERFECT 不敢不完美/ Überquerung des gelben Flusses 伊沙:車過黄河 (萊比錫書展訪問和朗誦)

三月 26, 2017

Martin Winter präsentiert sowohl eigene, wie Gedichte von Yi Sha, die in einer chinesich-deutschen Ausgabe erschienen sind.

Beteiligte:
Martin Winter (Autor/in)
Christian Berger (Redakteur/in)

lbm17, CHB

SO

三月 26, 2017

BAD SCHANDAU

half an hour till dresden
beautiful scenery in between
looks like china
steep mountain sides on the elbe
bad rathen or something
and some other city
deepest gdr
up from the czech border
good place to open a chinese restaurant
not too much competition
but you never know

MW March 2017

 

 

SO

so schön unbeschwert
so munter eilen wir so-
lang wir noch leben

MW März 2017

 

 

FATEN

die spinnen die faten
die fakten die fetten die falten die gstetten
die alten
wir sind nicht entweder oder
wir sind entweder oder
freund oder feind
oder sonst

MW März 2017

 

 

BUCHMESSE-KERRPREIS

dass das feuilleton
einmal eine macht war
ist schon so exotisch
wie das glasperlenspiel

feuilletanten
und elefanten
europäischer länder
feiern einen der ihren

mag es noch viele geben
die so freundlich sind
in so viele richtungen
wie herrn breitenstein

MW März 2017

 

 

NERV

er ist eh nicht da
warum fällt er mir ein
er hat viel verdienst
die zunft hat halt schaden
auch wegen ihm
was mir an kubin
am meisten am nerv geht
dass er als deutscher
und österreicher
nicht bescheidener auftritt

MW März 2017

 

 

LITERADIO

jetzt sollt ich noch
in leipzig sein
den süßen wein vom christian berger
hab ich sehr gut vertragen

MW März 2017

POETRY REPORT

二月 25, 2017

51fjytbryfl-_sx334_bo1204203200_-1olpc4c

POETRY

poetry
is impo
rtant
truth
is impo
tent
or is it
or are you

MW February 2017

16c4527f26b2

 

REPORT

every report
every detailed incisive report
kind that makes powerful people squirm
is just as important
as any art
any poem
any church, temple
that makes you pause
think
feel
every report

MW February 2017

best-investigative-journalism-in-china-2016-771x578

HEAVY LIFTING IN TAIWAN

一月 20, 2017

14980782_10154046310382227_3505532920827534943_n

HEAVY LIFTING IN TAIWAN

not just face
lifting of martial law

not just face
lifting of marital law

MW January 2017

15073281_10154045907367227_7836444091032883477_n

14993560_10154037147587227_8173398504620997790_n

HE IS VERY VERY LIMITED

一月 19, 2017

cam01304

HE IS VERY VERY LIMITED

he is very very limited
he is very very limited
he is very very limited
he is very very limited
we are very very limited

MW January 2017

 

I AM NOT HAPPY!

I am not happy!
my son’s very eloquent
we aren’t happy!
says a man at the bar
otherwise we’d be at home
we aren’t happy
except Austria’s leading
in downhill or slalom
then we are happy
some of us
anyway
for a short while

January 2017

 

GERDA

where is italy?
where is the moon?
where is feldkirchen in kärnten?
am i going to see you
on the other side
of the moon?
please please please
please please please
please please please
wake up and tell me
you’ ll be alright

MW January 2017

 

KLAGE

so eine große
so eine schöne
so eine großzügige Frau
so eine große Lehrerin
so viel Geduld
so viel Liebe
so offen
für Neues
so ernsthaft
so warm
so eine große
so eine gute
so ein großer Mensch

sie sieht so jugendlich aus

MW Januar 2017

 

她去了

他们嘻嘻哈哈
他们嘻嘻哈哈
他们嘻嘻哈哈
他们嘻嘻哈哈
他们都不知道
不是他们的错

2017/1

 

SCHÖNE TIERE

tiere sind wir, schön wie die tiere
bäume sind wir, schön wie das licht
hänge sind wir, stark wie der wind
tiere sind wir, froh wie die tiere
tiere sind wir, erbärmliche tiere

MW Januar 2017

 

漂亮动物

我们是动物,漂亮的动物
我们是树,漂亮的光
我们是山丘,風一样强壮
我们是动物,快乐的动物
我们是動物,可憐的動物

2017/1

 

LICHT

ein kreuz auf dem dach
ein haus des gebets
wächst das rettende auch?

MW Januar 2017

 

ICH BIN NICHT GLÜCKLICH!

ich bin nicht glücklich!
mein sohn schreit sehr deutlich.
wir sind auch nicht glücklich!
sagt ein mann an der bar,
sonst wären wir zuhause!
wir sind alle nicht glücklich
außer beim slalom
führt österreich
dann sind wir glücklich
jedenfalls manche
jedenfalls irgendwer
für eine zeit

MW Januar 2017

 

ZUGFAHRT, NACH ANTONIO FIAN

lehrer:
nächster halt!
schüler:
knittelfeld!
lehrer:
nächster halt!
schüler:
knittelfeld!
lehrer:
knittelfeld
hat sein gutes gehabt

MW Jänner 2017

 

cam01303

300 POEMS, ALL HAVE NO EVIL – 沈浩波 Shen Haobo

一月 11, 2017

shen_haobo

Shen Haobo
300 POEMS, ALL WITH NO EVIL

Whatever Plato wanted to banish from his Republic
is exactly what Confucius culled from his Book of Songs.
When I suddenly thought of this point
I felt the hairs stand up on my neck.
“The Master didn’t speak of ghosts and demons.”
All those strange beings, mysterious bodies, brave and resilient beauties
culled clean from the books?
If it was really like that
then he must be my enemy, goddamn bastard executioner!

10/16/16
Tr. MW, Jan. 2017

论语为政第二

2·2 子曰:“诗三百,一言以蔽之,曰:“思无邪。”

300poems

AUF WIEDERSEHEN, TAIWAN! 又說再見了! GOODBYE TAIWAN!

十二月 2, 2016

15027540_10154033489212227_7377662675318537822_n

GOODBYE TAIWAN!

These few days in Taiwan
meeting so many friends,
very precious time.
It has been almost 30 years
since I first was in Taiwan.
These few days we’ve met many authors
and fellow translators.
We also met the poet Hung Hung.
There are people in Taiwan
who meet Hung Hung every day,
and even Le Tian,
Hung Hung’s little child.
Le means to laugh, Tian is the sky.
Last night Le Tian got to meet me.
Holding him
was like holding my children
ten years ago.
We lived in Beijing, where they were born.
Tonight I am leaving Taiwan.
What if I could stay?
Nowadays in a few ways
Taiwan is doing better than Austria.
No resurgent Rightists.
First female president,
some social progress.
Very clear progress
since thirty years ago.
Taiwan is doing better right now
than Europe and USA.
Maybe like Canada,
although Taiwan is rather small.
Half the size of Austria.
But to be able to face your history,
to induce progress in your society,
these things are very precious indeed.
Please take care!
Hope we meet again soon!

MW November 2016

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AUF WIEDERSEHEN, TAIWAN!

die paar tage in taiwan
waren so voller freunde,
sehr, sehr kostbare tage.
manche freunde kenn ich fast 30 jahre.
autoren, autorinnen hab ich getroffen,
übersetzerinnen und übersetzer,
am letzten abend den dichter hung hung.
ein paar menschen in taiwan
treffen hung hung jeden tag,
und sogar lö tiän, seinen sohn.
lö tiän bedeutet den himmel anlachen.
gestern hat der kleine mich angelacht.
lö tiän im arm halten ist wie vor jahren
meine kleinkinder halten,
vor zehn jahren in peking.
heute abend verlasse ich taiwan.
und wenn ich bleiben könnte?
taiwan geht es heute in mancher hinsicht
besser als österreich.
keine rechtsextremen im höhenflug,
die erste frau an der spitze,
fortschritte in der gesellschaft.
große fortschritte, in vieler hinsicht
auf jeden fall in 30 jahren.
heutzutage gehts taiwan besser
als der usa und europa,
vergleichbar mit kanada, eventuell,
obwohl taiwan recht klein ist.
halb so groß wie österreich.
deiner geschichte ins gesicht schauen können,
in deiner gesellschaft fortschritt erzeugen
sind sehr, sehr kostbare dinge.
passt auf euch auf, liebe freunde!
auf ein baldiges wiedersehn!

MW November 2016

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又說再見了!

 

這几天在台灣
碰到很多朋友
非常難得。
有的認試快三十年了。
這几天碰到很多作家
很多譯着同事
還碰到詩人鴻鴻。
在台灣有人
天天碰到鴻鴻
也碰到楽天
鴻鴻的小兒子。
昨天楽天碰到我。
抱着他像十年前
抱着自己的孩子。
那時候在北京。
今天晚上我離開台灣。
如果能留下會怎麽様?
台灣目前有些方面
比奥地利好。
没有崛起的右派。
有第一位女總统,
社會有一些進步。
總共很多方面
比三十年前進步蠻大了。
目前台灣好像比歐洲美国都好,
也许有點像加拿大,
雖然台灣很小,
半個奥地利面積。
能够面對自己的歷史,
能够促進社會改造
都非常難得的。
請朋友多保重!
希望早點再見!

2016.11.21

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再見了! TAKE CARE!

十一月 21, 2016
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Photo by Minya Lin

又說再見了!

這几天在台灣
碰到很多朋友
非常難得。
有的認試快三十年了。
這几天碰到很多作家
很多譯着同事
還碰到詩人鴻鴻。
在台灣有人
天天碰到鴻鴻
也碰到楽天
鴻鴻的小兒子。
昨天楽天碰到我。
抱着他像十年前
抱着自己的孩子。
那時候在北京。
今天晚上我離開台灣。
如果能留下會怎麽様?
台灣目前有些方面
比奥地利好。
没有崛起的右派。
有第一位女總统,
社會有一些進步。
總共很多方面
比三十年前進步蠻大了。
目前台灣好像比歐洲美国都好,
也许有點像加拿大,
雖然台灣很小,
半個奥地利面積。
能够面對自己的歷史,
能够促進社會改造
都非常難得的。
請朋友多保重!
希望早點再見!

2016/11

 

Leicht gesagt, denk ich mir bei manchen Aussagen aus Österreich. Bin gerade in Taiwan. Manches ist besser. Vieles ist besser als vor 30 Jahren. Ganz, ganz deutlicher Fortschritt. Zeitgeschichte wird aufgearbeitet. In Österreich hat erst Vranitzky über 40 Jahre nach Kriegsende die Verantwortung für die Shoa,
für all die furchtbaren Greuel zugegeben. Obwohl vorher schon ein Jude 13 Jahre Bundeskanzler war. In Taiwan war 40 Jahre Kriegsrecht. 1947-1987. 1991 hat Präsident Lee Teng-hui die Verantwortung der Regierung für das Massaker von 1947 zugegeben und sich bei den Angehörigen der Opfer entschuldigt. In Österreich hat man vor 30 Jahren endlich das Vergessen der Verantwortung aufgegeben. Das haben viele damals geglaubt. Es hat auch gestimmt. Aber jetzt hat Österreich auch schon fast seit 30 Jahren vergessen, worauf die 2. Republik basiert. Thomas Bernhard und Elfriede Jelinek und so weiter hatten und haben leider recht. Mein eigenes Schreiben kommt von Ernst Jandl her. Die radikale Kritik in den Werken vieler Schriftsteller kommt für mich von der Hoffnung, dass es irgendwie möglich sein könnte, sich der Verantwortung zu stellen. Immer noch leicht gesagt, ich weiß.

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Photo by Minya Lin

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Photo by Cornelia Kuan

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ÖSTERREICH

十一月 20, 2016

image1

ÖSTERREICH

Österreich bringt das Beste heraus
Aus den Österreichern
(Mit Ausländer- und mit Inländerruhm)
Ganz ganz weit heraus
Bis es nicht mehr zurück kann

MW November 2016

LEUCHTSPUR 2

十月 26, 2016

leuchtspur2

LEUCHTSPUR: Neue Chinesische Literatur. Zweiter Band, 2016年德語《路灯》. Produziert von People’s Literature 人民文学, gedruckt von Foreign Languages Press 外文社 in Peking. Erhältlich in China, über die genannten Verlage und bei Martin Winter in Wien (mading2002@hotmail.com). Erzählungen von Ma Yuan 马原, Deng Yiguang 邓一光, Shi Shuqing 石舒清, Xu Zechen 徐则臣, Zhong Qiushi 钟求是, Xiao Hang 晓航, Zhao Ziming 赵志明. Gedichte von Wang Xiaoni 王小妮, Xi Chuan 西川, Yi Sha 伊沙 und Bai Ma 白玛. Deutschsprachige Redaktion Yingxin Gong 龚迎新 und Martin Winter (維馬丁). ÜbersetzerInnen:

Martina Hasse、Helmut Forster、Eva Lüdi、Marc Hermann (馬海莫)、Carsten Schäfer、Julia Buddeberg、Cornelia Travnicek (凯妮) 今年跟我 Martin Winter (維馬丁)一块做了人民文学《路灯》LEUCHTSPUR 第二本。我觉得跟去年第一本同样好,虽然小說少一點。詩歌這次更多,也許也更好。而且詩歌我讓他們印刷雙語。王小妮寫月亮非常强、非常可怕。馬海莫翻譯的西川很厉害,還有伊沙、白玛都有非常精彩的细节。这些詩歌都给你今天在中国生活的感觉。

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leuchtspur2016-017 leuchtspur2016-016 leuchtspur2016-015 leuchtspur2016-014 leuchtspur2016-013 leuchtspur2016-012 leuchtspur2016-011 leuchtspur2016-010 leuchtspur2016-009 leuchtspur2016-008 leuchtspur2016-007 leuchtspur2016-006 leuchtspur2016-005 leuchtspur2016-004 leuchtspur2016-002 leuchtspur2016-001 leuchtspur2016

晚报!晚报!CHINESISCHE STIMMUNG

十月 26, 2016

Famous in China

《晚报》

晚报!晚报!

早有早报,
晚有晚报。
不是不报,
时侯未到!

 

WANBAO

Wan bao! Wan bao!

Zao you zaobao,
wan you wanbao.
Bu shi bu bao,
shi hou wei dao!

 

LATE NEWS (WANBAO 晚报, also BAOTAN 报摊 = NEWSSTAND)

late news! late news!

dawn has dawn news,
dusk has dusk news.
not that there’s no report,
time hasn’t come.

(bao = newspaper, revenge, retribution, karma, report)

“Wan bao!” is the cry of newspaper-sellers that begins every afternoon in every city.
This poem has only five or six lines.
The last four lines are very close to a popular Buddhist saying.
The last two lines are the same.

shan you shan bao,
e you e bao
bu shi bu bao,
shihou wei dao!

Shan means good, e means bad, evil. I have substituted shan with zao, e with wan. Benevolent becomes early, evil late.

WANBAO

Wan bao! Wan bao!

Zao you zaobao,
wan you wanbao.
Bu shi bu bao,
shi hou wei dao!

In meinem Buch und auf meinem Blog gibt es sehr viele verschiedene chinesische Gedichte. Dieses erste Gedicht auf Chinesisch habe ich ungefähr 1999 oder früher geschrieben. Ich glaube, es ist unübersetzbar. Sehr chinesische Stimmung. Es ist sehr kurz.

Ao = au. Das “bao” hier wird sehr kurz und entschieden ausgesprochen. Y = deutsches j. Chinesisches J ist wie auf Englisch. Das i bei “shi” ist wie das türkische i ohne Punkt. Also eigentlich kein i.

“Wan bao!” rufen Zeitungsverkäufer am Nachmittag und Abend in chinesischen Städten. Wanbao ist Abendzeitung, zaobao Morgenzeitung; z.B. Shanghai Zaobao. You (jo-u) bedeutet ‘gibt es’. Zao bedeutet früh, aber auch ‘Morgen’ im Sinn von Guten Morgen. Ich stehe jeden Tag um halb sieben auf, das ist jetzt Sonnenaufgang. Da mache ich ein Foto vom Balkon aus. Manchmal auch von meinem Sohn oder meiner Tochter beim Frühstück. So ein Foto kommt dann ins chinesische Internet, mit diesem Zeichen: 早. Zao!

Photos and video recording: Beate Maria Wörz

Photos and video recording: Beate Maria Wörz

《晚报》

晚报!晚报!

早有早报,
晚有晚报。
不是不报,
时侯未到!

WANBAO

Wan bao! Wan bao!

Zao you zaobao,
wan you wanbao.
Bu shi bu bao,
shi hou wei dao!

Vielleicht habt ihr den Reim auf -ao schon bemerkt. Ao = au. Wanbao, Abendzeitung. Aber dieses “bao” bedeutet nicht nur Bericht, Meldung etc, sondern auch das Karma, das von einer guten oder schlechten Tat zurückkommt. Achtung, sehr spezifisch chinesische und asiatische Stimmung! Wirklich. Zao you zaobao, wan you wanbao. Morgens kommt die Morgenzeitung, abends gibt es Abendblatt. Soweit so banal. Aber da gibt es ein sehr bekanntes buddhistisches Sprichwort. Shan you shan bao, e you e bao. Bu shi bu bao, shi hou wei dao! Die letzten zwei Zeilen sind genau dieselben wie in meinem Gedicht. Bu shi bu bao, shi hou wei dao.

善有善报,
恶有恶报。
不是不报,
时候未到!

Gutes hat gute Folgen, Böses böse. Shan you shan bao, e you e bao. Das “e” hier ist ein kurzes, entschiedenes Schwa, eher wie ein ö als wie ein deutsches “e”. Bitte versucht einmal, das ganze Sprichwort laut auszusprechen. Y = deutsches j, ou = ou. Sh wie auf Englisch. Shan you shanbao, e you ebao. Bu shi bu bao, shi hou wei dao! Bu bedeutet hier nein, nicht. Bu shi = ist nicht, das ist nicht so. Nicht, dass es kein Karma gibt, nur die Zeit ist noch nicht da. Shi-hou heißt Zeit. Wei heißt noch nicht. Ei wie bei Beijing (Peking), also kein deutsches “ei”. Ai Weiwei heißt wörtlich Ai Nochnicht Nochnicht. Ai Zukunft Zukunft. Ai ist der Familienname. Siehe auch die Wikipedia-Einträge zu Ai Qing und zu seinem Sohn Ai Weiwei. Aber zurück zu meinem Gedicht. Bu shi bu bao, shi hou wei dao. 不是不报,时候未到。Diese beiden Zeilen sind genau gleich wie in dem alten buddhistischen Sprichwort. Und auch in den Zeilen davor habe ich nur “gut” (shan 善) mit “früh“ (zao 早 frühmorgens etc.) ersetzt und ”böse” (e 恶) mit  “spät” (wan 晚, spät und abends) ersetzt. Schaut bitte noch einmal hin. Das meiste ist gleich, nicht wahr? Deshalb ist mein Gedicht unübersetzbar. Es wirkt nur, wenn man das Sprichwort schon kennt. Jede und jeder kennt es in China, Taiwan etc. Aber was haben Morgen- und Abendzeitungen mit Karma zu tun? Nicht, dass da kein Karma kommt, nur die Zeit ist noch nicht da. Nicht, dass nicht berichtet wird, nur die Zeit ist noch nicht reif. Diese beiden Sätze sind auf Chinesisch dasselbe.

martin-winter_cover_web

In meinem neuen Gedichtband ist dieses Gedicht auf Seite 67, unter 晚报.

ich-6

(DAUERFEUER) – 伊沙

九月 27, 2016

yi-sha-1988

Yi Sha
(DAUERFEUER)

amerikanische demokratie
wir sehen einfach wie
sich zwei clowns produzieren
nur die menschheit sagt sich zum trost
“ah! die wahl das system das sie auswählt
ist aber gerecht.”

September 2016
Übers. v. MW im Sept. 2016

《点射》

美国的民主莫过如此
我们明明看到两个
选出来的老丑在耍宝
人类却自我安慰说
唉!选出他们的制度
还是公平的

Yi Sha
EIN GUTER DICHTER, ICH DENK IMMER WIEDER AUF EINMAL AN IHN

vor fünf jahren in huizhou
jiang huhai hat mich dazu gebracht
mit arbeitsmigranten zusammen zu lesen
ich les meine eigenen gedichte
bestehe darauf alles bis zum ende zu hören
stoße damit auf spott und unverständnis
sogar auf zweifel an meinen gründen
von seiten eines schwindlers aus übersee
und zweier dichterinnen aus peking
weder damals noch heute weiß einer von denen
Xu Lizhi
war einer der dichter dort auf der bühne

September 2016
Übersetzt von MW im September 2016

我总是忽然想起一位好诗人

五年前过惠州
江湖海拉我出席
一场打工诗人朗诵会
我亲诵己作
坚持听完的举动
遭到一位海外来的骗骗
和两位京城来的女诗人
的不解和嘲笑-其中一位
甚至怀疑我动机何在
不论当时还是现在
他们都不知道
许立志
就在登台朗诵的
打工诗人之中

2016/9

 

Yi Sha
ALWAYS SUDDENLY THINKING OF A GOOD POET

Five years ago, passed by in Huizhou.
Jianghu Hai pulled me up on a stage.
Migrant workers reciting their poetry.
I read my own stuff,
then insisted on listening until the end.
For this I received scorn and confusion
from an overseas swindler
and two female poets from Beijing,
who also questioned my motives.
They didn’t know
and don’t know today
Xu Lizhi
was one of those workers
up there on the stage.

September 2016
Tr. MW, 2016-2017

yi-sha-als-papst

FIRST PUBLIC READING OF NEW BOOKS IN VIENNA! (Friday Sept. 16, 7:00 pm)

九月 13, 2016

ru-ye-tochter

fabrik_logo

—–fabrik.transit lädt herzlich ein:

FRANZ BLAHA, ELEONORE WEBER UND MARTIN WINTER LESEN AUS NEUEN BÜCHERN

Franz Blaha: Schattenstörche
– Texte wie Vogelschatten

schattenstrche_cover_end

Eleonore Weber: CARAVAN
Erzählungen, Kurzprosa

cover_caravan_neukl

Martin Winter: DER MOND MUSS PERFEKT SEIN 不敢不完美 She Must Be Perfekt
Gedichte

Martin Winter_Cover_Web

Yi Sha 伊沙: ÜBERQUERUNG DES GELBEN FLUSSES Bd. 1 車過黄河
Gedichte 1988-2009, übersetzt von Martin Winter

Yi Sha_Cover_Web

Alle Bücher sind neu in der Edition fabrik.transit erschienen.

Begleitend zur Lesung sind die Buchgrafiken von Franz Blaha ausgestellt.

Freitag, 16. September 2016, 19:00 Uhr
WERKL IM GOETHEHOF
Schüttaustraße 1-39/6/R02, 1220 Wien
U1 Station Kaisermühlen, VIC, 5 Minuten Fußweg oder Bus 92B

Es gibt einen Büchertisch

Eintritt frei

Kontakt: fabrik.transit(a)chello.at
+43 (0)699 100 96567
http://www.fabriktransit.net/
http://www.werkl.org/

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寫政治詩歌 Poetry politics, Greater Austria and Greater China

九月 8, 2016

Mittagessen

寫政治詩歌

維馬丁

瑞士蘇黎世新報編輯說可惜他的報紙不再關心文藝,只關心輿論一類的,所以書評很少了,也不再登詩歌。就是近半年的變革。我覺得廖亦武和赫塔·米勒(Herta Müller)等等應該很適合這樣的氣氛。關心輿論應該是關心政治。廖亦武從八九年以后不能不激烈關心, 米勒從小也許也是跟廖亦武一樣終不能脫掉政治。二十一世紀得了諾貝爾德語女作家有兩位,除了米勒第二位是奧地利女作家耶利內克 Elfriede Jelinek,她也一直非常關心政治,而且也寫詩,非常好的詩,雖然寫的非常不同。米勒的詩歌是實驗性的,耶利內克寫話劇和小說用的語言是非常實驗性的。在台灣說葉利尼克,在台灣一直有人研究和翻譯她。大陸和台灣很多方面非常不同,在台灣關心政治很多就是左派,像一九三十四十年代中國詩人艾青,雖然現在台灣關心政治就是先關心台灣,其他都不能先注意它。而在大陸當代的先鋒詩歌從六十年代到現在都有地下的成分。需要獨立,需要脫掉主流社會的政治口號心態。其實我覺得詩歌,就是活性的、跟當代社會有直接關系的詩歌無論在哪裡都有地下的成分。艾青在1979年寫柏林牆就直接否定柏林牆,不管什麼左派歷史問題等等,至少從表面說好像不管。

做藝術都需要獨立的心態,一 直關心政治怎麼寫詩?不過有的人可以。布萊希特 (Brecht),還有傅立特(Erich Fried), 廖亦武2015年秋天來維也納就是參加傅立特文學節。台灣詩人鴻鴻翻譯了傅立特的詩,尤其是叫做《暴利》一首(Die Gewalt),鴻鴻在2014年三月十八在台北參加占领立法院的事件就引用這首詩。傅立特是奧地利人,還有一位著名的二十世紀奧地利詩人楊豆(Ernst Jandl) 也非常關心政治,寫得很成功。楊豆很有幽默的成分,雖然大部分作品不一定讓你笑。我翻譯伊沙就經常想到楊豆。昨天轉給一位瑞典的女博士生的這兩年廖亦武的詩歌,就重新碰到很多我這幾年關心的事情和詩歌。劉霞最好的詩歌就是2013年錄像裡的兩首一類的,像《無題》那顆樹。獨立的,不直接說什麼政治,但也許說得很直接,不能再直接。我在2011年左右那時候想讓奧地利的中國朋友翻譯米勒的詩,雖然他多半不寫新詩,寫古體詩,但是我給他解釋德語他可以翻譯成中文新詩。也許很荒謬的念頭,最后沒成功。我那時候覺得是流亡詩人貝嶺的錯,因為一直不管詩歌,從不願意給意見,只關心書怎麼出版,在台灣的小出版社。硬不關心文本。

有很多人在文學方面很喜歡只關心文本,偶爾才關心社會政治問題。我好像從來從骨子裡感覺到詩歌文藝,尤其是多語言的、跨越世界各地的文藝是革命性的,雖然革命這詞匯一直就非常可疑,魯迅AQ關心革命等等。我自己在中學時候被楊豆的詩歌振醒,這詩歌其實有很具體的奧地利和德國當代歷史內容,但他主要是實驗性的。實驗 性是它的革命性。而且是跨越語言、跨越時代的獨一無二的怪詩。把華茲華斯(William Wordsworth)的一首著名的浪漫感情詩歌說翻譯它的『表面』,其實好像只翻譯聲音,找從聲音很相似的德語詞匯就好像用德語念出英語的原文。就像奧巴馬這個中文詞匯只管聲音,跟奧巴馬三個字其他內容和用處沒關系。但其實楊豆那首詩有具體的當代歷史政治內容。只是我最早聽到就是它的荒謬,是兩三個中學生自己發現的東西,在語文課等等那時候肯定不能碰到。就是一種爵士音樂的東西。這是我寫詩的根本。關心詩歌、翻譯詩歌等等都來自於這種經驗。

菩提本无樹,明镜亦非台。十七歲左右碰到了坛經。然後開始學中文。

DER MOND MUSS PERFEKT SEIN 《不敢不完美》 SHE HAS TO BE PERFECT

九月 6, 2016

Martin Winter_Cover_Web

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Martin Winter 維馬丁:

DER MOND MUSS PERFEKT SEIN 《不敢不完美》 SHE HAS TO BE PERFECT

POEMS IN ENGLISH, CHINESE AND GERMAN.

包括維馬丁寫的中文詩歌,英語詩歌被詩人伊沙譯成中文.

READING IN VIENNA ON OCTOBER 15, 2016!

Martin Winter & Juliane Adler lesen aus: Der Mond muss perfekt sein/ Yi Sha: Die Überquerung des gelben Flusses

 

Martin Winter, born 1966. Poet, translator. Studied in Vienna, Taipei etc. Worked in China etc. Writes in English, Chinese, German

Martin Winter, Dichter und Übersetzer. Studierte Germanistik und Sinologie, verbrachte 15 Jahre in China und Taiwan. Schreibt Gedichte auf Deutsch, Englisch, Chinesisch.

Mit einer Grafik der chinesischen Künstlerin Wang Qi 王琦画

Format: 14 x 20,4 cm
Seiten: 332
Fertigung: 1 s/w-Abbildung, Broschur
Preis/€: 15,00

TEXTPROBE   SAMPLE PAGES

 

 

Stockholm Dreaming China

九月 6, 2016

艾喜說得真好。難忘的兩三天一場夢。我講了天津詩人徐江《想象IMAGINE》一首,還有伊沙的《梦》,並且伊沙和徐江各種詩歌平台夢想。都是非常具体的、民间的、日常生活的東西。謝謝朋友們!多谢意大利汉学国际联邦!谢谢斯德哥尔摩大学漢學系以及遠遠從新西兰、澳洲等等來参加的学者!

Writing China

800px-veterinc3a4rhc3b6gskolan_2011aEarlier this month, I attended the conference Exploring the China Dream at Stockholm University – glorious good fun including more  inspiring and informative presentations than I can mention here, so just a few samples:

At the panel on film and visual culture chaired by eminent organizer Elena Pollacchi, Prof. Paola Voci introduced us to different types of virtual soft power with hilarious and scary examples of short internet films like this one (》低头人生《 about what can happen to people who live with their heads glued to small screens).

Prof. Irmy Schweiger chaired my panel on dreams in literature, in which Martin Winter (who is much quicker on the keyboard than I am and has already blogged about it here and  here) read us a poem by Xu Jiang and talked about his translations of Yi Sha’s dream inspired poetry. It reminded me of Jack Kerouac’s Book of…

View original post 161 more words

SONNTAG IN DER KIRCHE

八月 31, 2016
photo by David Howard

photo by David Howard

SONNTAG IN DER KIRCHE

ich war am sonntag nicht in der kirche
die kirche war am ballhausplatz
nicht heldenplatz aber auch dort
gegen die mit dem ball

weiß nicht wieviele waren
vielleicht auch niemand von unseren freunden
obwohl niemand deutschdümmler wählt
der bei trost ist

aber der glanze heldenplatz zirka
ist lang nicht gewonnen
wieviele waren
bei trost oder was

wieviele waren am sonntag
wahrscheinlich ist es auch nicht entscheidend
im stadtpark wär ich auch gern gewesen
josef hader paul gulda

es war heiß
vielleicht der letzte heiße sonntag im sommer
also stadionbad

alte bäume
manche zweihundert jahre
wie alt ist das stadion
wie alt ist das bad
das bad schaut ein bisschen aus wie die stadthalle
obwohl alles im freien

es ist genug platz
irgendwo hinten kannst fussballspielen
auch wennst im wasser fast nicht mehr durchkannst
aber irgendwie gehts

gott hat geruht am siebten tag
wir haben geruht ins wasser zu gehen
geruht uns zu sonnen

14 euro zwei große zwei kinder
das essen dort natürlich nicht billig
am ende bist müde

der platz bei der u-bahn hinter dem stadion
da steht ein container schon einige jahre
wiener schachverein oder so
der platz ist nach einem meister benannt
der starb in der emigration

das straßenschild ist überklebt
vielleicht fußballfans
die vielleicht nichts verstehen

ich war am sonntag nicht in der kirche

MW 31. August 2016

Photo by Ronnie Niedermeyer, rn.co.at

Photo by Ronnie Niedermeyer, rn.co.at

ISOLA BELLA

七月 14, 2016

CAM01162

ISOLA BELLA

lucius malfoy was here
and mussolini
discussing world peace.
plaintive white peacocks
declaring before all and sundry
their most abject humility.
we could be much greater
but for now we are modest.
you can see bellatrix and josephine
in the paintings
or in the tapestries
if you look close enough.
everything in harry potter
has been petrified
in the book of this island.
that’s why it’s so popular.
don’t worry they also grow mandrakes.

MW July 2016

ISOLA BELLA II

today you can see
every house in the distance
every face
of a mountain
we had storms for two days.
every flag in the distance
looks like a red flag on the island
island of beauty
rather small kings
and mussolini
well, for a conference
conference of stresa
now there’ s a red flag on the island
maybe they’ll burn it
hopefully not.

MW July 2016

STIMME DER VERNUNFT (1-3)

五月 5, 2016

IMG_20160502_090559_912

STIMME DER VERNUNFT

vernunft ist jetzt ein brauner bodensatz
das recht geht dem volk aus
das war immer schon so
das recht gehört denen die sichs richten können
in allen parteien
wer ist schuld wenn
der braune bodensatz präsident wird
jeder der haider cool fand
helmut zilk
jeder der nachgemacht hat
löschnak cap und so weiter
nicht nur die schwarzen
jeder der inseriert hat
in österreich das gratis aufliegt
im großen schmierblatt
dem unser kanzler sein amt verdankt
als er mit seinem vorgänger
auf einmal arschgeküsst hat
der fischer sagt auch nichts
wär doch schön irgendwie
könnt sich der handke für die republik
gegen die blauen staatsfeinde
so engagieren wie für milosevic
österreich ist ein schlechter witz

MW Mai 2016

STIMME DER VERNUNFT (2)

ist die vernunft

 der im parlament

herbeigestimmte notstand

der beiden parteien

für die zehn prozent noch zu viel sind?

die stimme der vernunft ist leise,

hat freud gesagt.

und ich vergess es

auch immer wieder.

MW Mai 2016

STIMME DER VERNUNFT (3)

es war die stimme des intellekts
die stimme des intellekts ist leise
hat freud gesagt
jedenfalls stimmt es
das dreiste grinsen
auf den plakaten
ist wohl genau das gegenteil
in beiden fällen

die lust am für-blöd-verkaufen
das fahnenschwenken
wer den antifaschistischen konsens
in der verfassung
in frage stellt
gehört ins gefängnis
nicht ins parlament
oder in die hofburg

das kann man nicht laut genug sagen

MW Juli 2016

ANGST UND SCHRECKEN – TERROR AND FEAR

四月 21, 2016

ANGST UND SCHRECKEN

angst und schrecken
ist eine partei
ihr führer heißt
angst und schrecken
die partei verbreitet
angst und schrecken
das war nicht immer so
aber heute ist die partei
angst und schrecken
manche finden das gut
sie nennen sich
protestwähler

MW April 2016

 

TERROR AND FEAR

strache means
terror and fear
terror and fear
is a party in austria
this party spreads fear
some people like that
they call themselves
protest voters
they know they are spreading fear

MW April 2016

 

RILLE

lander derer berger!
lander amer stromer!
lander derer recker!
lander derer domer!
lander derer hämmerer!
zukunfter reicher!
heimater bister!
grosserer techterer!
volker begnadeter
fürer dasser schlechter!
vieler geliebter
österreicher vieler geliebter österreicher …

MW April 2016

In Gedenken an Ernst Jandl

 

ON A TRIP – 春树 Chun Sue

一月 9, 2016

Chun_Sue

Chun Sue
ON A TRIP

In the same night
in Berlin
I was at two events with Chinese writers.
The female writer who lived in London
gave me a stronger impression
than the male writer who stayed in America.
Her English pronunciation was better, more resonant;
also before at the event with the male writer
I was very thirsty
so I was distracted.
When the female writer was up on the stage
I had drunk enough water,
had been to the bathroom.
Under the light,
from the side she frowned at the moderator.
A grimace like
a Hollywood star doing a fierce ugly Asian.
It was really confusing,
like she was seeing her psychiatrist
at the literature festival.
As she screwed up her face
I really wanted to ask her: Are you happy?
Maybe it was
that special
feeling for form
reminding me of my former self.
At a lit fest in Norway, I had a crowd of high school kids;
when it was over,
I saluted the packed mass in the dark,
like a Young Pioneer.

2015
Tr. MW, Jan. 2016

Chun Sue On Tour

LEUCHTSPUR – 新文学 – Neue chinesische Literatur

十月 20, 2015

LEUCHTSPUR LEUCHTSPUR 001LEUCHTSPUR 002LEUCHTSPUR 003LEUCHTSPUR 005LEUCHTSPUR 022

LEUCHTSPUR – 新文學雜誌 – Neue chinesische Literatur

Seit 2011 in englischer Sprache, seit 2015 erstmals in deutscher Übersetzung:

„Die besten neuen chinesischen Erzählungen und Poesie aus China“ verspricht das Literatur-Magazin LEUCHTSPUR.

Erhältlich beim Löcker Verlag Wien. 288 Seiten. Normalpreis 15 Euro, Sonderpreis für die erste Ausgabe unter 10 Euro inkl. Versandkosten! Anfragen bitte an Dr. Alexander Lellek, Löcker Verlag, Email lverlag@loecker.at

時間:10月21日 下午 3 點 Präsentation am Mittwoch, 21. 10. 2015 um 15 Uhr

維也納大學漢學系 Institut für Ostasienwissenschaften / Sinologie
1090 Vienna, Spitalgasse 2, Hof 2, Tür 2.3, Tel.: +43-1-4277-43840

LEUCHTSPUR 011LEUCHTSPUR 009LEUCHTSPUR 008 Zhang HuiwenLEUCHTSPUR 010LEUCHTSPUR 014 Li Qi LEUCHTSPUR 006

 

WIEN, HELDENPLATZ

八月 28, 2015

reading in china

WIEN, HELDENPLATZ

ich war in einer funktion hier
als demonstrant
und als konzertgeher
am tag der befreiung
dürfen die rechten
nicht mehr marschieren
am abend spielen symphoniker
noch nicht so lang
unfertig, verloren
vom heldenplatz sieht man den flakturm.
so endet simon winders danubia
das beste buch über europa
und über österreich
sie wollten ihn kleiden
ein flakturm in italienischem marmor
weiß nicht ob das stimmt. aus dem inneren tor
bevor du hinauskommst, siehst du den turm
wenn du aufblickst, vielleicht auf dem fahrrad. jedenfalls auf der straße.
nicht wenn du auf dem platz bist. war winder auf dem balkon?

er hat leider recht. am turm erkennt man uns.

ebenso hässlich wie mao in peking

hoch auf dem turm hoch über dem platz.

nur viel viel schlimmer.

hässlich ist alles was toleriert wird

oder nur übersehen

obwohl es terror repräsentiert.
der platz ist ok. kinder spielen.
der platz ist verloren. wie tiananmen.
ball der verbindungen. rechte studenten.
gebt ihnen allen ganz schnelle wagen. einsame landstraßen.
die polizei darf alles absperren. die ganze innenstadt.
jedenfalls wo protestiert werden könnte.
einkesseln. jagen. mitnehmen. anklagen.
landfriedensbruch. auch wenn li peng kommt.
kroch hitler aus den ruinen von habsburg?
welche ruinen? besuchszeiten sind
alles ist wunderbar renoviert
das völkerkundemuseum
heißt jetzt irgendwie anders. etwas von welt.
der glanze heldenplatz zirka.

MW August 2015

Picture by Thomas Wong

Picture by Thomas Wong

SCHÖN – 美

七月 29, 2015

Berlin LCB

SCHÖN

ein schöner workshop am lcb
das schöne ist des schrecklichen anfang
wann heißt zehntausend der zehntausendsee
klingt wie bergen-belsen
das lcb liegt wunderschön
ein märchenschloss
gruppe 47
pack die badehose
so viele seen in österreich
berlin ist ein grünes idyllisches dorf
ingeborg bachmann hat hier gewohnt
an diesem see in dieser villa
die nachkriegsgruppe hat hier getagt
worauf kommt es an auf die geschichte
auf die gestade die bäume das blau
die wannsee-konferenz
zehntausend kann man als hakenkreuz schreiben
weiß nicht warum es zehntausend heißt
hier war mein vater mit mir im segelboot
sagt tong yali als kleines kind
war sie schon in deutschland
deutschland das de-land das dao-de-dsching
der weg und die tugend
wie viele seen in österreich
irgendwo in den alpen
gruppe 47
aichinger, bachmann, celan
das schöne ist des schrecklichen anfang

MW Juli 2015

Berlin Wannsee

CHUN SUE IN VIENNA 春树在维也纳朗诵

五月 22, 2015

chun sue questions

http://player.youku.com/player.php/sid/XOTQ5NDM0MzYw/v.swf

http://player.youku.com/embed/XOTQ5NDM0MzYw

Chun Sue
FRAGEN VOR DEM SCHLAF

Glaubst du, du bist eine Intellektuelle?
Glaubst du, du bist eine Existenzialistin?
Glaubst du, du magst Zhajiang-Nudeln?
Glaubst du, du sammelst Antiquitäten?
Glaubst du, du gehst mit der Zeit?
Glaubst du, du bist vorwärts gekommen?
Glaubst du, du hast deine Ideale verwirklicht?
Glaubst du, du liebst dein Land?

Glaubst, du liebst die Wahrheit?
Glaubst du, du wagst es, die Wahrheit zu sagen?
Glaubst du, du fürchtest keine Vergeltung?
Glaubst du, du bist eine gute Schriftstellerin?

Glaubst, du bist eine Dichterin?
Glaubst du, du bist eine gute Mutter?
Glaubst du, du bist ein guter Vater?
Glaubst du, du hast schon mal geliebt?
Glaubst du, du hast Anstand?
Glaubst du, Microblogging bringt China voran?

Frage, Frage, Fragezeichen
Glaubst du, man sollte sie anbeten?
Glaubst du, du bist ein Fangirl?

Glaubst du, es gibt Sachen, die darf man nicht sagen?
Glaubst du, manche Leute darf man nicht provozieren?
Glaubst du, deine Romane sind deine Memoiren?
Glaubst du, du bist begabt?

Glaubst du, deine Dinge werden bleiben?
Glaubst du, du hast ein Geheimnis?
Glaubst du, du hast ein großes Herz?

Glaubst du, du bist jedem gerecht geworden?
Glaubst du, du hast Verantwortung übernommen?
Glaubst du, du hast nach den Regeln gehandelt?
Glaubst du, du findest keine Scham in deinem Herzen?

Glaubst du, du hältst dich für unfehlbar?
Glaubst du, du möchtest dich rächen?
Glaubst du, du fürchtest den Tod?
Glaubst du, du kannst sie um den Finger wickeln?
Glaubst du, du wirst ihnen lästig?
Glaubst du, du hast noch ein Morgen?
Glaubst du, du bist schon zurückgeblieben?
Glaubst du, du bist allein?
Glaubst du, was du da schreibst, ist ein Gedicht?

Der Mensch macht einen verrückt
Lass sie sich doch
selber fragen

2012
Übersetzt von Cornelia Travnicek und Martin Winter im Jänner 2015

CLICK HERE FOR ENGLISH

Chun Sue Traum

Chun Sue
TRÄUMEN IN EINEM TRAUM ZU LEBEN

untertags bilder schießen
und nachts schlaflos sein
im traum mit einem feind
von liebe sprechen
mit einem spion
mit jemandem gleichen geschlechts
zusammen mit dem, der mich streichelt
zusammen mit dem, der mich grapscht
in einem traum da kann kein großes feuer sein
kein schwerer schnee
gefühle besprechen, menschen morden
manchmal stolpert das herz, manchmal bricht‘s
kleider in schreienden farben tragen
schäumender überschwang
und heißes blut

2012
Übersetzt von Cornelia Travnicek & Martin Winter im Jänner 2015

Chun Sue

DREAMING OF LIVING INSIDE A DREAM

taking pictures by day
then sleepless at night
in a dream with a foe
talking love
with a spy
talking love
in a dream, same-sex love
in a dream with the one who caressed me
in a dream with the one who harassed me
talking love, can’t be no big fire
can’t be no great snow
in a dream, making love, shoot to kill
panicking, heart-broken
showing colourful clothes
going round gushing feelings
or gushing blood

2012
Tr. MW, 2014-2015

Chun Sue Avenue of Eternal Peace

Chun Sue
MORGENS ÜBER DIE CHANG‘AN-STRASSE

Mein kleiner Bruder sagt: Vater, wir sind auf der Chang’an
schau sie dir gut an
Das ist genau die Chang‘an, die du über zwanzig Jahre lang gegangen bist
Ich sitze beim Vater, beim kleinen Bruder
Fast beginn ich zu weinen
Jetzt erst weiß ich
warum ich diese Straße des ewigen Friedens mag
Langsam, langsam fährt das Auto am Militärmuseum vorbei
an den roten Mauern von Zhongnanhai
am Xinhuamen
Papa ist klein jetzt, er ist eine Urne
die steht zwischen uns
die braucht nicht viel Platz
Das Auto fährt am Tian’anmen vorbei
und ich sehe
wie er auf dem Platz steht
und uns zusieht, wie wir vorbei fahren

Wie soll ich nur über dich schreiben
Du Sohn eines Bauern
Auch ich bin in einem Dorf geboren
Auch ich bin das Kind eines Bauern
Ich lege für dich eine Nacht lang Armeelieder auf
schluchzend und schreiend –
das mag ich auch.

2012
Übersetzt von Cornelia Travnicek & Martin Winter im Jänner 2015

SCH-SCH-T-TOT-T-TT-TERN – 伊沙维也纳朗诵会 – S-S-ST-T-T-TUT-T-TER-RING

五月 16, 2015
Photos and videos by Beate Maria Wörz

Photos and videos by Beate Maria Wörz

Yi Sha 《结结巴巴》
S-S-ST-T-T-TUT-T-TER-RING

m-m-my s-st-tut-t-ter-r-ring t-trap
d-d-dis-s-sab-b-bl-led c-c-cla-p-t-trap
c-c-can-n-t g-g-et a-a b-bit-te i-int-to m-my b-brain
and l-look a-at m-my l-legs

y-you-your f-f-fly-i-ing spit
y-y-your m-mildewed s-slime
m-m-my w-weary l-lungs
a-are f-f-full o-of g-grime

I n-need t-to b-b-break out
f-f-from y-y-your s-sp-pout-ting s-song
b-break o-out o-of y-your h-house

m-m-my sh-shoot-t-ting t-t-tongue
m-m-mach-chine g-g-gunn f-fire
it feels so good

i-in m-m-my s-st-tut-t-ter-ring l-life
the-there a-are n-no g-ghosts
ju-just l-llook at-t m-my f-face
I d-d-don’t c-care!

1991
Tr. MW, 2015

Yi Sha 《结结巴巴》
ST-STO-TO-TT-TERN

m-mein st-sto-to-tt-ternd-der m-mund
b-b-behind-dderter schschlund
b-b-bei-sst- s-ich wund
an m-meinem r-rasenden hirn
und m-meine b-beine –

euer t-trief-fend-der,
schschimmliger schschleim
m-meine l-lunge
i-ist m-müd’ und hin

i-ich w-will r-r-aus
aus eurem g-gross-a-artiggen rh-rhythmus
a-aus eurem h-haus

m-m-meine
sch-schp-prache
m-masch-schinengewehr-s-salven
es tut so gut

in m-meinem st-stott-ttoterndem r-reim
auf m-mein l-leben g-gibt es k-keine l-leich-chen
s-s-seht m-mich a-an
m-m-mir i-ist all-les g-gleich!

1991
Übersetzt von MW im April 2013

<結結巴巴>

結結巴巴我的嘴
二二二等殘廢
咬不住我狂狂狂奔的思維
還有我的腿

你們四處流流流淌的口水
散著霉味
我我我的肺
多麼勞累

我要突突突圍
你們莫莫莫名其妙
的節奏
急待突圍

我我我的
我的機槍點點點射般
的語言
充滿快慰

結結巴巴我的命
我的命裡沒沒沒有鬼
你們瞧瞧瞧我
一臉無所謂

1991

Photos and videos by Beate Maria Wörz

Photos and videos by Beate Maria Wörz

Yi Sha 《精神病患者》
GEISTESKRANKE

theoretisch
weiß ich nicht
wie es sich äußert
wenn eine geisteskrankheit ausbricht
ich hab nur gesehen
in diesem land
in dieser stadt
wenn ein geisteskranker loslegt
streckt er den arm hoch und bricht aus
in parolen
der revolution

1994
Übersetzt von Martin Winter 2013

《精神病患者》

從理論上講
一個精神病患者的發作
應該是怎樣的
我不知道
我只看到
在這個國家
在這座城市
一個精神病患者的發作
往往是振臂高呼
一串革命口號

1994

Yi Sha《精神病患者》
MENTAL PATIENTS

theoretically
I don’t know
how it should be
when a mental patient
suffers an outbreak
but what I have seen
in this country
in this city –
a mental patient suffers an outbreak:
up goes his arm
out come the slogans of revolution

1994
Tr. MW, 2013-2014

Photos and videos by Beate Maria Wörz

Photos and videos by Beate Maria Wörz

Yi Sha 《我想杀人》
ICH MÖCHTE JEMANDEN UMBRINGEN

ich fühle mich etwas komisch
ich will jemanden töten

oh! das war letztes jahr
herbst kroch über das laub

zwanzig todeskandidaten
am flussufer nördlich der stadt

“peng! peng!”
einer wurde aufgeschnitten

in der folgenden operation
erhielten WIR eine niere

1994
Übersetzt von MW 2012

《我想殺人》

我有點不大對勁了
– 我想殺人
噢!那是去年
在爬滿落葉的秋天
二十名死囚被押往
北郊的河灘
“砰!砰!”
其中一個被剖腹取腎
在隨後進行的手術中
移植寡人

1994

Yi Sha 《我想殺人》
I WANT TO KILL

I am feeling a little strange
– I want to kill someone
Oh! It was last year
autumn crept over the leaves
twenty death candidates lined up
at the river north of the city
„Peng! peng!“
One of them was cut open
and in the following operation
We got a kidney

1994
Tr. MW, 2015

angewandte2

Yi Sha 《9/11心理报告》
9/11 AUF DER COUCH

erste sekunde mund offen scheunentor
zweite sekunde stumm wie ein holzhuhn
dritte sekunde das ist nicht wahr
vierte sekunde kein zweifel mehr da
fünfte sekunde das brennt nicht schlecht
sechste sekunde geschieht ihnen recht
siebte sekunde das ist die rache
achte sekunde sie verstehen ihre sache
neunte sekunde die sind sehr fromm
zehnte sekunde bis ich drauf komm
meine schwester
wohnt in new york
wo ist das telefon
bitte ein ferngespräch
komme nicht durch
spring zum computer
bitte ins internet
email ans mädl
zitternde finger
wo sind die tasten
mädl, schwester!
lebst du noch?
in sorge, dein bruder!

2001
Übersetzt 2013 von Martin Winter

Yi Sha
9.11 REPORT FROM THE COUCH

Ist second: mouth barn-door open
2nd second: wooden-chicken stiff
3rd second: couldn’t believe it
4th second: it must be true
5th second: what a great fire
6th second: well they deserve it
7th second: this is retribution
8th second: these buggers have guts
9th second: must be their religion
10th second: before I realize
my own little sister
lives in new york
I need a telephone
long distance call!
can’t get a connection!
I go storming for a computer
where is the internet
typing out characters
writing an email
shaky fingers
“sister, sister!
are you alive?
your elder brother is worried sick!”

2001
Tr. MW, Oct. 2014

9/11心理報告

第1秒鐘目瞪口呆
第2秒鐘呆若木雞
第3秒鐘將信將疑
第4秒鐘確信無疑
第5秒鐘隔岸觀火
第6秒鐘幸災樂禍
第7秒鐘口稱復仇
第8秒鐘崇拜歹徒
第9秒鐘感嘆信仰
第10秒鐘猛然記起
我的胞妹
就住在紐約
急撥電話
要國際長途
未通
扑向電腦
上網
發伊妹兒
敲字
手指發抖
“妹子,妹子
你還活著嗎?
老哥快要急死了!”

2001

TEEBEUTELKREUZUNG

四月 23, 2015

TEEBEUTELKREUZUNG

in einem roman von wolf haas
über die missionarsstellung
zieht der erzähler
über das wort t-kreuzung her
die t-kreuzung gebe es gar nicht
das sei ein amerikanismus
ich habe einen vorschlag:
teebeutelkreuzung

MW April 2015

WHAT COULD ALSO BE SAID – for Günther Grass

四月 18, 2015

DuBois

WHAT COULD ALSO BE SAID
for Günther Grass

why do they print, why do they distribute
what grass has said, weapons for israel
what will they do with german submarines
built for nuclear missiles?

many who grew up beneath those missiles
with fathers who knew or didn’t know
where their fathers went or what they did,

many who grew up under the weapons
they might understand those who are afraid.

grass didn’t say who should bomb whom.

he asked for observation of weapons
and nuclear reactors at the same time.

what are poems for? what is easter for?
what should have been done in 2012?

MW April 2015

ON THE LINE. ON POETRY.

四月 7, 2015

Kloster - Sprachen und Buecher

试论诗论

Martin Winter – 維馬丁,2015年 三、四月

艺术表达本来不能表达的事。艺术表达的比本来表达的多。表达得细,经常表达得可怕,因为表达一般被忽略或掩饰的东西。很可能表达得让你笑,像佛洛伊德所研究的笑话。艺术做得是陌生化,将一般不觉得新奇的事变成让你不能不很惊讶。

写诗、做文学等等艺术活动都需要直接说出当代历史、社会要害。写诗等于观察、反映所有能够经历、感觉的生活。写诗就是交往。诗就是音乐。写诗让我 接触自己、还有很多人的内心力量。

从小读多种书。十几岁开始读多种语言、喜欢读诗。学中文喜欢注意细节,比如宣传文章从什么角度来写得。现在我读书、写作、翻译,偶尔教书、朗诵等等。翻译跟自己写作毕竟分不开。翻译的不只是文学。

写诗需要什么?有很多跟其他写作、翻译一样。需要注意语言。注意角度。找自己的声音。

我最经常注意的中文诗歌目前就是伊沙编辑的《新世纪诗典》。已经有不少《新世纪诗典》译成英语、德语。
自己写诗有的跟伊沙相似。看中国诗歌当然有时候我们不同意。我翻译郑小琼,她有时候跟伊沙、春树互相过不去。这也是很自然的。有一次一位诗人硬要笑我的文章,死也不严肃。因为语言好玩,毕竟是外国人写的。怎么做诗人?怎么作人?怎么运用或避免做作?怎么对待周作人、周树人等等兄弟?怎么做兄弟姐妹?写诗就是直接点到要害。很多人发现就很惊讶,包括文学教授,有时连包括诗人。

下面第二首诗在《新诗典》发表了以后,有一位诗人朋友说:
愚人节读本诗,很有意思,尤其对不在现场的中国人来说,消毒的机场等中国来的飞机,年青中国女人与德语“爸爸”,有隐喻、意象、错觉、幻境、臆测和假象,大概这就是西方人的中国视觉印象,或中国与世界的关系.
我回答机场觉得消毒跟哪里来的飞机没关系,只是跟标牌的人情味对比。”PAPA“ 手写的有点笨拙,更神秘可亲。诗人朋友又回答说,好容易联系到政治,还是我们心理虚弱。

ICH IN CHINA

LICHTUNGEN 141 奥地利格拉茨《林中空地》文學雜志

二月 12, 2015

MALALAMartin Winter
EINLEITUNG ZUM CHINESISCH-DOSSIER

Am liebsten würde ich ein ganzes Heft gestalten. Das Cover. Malala gewinnt den Friedensnobelpreis. Apple Daily in Hongkong. Malalas Kopf, rundherum alles Chinesisch.
“Ich möchte weder Rache an den Taliban, noch an irgendeiner anderen Organisation. Ich möchte meine Stimme nur dafür erheben, dass jedes Kind ein Recht auf Unterricht hat. Mein Traum ist, dass alle Kinder, auch die Söhne und Töchter der Terroristen und Radikalen, in die Schule gehen können und Bildung bekommen. Ein Kind, ein Lehrer, ein Buch, ein Stift – kann die Welt verändern.” Hat sie das wirklich gesagt? Ich habe mir ihre Rede angeschaut, auf Youtube. Englisch, Urdu, Pashto. Auf der Bühne mit ihrer Familie. Ihr Bruder, ihre Eltern. Der Bruder wird neidisch sein. Sie bemüht sich sehr um Harmonie, ist wirklich froh, dass auch jemand aus Indien gewonnen hat, der für Kinderrechte einsteht.

Dieses Cover. Nur das Bild. Foto: Apple Daily. Das ist auch schon ein Hinweis auf die Proteste in Hongkong von August bis Dezember 2014. In den USA gab es auch Proteste, für Bürgerrechte, in der Nachfolge von Martin Luther King. Und in Österreich meldet wenigstens das Gratisblatt “Österreich” wieder einmal, dass Strache als Neo-Nazi im Gefängnis war. Strache heißt Furcht und Schrecken. Graz heißt Stadt. Eine wichtige Stadt für die Literatur. Eine gar nicht so heimliche Hauptstadt, zu manchen Zeiten. Für den Schrecken. Für die Literatur, etwas später. Yi Sha 伊沙, der am 17. März in Graz seine Texte vorstellt, die in manchem an Ernst Jandl erinnern, kommt aus Xi’an 西安. Hauptstadt schon vor über 2000 Jahren. Terrakottakrieger. Tang-Gedichte. Von daher kommt Gustav Mahlers Lied von der Erde.

Eine wilde Mischung. Sich der Gewalt stellen. Respekt geben, zeigen, und damit auch fordern. Haben sie das gemeinsam? Yang Lian 楊煉, ein großer Dichter, aktiv und engagiert seit den 1970er Jahren. Liu Zhenyun 刘震云, bis vor zwei Jahren vielleicht bekannter als Mo Yan, auf jeden Fall unterhaltsamer. Richard Claydermann und die Trommeln in den Bergen. Klingt vielleicht eskapistisch. Aber Liu Zhenyun geht es um Aufarbeitung, und um Respekt für die kleinen Leute. Er kommt aus einem armen Dorf und ging zur Armee, um schreiben zu können – wie auch Mo Yan 莫言 und manche andere.

Respekt zeigen, und damit einfordern. Zheng Xiaoqiong 郑小琼 tritt auch am 17. März in Graz auf. Ihre Texte kommen aus den Fabriken in Dongguan. Das ist im Perlflussdelta, nicht weit von Kanton 広州, Hongkong 香港 und Shenzhen 深圳. Xu Lizhi 许立志 sprang in Shenzhen in seinen Tod. Bei Foxconn 富士康, wo sich schon viele Arbeiter und Arbeiterinnen umgebracht haben. Foxconn fertigt Computer und Telefone für Apple. Xu Lizhi war ein sehr begabter Dichter. Bei Zheng Xiaoqiong kommen viele Kolleginnen vor, die nicht mehr am Leben sind. Oft wegen Unfällen. Viele sind auch verschwunden.

Respekt zeigen, und Hoffnung geben. Wie Malala. Viele Frauen sind in diesem Dossier, verglichen mit anderen Kunstsammlungen, nicht nur chinesischen. Fünf Frauen, von elf Autorinnen. Zwei mit Prosatexten. Zheng Xiaoqiong hat sehr gute Reportagen geschrieben, leider habe ich bis zum Redaktionsschluss noch keine fertig übersetzt. Aber von Zheng Xiaoqiong kommt bald ein Buch in Österreich heraus, mit Reportagen und Gedichten. Bei FabrikTransit. Und in Wien gibt es am 20 März am Ostasieninstitut der Universität Wien einen Workshop mit Zheng Xiaoqiong, auf der Grundlage von einer Reportage und anderen Texten. Und eine Lesung gibt es, veranstaltet vom Institut für Sprachkunst der Universität für Angewandte Kunst.

Hao Jingfangs 郝景芳 Science-Fiction-Geschichte ist der längste Text in diesem Dossier. Widerstand. Wie ist Widerstand möglich, wenn aller Widerstand gegen den Staat längst gebrochen wurde?
Kaufen Sie das Heft, lesen Sie, wie es geht. Oder lesen Sie von Ma Lans 马兰 ”Doppeluterus“, und unerklärlichen Spuren im Schnee. Von Liu Xias 刘霞 Charlotte Salomon. Soll noch einer sagen, chinesische Literatur sei nur über China. Alle Beiträge reden über Respekt, und über Rechte. Sehr allgemein.

681832015

2 FIGURES (literature & politics)

一月 29, 2015

2 FIGURES
(literature & politics)

HANDKE

anyone who is for
masters of war
what should u do with them?
I’d rather not
give him a prize.

MW 2015/1

 

KUBIN

anyone who is for
the chinese government
against ai weiwei
anyone who pretends
no-one gets disappeared
there is justice in china
what should u do with them?
I’d start with naming one.

MW 2015/1

GODDAMN LU-PRIZE 《烦人的鲁奖》

十月 20, 2014

CAM00363

Yi Sha
GODDAMN LU-PRIZE

the night they announced
the lu xun literature prize
my mobile phone rang
it was the ningxia muslim poet
shan yongzhen. he said:
“only if you are never considered
for the biggest official prize,
you can become
a great poet in china.
tonight my first candidate
would have been chang yao
(who died in 2000)
the second one I thought of
was you, brother yi!”
hearing these words
brother yi stammered
didn’t know what to say
would have liked to hang up
brother shan said:
“so you don’t want to
discuss this topic
in any way?”
I said:
“yes, yes ….”
he didn’t know
what I was doing
I didn’t want to discuss any topic
I was watching a porn flick
on my computer
there was this great
piece of ass from thailand
in front of my eyes

August 2014
Tr. Oct. 2014

CAM00360(2)

伊沙
《烦人的鲁奖》

鲁迅文学奖
揭晓当夜
我的手机响了
是宁夏回族诗人
单永珍——他说:
“在中国
永不染指鲁奖的
才会成为
伟大的诗人
今晚我头一个
想到的是昌耀
第二个想到了
老哥你……”
面对此说
本老哥支支吾吾
不像往常那般
口若悬河
几欲挂断电话
对方说:
“你是不是
连这个话题
都不想谈?”
我说:
“是的,是的……”
对方不知道
此时此刻
我什么都不想谈
因我正在看A片
一个泰国妞
正在我面前的电脑上
晒屁股

CAM00361(2)

SOCCER WRITERS’ ASSOCIATION – 伊沙 Yi Sha

六月 16, 2014

yi sha fussball memoiren

Yi Sha
MEMOIR

on august 23rd 1931
sholohov and pasternak
sat down together for breakfast
at moscow airport
before bording a plane bound for kiev
to watch the soviet soccer team
they were invited
70 years ago in the soviet union
the official writer’s association chairman
and a dubious poet
the only time they went out together
it was all in the name of soccer
70 years later in china
one week ago
I had the same experience

2001
Tr. MW, June 2014

Yi Sha
MEMOIREN

am 23. august 1931
saßen scholochow und pasternak
am moskauer flughafen
im kaffeehaus zusammen beim frühstück
dann stiegen sie in ein flugzeug nach kiew
dort spielte das sowjetische team
sie waren beide eingeladen
vor 70 jahren in der sowjetunion
der präsident des autorenverbandes und ein dichter der grauzone
auf dieser einen gemeinsamen reise
und nur für den fußball
siebzig jahre später in china
vor einer woche
hatte ich die gleiche erfahrung

2001
Übersetzt von MW im April 2014

AVENUE OF ETERNAL PEACE – 春樹 Chun Sue

六月 3, 2014

chun sue questionsChun Sue
QUESTIONS BEFORE GOING TO SLEEP

do you think you are an intellectual?

du you think you are an existentialist?
do you think you like to eat zha jiang mian?
do you think you are collecting antiques?

do you think you are following fashion?
do you think you have improved since you started?
do you think you have fulfilled your ideals?
do you think you’re a patriot?

do you think you love the truth?
do you think you dare to say it?
do you think you don’t fear retribution?
do you think you’re a good writer?

do you think you’re a poet?
do you think you’re a good mother?
do you think you’re a good father?
do you think you have loved?
do you think you are moral?
do you think microblogging makes China improve?

question mark mark mark
do you think they are prophets?
do you think you’re a groupie?

do you think there are things you don’t talk about?
do you think there are people you cannot offend?
do you think this novel is your autobiography?
do you think you have talent?

do you think your stuff is going to last?
do you think you have secrets?
do you think you have a big heart?

do you think you are fair to everyone?
do you think you’re responsible?
do you think you play by the rules?
do you think you have nothing to be ashamed of?

do you think you are self-important?
do you think you want revenge?
do you think you are scared of dying?
do you think you make people like you?
do you think you make people hate you?
do you think you have a future?
do you think you are falling behind?
do you think you are lonely?
do you think you are writing a poem?

this girl makes you crazy
let her go on babbling
asking herself

Tr. MW, June 2014

Chun Sue TraumChun Sue
DREAMING OF LIVING INSIDE A DREAM

Tr. MW, June 2014

Published in EPIPHANY magazine, fall 2014. Go on, look for this great Chinese Dream! I spent October 2014 at Vermont Studio Center with Yi Sha, editor of the daily New Century Poetry series 新世纪诗典. Chun Sue is one of the most well-known figures within this huge independent circle of poets.

Chun Sue Avenue of Eternal PeaceChun Sue
MORNING, AVENUE OF ETERNAL PEACE

Little Brother says: dad, Avenue of Eternal Peace
take a good look
This is the road you walked for over 20 years
I am sitting with Papa and Little Brother
I am almost crying
Finally I know
why I like the Avenue of Eternal Peace
Slowly the car passes the Military Museum
and the red walls of Zhongnanhai
and Xinhua Gate
Papa is small now he fits in an ash box
sitting between us
doesn’t take up much space
We pass the Gate of Heavenly Peace
and I see him
He stands on the square
watching us while we’re passing

Why was it so hard to write about you
You’re the son of a peasant
I was born in a village
I am also the child of a peasant
I put on army songs for you all night
Crying my heart out —
I like all that too.

2012-03-03
Tr. MW, May 2014

KLAVIERSPIELERINNEN – 沈浩波

五月 7, 2014

Shen Haobo Klavierspielerin

Shen Haobo

IN JEDEM GEBÄUDE GIBT ES EINE KLAVIERSPIELERIN

in jedem gebäude

gibt es eine

klavierspielerin

ich habe nie

auch nur eine von ihnen gesehen

die klavierspielerinnen

kommen nie

in die sonne

bis viele jahre später

eines tages

die melodie plötzlich aufhört

dann erst bemerk ich

das eingestürzte gebäude

ich grab durch die trümmer

und seh einen finger

einen durchsichtigen finger

damit hab ich gerechnet

ich umarme meine liebe

und zieh sie hinaus

ich küsse ihr weißes haar

und ihr faltiges gesicht

2009-01-31

Übersetzt von MW im Mai 2014

Shen Haobo

IN EVERY BUILDING THERE IS A GIRL WHO PLAYS THE PIANO

in every building

there is a girl

who plays the piano

I’ve never seen

any one of these girls

they play their piano

and they never come

out into the sun

until many years later

one day

a piano tune suddenly stops

and I realize

the building has fallen

I am hauling the rubble

there is a finger

a translucent finger

just like I imagined

I am holding my love

dragging her out

I kiss her white hair

and her wrinkled face

2009-01-31

Tr. MW, May 2014

SPOTTED DOG – Che Qianzi

四月 23, 2014

(This video is a performance of a different poem from the one below. Please click for English translation of the video.)

 

Che Qianzi

SPOTTED DOG

 

all those heads, barking

midnight under the tables outside

a spotted dog, dozing

at midnight

wantonly he let me take off his spots

so like a naked mademoiselle

stretching four unadorned legs to the heavens

 

2004

Tr. MW, April 2014

 

 

车前子

斑点狗

 

那些头脑,狂吠

午夜露天酒桌下

瞌睡的一条斑点狗

在午夜

让我肆无忌惮地擦去斑点

它多像小姐脱光

素面朝天的四条腿

 

2004

从新世纪诗典(第一季),伊沙编选

 

Che Qianzi

GESCHECKTER HUND

 

diese köpfe, kläffend

mitternacht, unter den tischen im freien

döste ein gescheckter hund

um mitternacht

ließ er mich hemmungslos seine punkte entfernen

eine nackte mademoiselle

streckte vier blanke beine gen himmel

 

2004

Übersetzt von MW im April 2014

Bild

 

LIU XIA

一月 11, 2014

Link to video: Nobel peace prize winner Liu Xiaobo’s wife reads poem from house arrest – videoLiu Xia Article

法蘭克福匯報FAZ劉霞文

A migrant worker and his poetry

十二月 24, 2013

Strittmatter Guo Jinniu

GLASTÜR, ICH UND DU: Zwei Generationen 玻璃门、你和我:两代诗人各一首

十二月 13, 2013

glastuer

Tang Tu

GLASTÜR

 

ich schrieb von einem

kristallglas

das sich erhob

 

als eine tür

aus dem wohnzimmer

auf den balkon

 

wie die sonne

wollte sie durch

die fliege knallte

schallend aufs glas

 

ihr betäubtes

zuckendes

brummen

 

noch einmal kam es

ich wusste nicht

ob das knallen

 

dieselbe fliege

war oder nicht

 

der maeterlinck

der 1911 den nobelpreis

für literatur erhielt

dieser belgier

 

hat das verhalten

von insekten

gründlich erforscht

 

5. 8. 2013

 

Übersetzt von MW im Dezember 2013

 

Han Jingyuan

ICH UND DU

 

wir nicken uns zu

du mit deinem kopf

und ich mit meinem

dann richten wir beide köpfe gerade

 

wir lächeln uns zu

du lächelst dein lächeln

ich lächle meins

dann ziehen wir die schmerzenden muskeln ein

 

wir schütteln einander die hände

du schüttelst deine hand

ich schüttle meine

dann lassen wir los

 

wir umarmen einander und machen liebe

du machst deine

ich mache meine

wir haben einander nicht kennengelernt

 

so ist das leben

die nacht ist still wie überm bett grellweisses licht

die nacht ist still wie vom schnupfen der schweiss

die nacht ist still ohne signal

im TV

die scheibe brennt mit silberstreifen

 

Übersetzt von Martin Winter im Dezember 2013

 

韩敬源

《你和我》

我们互相点头

你点你的头

我点我的头

然后各自矫正弯曲的头

我们互相微笑

你笑你的笑

我笑我的笑

然后各自收敛被拉伤的肌肉

我们互相握手

你握你的手

我握我的手

然后彼此抽开

我们搂着对方作爱

你作你的

我作我的

我们彼此不认识

生活老这样

夜晚静得像床头白炽的光

夜晚静得如感冒时渗出的汗

夜晚静得如走失了信号

的电视机

屏幕上剧烈燃烧的银色光斑

Ai Weiwei in Canada, … almost

八月 12, 2013

The Globe and Mail article quoted by Paul Manfredi is well informed and sympathetic. But it doesn’t spell out any concrete reasons for Ai Weiwei’s singular status. Ai Weiwei’s status, even after his imprisonment, is that of a “princeling”. It seems to be easier to get rid of Bo Xilai. Bo’s father was one of the “eight immortals” of the Communist Party. Ai Weiwei’s father Ai Qing was a persecuted Communist writer, persecuted under Communist rule since the 1940s. Persecuted before, that’s where he got his name. Most of his colleagues denounced each other. Among famous writers, few seem to have been as obstinate as Ai Qing. He was banished to an army town in Xinjiang, a huge city today. There he cleaned toilets, together with little Weiwei. But after Deng Xiaoping came to power in 1978, Ai Qing became an icon. Unlike Bo Xilai and his henchmen, Ai Weiwei did not build labor camps and organ-harvested Falungong-followers. Before he was arrested, Global Times had published many sympathetic articles about his civil rights activism. And even after his abduction and imprisonment at an unknown location, Ai Weiwei gets to keep his comparatively huge house and grounds and most of his fortune. If he was persecuted too much, the main reason for Ai Weiwei’s status would come out too clearly: It would be awkward to discuss his father’s fate in detail. Cultural policy since the 1940s is no secret to anybody in and around the arts in China. But still. Maybe it would come out too clearly how control over art and literature and everything connected to culture was deemed even more important than in other Socialist countries. How idealism had been betrayed again and again, most effectively with broad domestic and international participation in economic growth after 1989. Ai Weiwei is very different from his father Ai Qing in many aspects, as well from his older brother Ai Xuan, who is also a well-known artist in China. But like his father, Ai Weiwei remains an icon of idealism. It would be awkward and politically dangerous to challenge such icons too much and thus revive ideals in a big way.

The Globe and Mail article quoted by Paul Manfredi gives convincing evidence of Ai Weiwei’s civil disobedience and civil rights engagement. Another good recent piece on Ai Weiwei, his imprisonment in 2011 and comparable phenomena elsewhere around the world is a TED-talk by An Xiao Mina.

Ai Weiwei wrote an indignant indictment of the US behaviour in the Snowden case in The Guardian back in June. That was before the plane carrying Bolivia’s president was refused airspace by France, Spain and Italy on US orders on July 3.

China Avantgarde

676x380

I have just discovered, courtesy of the Real Clear Arts, that Ai Weiwei will take questions from attendees of his Ontario exhibition “According to What?” in online chat format.

This exhibition began in 2009 in Mori, Japan. It was reprised this year, starting at the Hirshhorn museum, moving to Indianapolis, stopping now in Ontario en route to Miami and finally Brooklyn.

One wonders how the curators plan to approach this chat experience. Will they be moderating, perhaps even reviewing questions in advance? If so, will they be editing out overtly political content? If not, could this turn into a no-holds-barred discussion of Chinese authoritarianism, political corruption, and all other manner of potentially seditious talk? Obviously, Ai may choose not to answer if he feels line of questioning veering into unsafe territory. But from what we’ve seen of Ai already, self preservation is not the highest…

View original post 202 more words

THE EXISTENCE OF SPACE

六月 28, 2013

taikonauts_return Yi Sha Vater FAZ 13-06-27

Frankfurter Allgemeine Zeitung 2013-06-27 page 25

Yi Sha
THANK YOU, FATHER

under mao zedong
we had starry nights
we had vast starry skies
people lifting their heads
one summer night
it was father and i
father told me
about the universe
about a cosmonaut
yuri gagarin
flying in space
my mouth stood open
like a barn door
thank you, father
my heavenly father
in a dark corner
of north korea
measuring 9,600,000
square kilometers
among hundreds of millions
malnourished blockheads
i was the smartest
did not see the future
but i saw space

2003

Tr. MW, 2013

Shenzhou 10 news videos (BBC)

Taikonauts Dragonboat Tiangong shenzou-capsule

《感謝父親》
伊沙

毛澤東的時代
也有浩瀚的星空
也有星空下
翹首仰望的人民
那個夏夜
是父親和我
他告訴我
太空的存在
和一個叫做
加加林的
天外飛人
叫我嘴巴
張得老大
感謝父親
你就是我的上帝
讓我在九百六十萬
平方公里的北朝鮮
黑暗王國的一角
成為數億
營養不良的傻兒中
最聰明的一個
看不見未來
但看見了太空

2003

Tiangong lecture

Wang Yaping 王亞平 teaching from space

Concentrating on private impressions and conversations in published poems is self-evident for many, maybe for most people who read, write, translate, edit such stuff. But China, and also Taiwan to a certain extent, have put into question art, books, beauty, skills, traditions, language- anything had to serve the Party, and what the Party couldn’t use could not exist. Capitalism does it too, everything that doesn’t pay, that we can’t finance, cannot remain. They get along splendidly, finance and centralized state, Mao and the Mammon. That’s how the modern world was developed.

腳下是隱形的塵土和古蟒的灰燼。/父親拿著鐵棒,問我:“你怕不怕?”/哦,我抬起頭來,獵戶星座在中天閃耀,/空中傳來千秋的微響——/那無聲垂落的,是流星,還是一道道藍色的鞭影?

“Beneath our feet, we couldn’t see through dust and ash, rank growth of old. Father holding his iron staff, asking me: ‘Are you afraid?’ Oh, I raised my head, Orion sparkling right in the middle, space reverberations sounding from eons– falling silently, are those meteors, one blue whiplash after the other?” 流星記事, Meteor Account, or Meteor Accounts, by Zhu Fengming 祝凤鸣 (Oct. 1996). Nick Kaldis just showed me his translation of Meteor Account, from a dozen Chinese poems in the magazine Dirty Goat (#24 February 2011).The quote above is in my own translation, I couldn’t resist. Rank growth of old – 古蟒 or 古莽? Nick Kaldis thinks there might be a misprint. (“古蟒 would refer to a snake known from fossil remains, the Paleopython, while 古莽 refers to rank grass.”). 祝凤鸣,男,1964年生于安徽宿松县… Zhu Fengming (born 1964) is a geologist from Anhui.

 《流星記事》
祝鳳鳴

有一次,丘崗夜色正濃,二月還未清醒,

我踏著回家的羊腸小徑,在山坡

白花花的梨樹下,碰見鄰村

淒涼的赤腳醫生,面孔平和。

“剛從李灣回來,那個孩子怕是不行了。”

他說,藥箱在右肩閃著棗紅的微光。

路邊的灌叢越來越黑,細沙嗖嗖——

我們站在風中,談起宅基,柳樹,輪轉的風水。

陰陽和天體在交割,無盡的秘密,使人聲變冷,

“……生死由命。”這時,藍光一閃

話語聲中,一群流星靜靜地布滿天空﹔

還有一次,我和父親走在冬月下

曠野的一切彷彿在錫箔中顫抖。

腳下是隱形的塵土和古蟒的灰燼。

父親拿著鐵棒,問我:“你怕不怕?”

哦,我抬起頭來,獵戶星座在中天閃耀,

空中傳來千秋的微響——

那無聲垂落的,是流星,還是一道道藍色的鞭影?

The existence of space. Of God(s). Yin-yang, fengshui. Existence of wonder. Or the other way, wonder of existence. Outside the Party. Very much among the common people on the other hand, in the countryside, barefoot doctors, and so on, in the rest of Zhu Fengming’s poem.
Yes, 蟒 (mang3) may be a misprint for the homophonous character 莽 (mang3). 古莽之國, the ancient uncultured state. The Book of Liezi. 古莽之國,出《列子周穆王第三》,屬迺古三國。三國者何也?古莽之國、中央之國、阜落之國也。蓋處天地之外、神話之中,事未可徵,史未可考。古莽之地,陰陽不交,寒暑不辨;民不衣不食而多眠,五旬一覺,而以夢為真,真為妄也。(Wikipedia)

Space, spaceflight. A great achievement. “Sister killed her baby ’cause she couldn’t afford to feed it we are sending people to the moon.” Prince, Sign o’ the Times. Really, I think they should have written more about this in the international papers. Yes, it worked, no-one died, Wang Yaping 王亞平 teaching from space, tens of millions watching and listening to her. A great leap, a giant leap, really. Responsibility, great responsibility. How many things could go wrong, in space, for the nation. Planning everything, the very opposite of wu wei. That’s how the famine came. No space for real wondering. Everything organized, all propaganda, all of the nation. They are planning, they have begun to move hundreds of millions more to the cities. Destroying small farms, villages, settlements, temples. Like they destroyed the ancient cities.

They should write about spaceflight, every time. I have to get back to my daughter. Show her the videos from Shenzhou 10.

Yi Sha’s poem is from 2003, from the beginning of these missions 10 years ago.

An old song about moon flights (via Nick Kaldis)

ABOUT

六月 7, 2013

li-bifeng-china-dissident-liao-yiwu
What is Chinese literature about? Exile, inner exile. Inside China, banished. Happened to many poets through the ages, including the most famous. Or voluntary exile, to be somewhere else, not among the people. 别有天地非人間。Teaching Latin in a high school in Vienna, a friend of our uses Du Fu 杜甫. Du Fu, Brecht, Theodor Kramer, Guido Zernatto. She teaches Latin, so exile comes from Ovid. Epistulaes ex ponto. From Casablanca. No, it’s that port city on the Black Sea, in Romania. Constantza. Like Tristan Tzara. Z or S? Whatever. Du Fu. They use an old edition from the 1930s. Brought into verse by H. Not just translated, not directly. That’s how they used to do it. Gustav Mahler’s 馬勒 Song of the Earth 大地之歌 came from Li Bai 李白 (Li Tai-po), Wang Wei 王維 and Meng Haoran 孟浩然, through many versions in different languages in between. Mahler wrote the final versions to fit his music. Two poems by different poets merged into one, at the end. No, that Du Fu edition is very accurate, from the feel of it. Two great volumes, large and thick. Not rhymed. But rather formal. Not luosuo 羅嗦. No superfluos words. Hardly. Again, from the feel of it, I haven’t checked, just listened and read. Listened, our friends read well. Very down-to-earth, daily details. Ants, chicken. Fencing in chicken, thinking about it. A reference to the times, the circumstances. Suddenly becoming political, as our friend says. Towards the end. A moral at the end, maybe more in this German version than in Chinese. Circumstances, Du Fu’s circumstances. He always complains, says our friend. Very down-to-earth, very daily life. Strife, poverty, famine. Starving on the streets. We have a master’s thesis on Tang Poetry social critique in Vienna, from 1990. Anna Maria Eigner. Bai Juyi 白居易, many different poets. Li Shangyin 李商隐 wrote a lot about poverty in the countryside. Not in is most famous poems, unfortunately.

Daddy, who is this?
He is called Li Bifeng. I just translated a poem by him. He is in prison. They are all in prison. This one is a writer, too.
Why is he in prison?
He took part in protests, demonstrations. Demonstration, you remember what that is? Yes, we were in one together this year.
Where is this?
This is in China.
What else did he do?
He organized strikes. Do you know what strikes are?
No.
Strikes are when workers in a factory say they won’t work, all of them. To get better pay. To get insurance, you know what that is? When you are sick, to get money from insurance so you can get a doctor, go to hospital.

Daddy, are there any places with no government?
Good question. There are some places where women are in charge. They own the land, they run things. Used to. Sometimes still do. Places in China.
Well, they should. Women are important. Women bear children.
I don’t know if there are any places with no government. There are some places with not many people at all. Deserts, mountains.

A Yu (born 1994)
DOCUMENTARY: HE JUMPED FROM THE TOP OF THE BUILDING

he jumped from the top of the building
peng!
he was dead
it wasn’t like he had seen it
on tv
on tv
the contractor who owed migrant workers
when he heard someone would jump
right away he came out with his pay
but this time
no-one held him back
that’s how he died
peng!

2012
Tr. MW, 2013
A Yu Doku

Worldwide Reading

六月 1, 2013

WWR Li Bifeng Plakat
Li Bifeng: A NOTE FROM PRISON

In the summer of 1992, in a vegetable garden on the roof of a shed housing inmates of the Sichuan Province Prison # 1, I spent three days alone with the old prisoner Zhang Fafu, who had been transferred to this prison at Nanchong from forced labor at a coal mine. Our task was to build a wall out of plastic parts and wire at the side where the roof garden faced the bathing pool, to prevent other prisoners from secretly watching the women taking their baths down below. I got this assignment at that time because my sentence was short, I was working at the kiosk of my unit and wasn’t considered a common criminal. So the cadre chose that old prisoner from the coal mine and me.

From the second day on he told me everything about himself. From his talking, I could feel the jolts in his soul. He had attended high school before Liberation in 1949, he loved reading and understood a lot of things; he even liked poetry. He asked me so often until I had no choice but to give him one of the poems I had written. A few days later, I was transferred. After I arrived at Prison # 3, someone from # 1 came to go over my accounts. That’s when I heard something happened to Zhang Fafu. He had taken the plastic parts from our wall, tied them to is arms and jumped from a building. He wasn’t dead, but he became a vegetable.

I don’t know if he read my poem. Later, when I was released from Prison # 3 upon completion of my sentence, I stuffed the original manuscript of this poem into a bamboo flute I had got from Liao Yiwu, and blocked the hole at the bottom with soap. This way I got to take the poem with me. All these years, whenever I think of Zhang Fafu, I think of our plastic wall. It’s not the same as the wall in my poem, but now I cannot separate the poem from Zhang Fafu.

Tr. MW, 2013

Translator’s note: Li Bifeng’s NOTE and the following poem (http://wp.me/PczcX-zk) are part of his novel Wings In The Sky (天空中的翅膀). One chapter is available on the LIBIFENG2012 WordPress site. The main characters are an old prisoner, a bird and a woman who lives in a shed not far from the prison with her daughter. The plot is rather interesting.

Reading for Li Bifeng

五月 28, 2013

Faces

Lesung für Li Bifeng

What is Chinese literature about? What is art about, in any medium, time or place? The reading for the imprisoned underground poet and activist Li Bifeng on June 3rd, 2013 in Vienna will include works by a diverse range of authors. Li Bifeng has become known through his association with Liao Yiwu, the exiled poet and documentary writer, now in Berlin. On his own, judging from his available work and his literary impact in China, even in dissident circles, Li Bifeng would not have become famous. This doesn’t mean he is not worth reading. But he has had little opportunity to find an audience, and not everything that is available online now is as compelling as Liao Yiwu’s signature poem Massacre, or any other famous piece of writing in Chinese. Actually, none of the works by Li Bifeng I have read up to now sound very dissident at all. They are “just art”, so to speak. He could have published them, as a different person.

I am currently translating a long poem by Li Bifeng into English, and have translated several small texts into German. Two of these will appear in the literary journal Wienzeile this summer in bilingual fashion. The artist Sara Bernal is supporting the reading on June 3rd with a display of paintings.

What other texts will be read at Vienna University on June 3rd?

On May 3rd, 2013, we had a very interesting workshop and discussion at Vienna University’s East Asia Institute, on literature in Korea, China and Japan. It was initiated by Lena Springer, who invited Zhang Chengjue 張成覺, expert on the year 1957 and the so-called Anti-Rightists-Campaign in China. Zhang and Springer were inspired by Lu Xun expert Qian Liqun from Peking University, who called for research on the late 1950s in China across disciplines. The workshop in Vienna was about censorship, political changes, publishing conditions and (self-)perceptions of artistic quality. Professor Schirmer told us about a debate in South Korea 45 years ago, in 1968. A big-wig critic who became culture minister later published an essay, lamenting the lame state of Korean literature. A poet responded and said he had poems that could not be published, and his friends also had literature that could not be published because it would be considered dangerous, unstable, unsettling. 不穩。The critic said he didn’t understand. Surely good art would be independent of politics and would only need imagination and talent? Not so, the poet replied. Art is potentially unsettling, if it is powerful art at all. The critic didn’t get it again. Sounded very much like Prof. Kubin and his friends in China. Also like Taiwan 30 years ago, of course.

維也納大學遠東語言文化系在今年五月三日剛進行了文學討論會,主要談不同政權、時代的言論情況。張成覺講1957年中國『反右』,朝鮮半島語言文化系的人談了在二十幾年前在韓國的文學討論,有以後當文化部長的評論家寫文章大講韓語文學敗退,非常像顧彬對當代中國文學的廢話。有一位作家回答那以後當部長的評論家說他的抽屜裡有不能刊登的詩,而他朋友有不能出版的文章。那時候韓國聽起來像國民黨獨裁的台灣,書店有希特勒的書,但如果你家裡有馬克思你會下獄。不過那位作家不用這樣說,只需說他的詩不能刊登,因為好的文學從來都是『不穩』的 。

日本語文化系有人談當代日本語文學的討論,也有老頭藐視他後代的文學和比較年輕的作家談當地政治、社會問題跟文學的關聯。『年輕人』是沖縄県來的目取真俊, Medoruma, Shun, 1960.10.6 -。老頭是大江 健三郎。他支持研究大量沖繩島嶼人在二戰結束時被迫自殺的歷史真相。所以他一點都不像韓國的評論家支持維穩。只是藐視他後代的文學。日本語文化系還有其他人講日本三十年代初檢查雜誌和『伏字』的現象。

中文系魏格林教授介紹莫言的短篇《糧食》,以後進入了長篇《丰乳肥臀》。《糧食》和莫言自傳性的文章都證明他並不像美國林佩瑞教授所指的無視大躍進飢荒,反而承認自己像其他貧窮的農村孩子因為飢餓失去了自尊。除了進入軍隊喊主席萬歲沒有很多選擇。現在說不出來什麼反對制度的話難怪,制度給他寫作的機會已經那麼難得的。魏格林教授成功地證明談論莫言應該仔細讀他的小說。最近談論莫言這樣仔細的文章很少,希望快能出版。

中文系並且提供關於朦朧詩人北島、舒婷、顧城的感人講話,還有講《天雲山傳奇》這部電影的技術和觀眾成功的現象。 總共說非常值得組織遠東系一塊談文學,大榭張成覺,Lena Springer 和所有參加的專家!

最近五月底有兩種國際消息讓我想起文學和權利的聯繫。德國工會Verdi呼籲亞馬遜(Amazon.com)員工舉行罷工,藉此要求全球零售業龍頭提高基本薪資並改善夜班待遇。五月14日第一次罷工,五月27日又報告罷工通知。李必豐第一次被關起來因為六四。第二次因為在四川小城市組織罷工,阻擋交通。現在被關第三次,得了12年有期徒刑,好像要代替廖亦武。奧地利筆會支持德國亞馬遜員工的罷工:http://penclub.at/blog/2013/05/16/2139/

第二消息是絕食。美國关塔那摩湾拘押中心絕食消息讓我想起施明德《囚室之春》。台灣1947年二二八死了幾萬人,1991年才承認。小布什時代美國長得很醜陋的面孔,像獨裁者同樣一直公佈世界上只有一種歷史觀。廿世紀美國長期支持各種獨裁、虐待政權。無論什麼地方,社會多元化、實現底層、少數權利、都需要長期鬥爭。

Besides works by Li Bifeng, the reading for Li Bifeng in Vienna will include texts by Li Khin-huann (Taiwan), Shih Ming-te and Shih Ming-cheng (Taiwan), famous fiction writer Liu Zhenyun (Henan, Beijing), the female migrant worker poet Zheng Xiaoqiong (Dongguan), famous iconoclastic poet Yi Sha (Xi’an) and last but not least Zhao Siyun, whose poem for June 5th was introduced by Michael Day on the MCLC list in 2010. Maybe also “Farewell to the 20th century” by Song Tik-lai, if we have time. Or other stuff from Taiwan and other places.

無論怎樣,諾貝爾文學獎、和平獎十二年之內三次給中國人就是很大的機會。這次給主流作家,有矛盾。有矛盾就更加討論。像顧彬在艾未未被綁架的時候站在中國政府一邊,這樣的漢學家謝天謝地畢竟很少。馬悅然絕對不會這樣。

Liao Yiwu, Meng Huang and Maria Rosen: A performance in Stockholm

Mo Yan and Liao Yiwu

Stephane Hessel and the state of the air

Li Bifeng

五月 28, 2013
Painting by Sara Bernal (mixed media, 2013)

Painting by Sara Bernal (mixed media, 2013)

WORLDWIDE READING FOR LI BIFENG ON JUNE 4th, 2013
– in Cologne on June 5th, in Vienna on June 3rd (http://penclub.at/events/worldwide-reading-fur-li-bifeng/)

By calling for a worldwide reading on 4 June 2013 for the Chinese underground poet, Li Bifeng, the international literature festival berlin is demanding that the Chinese government release him from prison.

The poet and campaigner for democracy, Li Bifeng, wrote a report in 1998 about a courageous group of textile workers who blockaded a Chinese motorway and sent a video recording of it to foreign human rights organisations. In 1989, after he had been involved in the protest on Tiananmen Square and on the run for six months, Li Bifeng was captured and sentenced to twelve years imprisonment for ³economic crimes². In November 2012, the 48-year-old was sentenced to another 12 years, with no good reason, without evidence and despite worldwide protests. The authorities
suspect him of having helped his friend, the author Liao Yiwu and holder of the Peace Prize of the German Book Trade 2012, to escape to Germany in 2011.

In the short phases in which Li Bifeng has been able to write, he has written numerous poems, prose texts and plays as well as a novel. On the anniversary of the massacre on Tiananmen Square in Beijing, which took place on 4 June 1989, the Peter-Weiss Foundation for Art and Politics e.V. and the international literature festival berlin have initiated a
worldwide reading for Li Bifeng.
Appeal, texts by and about Li Bifeng: www.worldwide-reading.com,
http://libifeng2012.wordpress.com
Some new translations into English and German
1993libifeng

FEAR

五月 2, 2013
Painting by Sara Bernal (untitled, mixed media, 2013)

Painting by Sara Bernal (untitled, mixed media, 2013)

ANGST AND FEAR
– for Ernst Jandl

FEAR

fear. fear.
fear is. fear.
fear is a. fear.
fear is a bad. fear.
fear is a bad advisor. fear.
fear is a bad advisor, you. fear.
fear is a bad advisor, you lock. fear.
fear is a bad advisor, you lock yourself. fear.
fear is a bad advisor, you lock yourself in. fear.
fear is a bad advisor, you lock yourself in a. fear.
fear is a bad advisor, you lock yourself in a cage. fear.
fear is a bad advisor, you lock yourself in a cage and. fear.
fear is a bad advisor, you lock yourself in a cage and cannot. fear.
fear is a bad advisor, you lock yourself in a cage and cannot even. fear.
fear is a bad advisor, you lock yourself in a cage and cannot even pee. fear.
fear. fear.
fear is. fear.
fear is a. fear.
fear is a bad. fear.
fear is a bad advisor. fear.
fear is a bad advisor in. fear.
fear is a bad advisor in a. fear.
fear is a bad advisor in a tight. fear.
fear is a bad advisor in a tight dress in. fear.
fear is a bad advisor in a tight dress in a. fear.
fear is a bad advisor in a tight dress in a tight. fear.
fear is a bad advisor in a tight dress in a tight cage. fear.
fear is a bad advisor in a tight dress in a tight cage and. fear.
fear is a bad advisor in a tight dress in a tight cage and cannot. fear.
fear is a bad advisor in a tight dress in a tight cage and cannot even. fear.
fear is a bad advisor in a tight dress in a tight cage and cannot even pee. fear.

MW    April 2013

fearANGST

angst. angst.
angst ist. angst.
angst ist ein. angst.
angst ist ein schlechter. angst.
angst ist ein schlechter rat. angst.
angst ist ein schlechter ratgeber. angst.
angst ist ein schlechter ratgeber, du. angst.
angst ist ein schlechter ratgeber, du sperrst. angst.
angst ist ein schlechter ratgeber, du sperrst dich. angst.
angst ist ein schlechter ratgeber, du sperrst dich in. angst.
angst ist ein schlechter ratgeber, du sperrst dich in einen. angst.
angst ist ein schlechter ratgeber, du sperrst dich in einen engen. angst.
angst ist ein schlechter ratgeber, du sperrst dich in einen engen käfig. angst.
angst ist ein schlechter ratgeber, du sperrst dich in einen engen käfig ein. angst.
angst ist ein schlechter ratgeber, du sperrst dich in einen engen käfig ein und. angst.
angst ist ein schlechter ratgeber, du sperrst dich in einen engen käfig ein und kannst. angst.
angst ist ein schlechter ratgeber, du sperrst dich in einen engen käfig ein und kannst nicht. angst.
angst ist ein schlechter ratgeber, du sperrst dich in einen engen käfig ein und kannst nicht einmal. angst.
angst ist ein schlechter ratgeber, du sperrst dich in einen engen käfig ein und kannst nicht einmal pinkeln. angst.

MW    April 2013

angst2ANGST
angst. angst.
angst ist. angst.
angst ist eine. angst.
angst ist eine schlechte. angst.
angst ist eine schlechte ratgeberin. angst.
angst ist eine schlechte ratgeberin in. angst.
angst ist eine schlechte ratgeberin in einem. angst.
angst ist eine schlechte ratgeberin in einem engen. angst.
angst ist eine schlechte ratgeberin in einem engen kleid in. angst.
angst ist eine schlechte ratgeberin in einem engen kleid in einem. angst.
angst ist eine schlechte ratgeberin in einem engen kleid in einem engen. angst.
angst ist eine schlechte ratgeberin in einem engen kleid in einem engen käfig. angst.
angst ist eine schlechte ratgeberin in einem engen kleid in einem engen käfig und. angst.
angst ist eine schlechte ratgeberin in einem engen kleid in einem engen käfig und kann. angst.
angst ist eine schlechte ratgeberin in einem engen kleid in einem engen käfig und kann nicht. angst.
angst ist eine schlechte ratgeberin in einem engen kleid in einem engen käfig und kann nicht einmal. angst.
angst ist eine schlechte ratgeberin in einem engen kleid in einem engen käfig und kann nicht einmal pinkeln. angst.

MW    April 2013

angst1

Different versions (click here)

tomb

打油詩

五月 2, 2013

LICHTBLAU
– für die taz, Xu Pei und Harry Heine

gut und böse, deutsch und china,
wenn es doch so einfach wär.
manchmal ist es wirklich einfach.
light is china. deutsch ist schwer.

dissonanz ist gut und wichtig,
harmonie ist selten echt.
deshalb ist das allermeiste,
was kubin sagt, falsch und schlecht.

denn er sagt ja stets dasselbe,
wenn man in die zeitung schaut.
in der forschung ist es anders.
was sich in der forschung staut,

was in vielen tausend jahren
dissonant war oder schön
ist halt nicht sehr kompatibel,
sieht man in die medien.

wer ist harmoniebedürftig,
wer ist forscher, dissident,
wer ist dichter, wer ist denker,
wer ist stiller, und wer rennt,

wer ist renitent und fuchtelt,
drängt sich stets ins rampenlicht,
ob in china oder deutschland,
wer ist prächtig, wer ein wicht?

gut und böse, deutsch und china,
wenn es doch so einfach wär.
manchmal ist es wirklich einfach.
blue is china. deutsch ist schwer.

廖亦武本來不想流亡。在中國沒工夫學德語,現在也許都沒工夫。寫作、關心李必豐、當大國敵人很費心。
Die Faszination der Wirtschaft, des Exotischen, der Kunst, der Literatur, der Wanderarbeiterinnen, der Bürger- und Menschenrechte. Die Faszination China/ Lenovo als Big Blue Chip/ Ai Weiwei/ Liu Xiaobo/ Liao Yiwu. Gao Xingjian, Liu Xiaobo, Mo Yan (und Liao Yiwu). Exil und Sprache, Dokumentation und Fiktion, Sprache(n) der unteren Schichten, der Kader, der SchriftstellerInnen drinnen und draußen. Ein mediensüchtiger Professor, der die Sinologie in die Klatschspalte der Nachrichten zerrt. Ein großer Forscher, Vermittler und eifriger Übersetzer als aufdringliche, absurd-komische Fußnote. Schweden und Norwegen sind für die heutige chinesische Literatur viel, viel wichtiger als Deutschland. Als Österreicher stört mich das naturgemäß ganz und gar nicht. Obwohl Deutschland durch die Popularität von Ai Weiwei und Liao Yiwu, in letzter Zeit wegen der Präsenz von und wegen des Preises für Liao Yiwu doch auch nicht unwichtig dasteht. Österreich und die Schweiz kommen sowieso nicht vor. Die Schriftstellerin Yu Luojin 遇罗锦 hat eine Zeitlang in Wien gewohnt, die Dichterin Shu Ting 舒婷 hat in Wien meine Frau und mich miteinander bekannt gemacht. Sheng Xue 盛雪 ist in Kanada. Und Hofmannsthal liegt in Wien begraben. Idol mancher, auch eines bekannten Sinologen. Großer Dichter, vor und im ersten Weltkrieg und nachher agitatatorisch zwischen Österreich und Deutschland gespalten. Von Stefan Zweig gepriesen, der Avantgarde hasste und faschistische Marschgruppen erst einmal faszinierend diszipliniert und schneidig fand, bevor er draufkam, wofür und wogegen sie waren. Avantgarde, Futurismus, Faschismus, Formalismus, Shklovski und Trotzki, Suprematismus, Stalinismus, Surrealismus, Pop-Art, Maoismus. Trakl, Rilke, Bei Dao, Ingeborg Bachmann, Paul Celan, Ernst Jandl, Erich Fried, Mira Lobe, Christine Nöstlinger, Elfriede Gerstl, Rosa Pock, Friederike Mayröcker, Marlen Haushofer, Christine Lavant, Hilde Spiel, Elfriede Jelinek, Robert Schindel, Maja Haderlap, Esther Dischereit, Josef Winkler. Lichtungen. Lichtblau.

Sichuan earthquake (Not again!)

四月 23, 2013

earthquake-rilkeR. M. Rilke

ERNSTE STUNDE

Wer jetzt weint irgendwo in der Welt,
ohne Grund weint in der Welt,
weint über mich.

Wer jetzt lacht irgendwo in der Nacht,
ohne Grund lacht in der Nacht,
lacht mich aus.

Wer jetzt geht irgendwo in der Welt,
ohne Grund geht in der Welt,
geht zu mir.

Wer jetzt stirbt irgendwo in der Welt,
ohne Grund stirbt in der Welt:
sieht mich an.

Aus: Das Buch der Bilder

TIME TO SAY NO!

三月 8, 2013

No

Time To Say No! is an initiative inspired by Malala Yousafzai. There is a presentation in Brazil today. Yesterday there was a press conference and poetry reading in Vienna, organized by Austrian PEN. Time to Say No! is about rights. Education and dignity, which means not to be violated, are basic rights of all human beings. We heard female writers from Kenya, Sudan, Iran, India, Bulgaria, a wonderful male voice from former Yugoslavia, Austrian voices: Philo Ikonya, Ishraga Hamid, Sarita Jemanani, Boško Tomašević, Dorothea Nürnberg…. And two poems from China. The first one was “YOUR RED LIPS, A WORDLESS HOLE你空洞無聲的欲言紅唇 by Sheng Xue 盛雪, English translation by Maiping Chen and Brenda Vellino, German translation by Angelika Burgsteiner. The second poem from China was Lily’s Story 丽丽传 by Zhao Siyun 赵思云. The book Time To Say No, edited by Philo Inkonya and Helmuth Niederle, also contains poems by Ana Schoretits, Chantelle Tiong 张依蘋, Hong Ying 虹影, Reet Kudu, Wu Runsheng 吴润生  and many, many others.

Mo Yan 莫言 and Liao Yiwu 廖亦武

三月 4, 2013

Mo Yan corn

無論怎樣,諾貝爾文學獎、和平獎十二年之內三次給中國人就是很大的機會。這次給主流作家,有矛盾。有矛盾就更加討論。像顧彬在艾未未被綁架的時候站在中國政府一邊,這樣的漢學家謝天謝地畢竟很少。馬悅然絕對不會這樣。

In December 2012, after Mo Yan’s Nobel lecture, they had heated discussions in Sweden, for example between Göran Sommardal and Björn Wiman. Liao Yiwu told me about it. You can read the articles in Swedish or Chinese (萬之譯) …

I also wrote a blog post about Mo Yan and ideology in early December, after the school massacre in Connecticut.

Liao Yiwu 廖亦武 is going to visit  Sweden this month (March 2013). He wrote another open letter to Göran Malmqvist. I have copied it here, along with a recent speech he held in Hamburg. In the open letter, Liao mentions a new song by the Chinese punk group Pangu 盤古.

Recently, I have translated essays and poems by Shi Mingde (Shih Ming-te) 施明德 and his brother Shi Ming-zheng 施明正, Li Khin-huann 李勤岸, Song Tik-lai 宋澤萊, Zhan Che 詹澈 and Yi Sha 伊沙. All of it has to do with resistance.

Stephane Hessel and the state of the air. A chat with Beijing.

二月 28, 2013
Baum am Donaukanal

photo by Sara Bernal

Chat with an old friend in Beijing who works in Chinese media. Thursday, Feb. 28, 2013 7:50 am GMT

hello dear

bonjour. 早上好。

how are you ??

還可以
你好嗎?
空氣很臭嗎?

feeling nauseated, pollution is above maximum level again
855 right now

他們兩會喘氣一點也好

disgusting

+o(

you know the article i translated a few days ago to tackle the pollution? they want to forbid the barbecues !!

*^o)

like 羊肉串?

dui !!

太可笑

可悲

the state of the air is the state of the art of ruling the country. we had a guy from shanghai here at the university yesterday, there is a un conference on middle east in the city, and he is a chinese expert on jews in china and relations to middle east. very pragmatic, realist guy, sounds like some of his israeli friends. we don’t want another libya chaos, so we veto.

😐

but who are they defending in the security council? sudan was massacring their own people. China supports any regime that suppresses their own population by military means.

yeaah, so now it is too late for the international community to shine, and the ones who help in Syria are the radical islamist, Al qaida etc..

exactly.

when the war will be over, do we really want an other country ruled by Al Qaida, because china did not want chaos ?
such short term vision
lets not forget the dearest firend poutine
such a nice guy to help his economy by boosting the weapons and jets industry

yes. the chinese love to cooperate on weapons with israel and do all sorts of research. he likes to talk about such things. but nobody asked tough questions. stephane hessel died two days ago in france, wasn’t it? the old guy who survived the nazis and inspired recent civil movements. it’s not easy. arab spring was risky. doesn’t look good now, on the whole.

yes, he passed away, just learned about it a few minutes ago, i just cried watching the news

every revolution takes time, the french one lasted more than 20 years
to really settle down

the name arab spring comes from prague spring 1968. there are always risks with popular movements for democracy from the bottom up. participation, human rights, civil rights, civil society.

but the good thing in the chaos in egypt and algeria and tunisia, is that now, people know they can make a difference, and wont take bullshit and abuse like sheep

so, all those who just had personal ambitions are aware that they too can be put down by civilians if they don t act according with the will of the people.

yes. two and a half years ago it looked like mubarak and gaddafi etc. would rule forever.

it will take time, but in the end, we, the basic people all want the same: quiet, freedom, work, and education for the kids

it was more convenient for everybody to support the status quo.

for us, china, eu, diplomats….

you are right. to be left in peace by the government, to have basic rights and freedom, to have work, and education for the kids. in tibetan. in mongolian. in uighur. etc. not very difficult.

Mao_pollution

你好吗?

不怎么好

头疼 头晕

那今天好好休息。。。

空气怃然挺厉害

没有办法休息没

http://blog.sina.com.cn/s/blog_68d111990101afbr.html

https://erguotou.wordpress.com/2012/10/09/lilis-story/

i was horrified by the story of Lili

i sent it to my friends and colleagues

it’s very disgusting. the poem is from last october. it didn’t look as if she would get justice. remarkably well-written report in the newspaper when you follow the link., very detailed.

my chinese is too bad to understand the original text, but i will have some of my colleagues help me understand. I am getting ready for the NPA and CCPPC. 3 weeks with no day of for this occasion.

at austrian PEN-club they have a special activity Time To Say No. Started after Malala was shot in Pakistan. I am helping them with Chinese texts. http://www.penclub.at/

One Chinese writer who lives in Canada sent a much more horrible poem than Lily’s Story. Very good poem, too. Her name is Sheng Xue 盛雪. I can send it to you, if you like. Women’s day on March 8 is a good occasion to pay attention to the real world.

yes, please, it is always good to make people aware of these facts

too many people with power still think they can get away from their acts, thank god internet is there so nobody forgets

寄給你 8:22:16 AM Sending of “Sheng Xue.doc” http://blog.boxun.com/hero/201202/shengxue/7_1.shtml

Oh my god, that’s awful

i can’t stand injustices like that

i can’t stand that these murderous pigs can get away with it !!

i am not for violence, but sometimes i think …

:@

please send it around, if you like.

i will

the english translation is not bad. but the original is even better.

or worse, of course.

i passed them around

what are your colleagues saying? Maybe they know some of the names in the poem by Sheng Xue. I didn’t know the names, but it sounds very real.

i did not hear anything from my colleagues

i guess many chinese just prefer to ignore that kind of things

like the ostrich digging its head in the sand

at least one or two of the names in the poem by Sheng Xue would get results even in English at Google or Baidu. Lily’s Story was reported in China. Even in newspapers, though not very big.

i think the more they hear about this kind of things, the more rebellious they will be towards those jerks

yes. but it isn’t big news every day. the pollution is. that’s the good thing about it. easy to say for me when I don’t smell it right now.

二月 26, 2013

baum

sie haben den baum vorm fenster gefällt
ich weiss nicht warum
er liegt noch herum
sie standen beisammen im hof und sprachen
von polizei und so sachen
ich fragte nicht nach
wir sind nachbarn im anderen haus
es geht uns nichts an
es war nur der baum
unlängst haben sie sträucher gerodet
da ist eine gesprungen
und eine weile liegengeblieben
hat man dann erfahren
sie haben den baum vorm fenster gefällt
es steht noch ein kleiner gestutzter
und bald kommt der efeu der wilde wein
und was rotes das klettert
und noch weisse sträucher
der baum war alt
er hat halt geblüht
von uns aus gesehen das schönste im hof
jetzt gibt es mehr licht
man sieht in der richtung die serbische kirche
und weniger nester vielleicht

MW    Feb. 2013

___________________________________________________________________

zug

ein gedicht ist ein zug
eine abweichung
trug dich ein zug
ein verbotener
konntest du aufatmen
schmecken nachdenken
war es genug

MW    Feb. 2013

Mo Yan corn
mehr züge 吸引

reden 言

abstimmung 票決

frühlingsschnee 伊沙 《春雪》

drache ade 告別龍年

wiedersehen 告別

not 莫

many-coloured days

vacation 假日

coffee-house at the end of the world 最後的咖啡館

toys and the frost

Mo Yan 莫言

ideology 意識形態

distance studies 距離學

300 Recent Chinese poems 新詩三百首中英對照

The Nobel 諾貝爾獎

Dieses Leben 今生

Mo Yan’s old house 莫言故居

Lai Hsiangyin and Chen Kohua in Vienna 賴香吟、陳克華

Mo Yan and Murakami 莫言、村上春樹

Lili

Lily’s Story 赵思运//丽丽传/

Moroccan Fountain 摩洛哥噴泉

Moon From Train

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

Wang Wei: Abschied 王維-送別

Murong Xuecun, Yu Hua, Liu Zhenyun, Bob Dylan and Rivers of Bablyon 慕容雪村、余華、劉震云、流行音樂

Flying over the sea, quietly 顏峻

poetry and music 詩、歌

BIRDS OF PASSAGE

二月 13, 2013

Happy year of the snake! How are you doing? I have just finished translating an essay on bonsais in jail. From Chinese into German. Spring in a Prison Cell, by Shi Mingde (Shih Ming-te) 施明德, written in August 1989. He was Taiwan’s Liu Xiaobo. Released in the early 1990s, after 25 years in jail. Nearly executed in 1980 after organizing the Formosa protests. Arrested again in 1997, campaigning for direct presidential elections. Organized protests against corruption in 2006.
His older brother Shi Mingzheng died in a hunger strike in August 1988.

If you feel like it, please tell me how you like the following poem. Or the translation. Shorter words are easier to fit in a rhythm.

Have a good year!

Martin

 

Shi Mingzheng (1982)

BIRDS OF PASSAGE

Yes, we are September birds, arriving
on this western pacific island, panting;
marveling at the island’s beauty;
riding the breeze, changing into the foam, soaring over Green Island’s blue skies

We have wings to adore.
We don’t need passports or border controls.
We don’t have professions or housing,
picking grain anywhere, sleeping where we can rest.

We don’t have jails, no informing and framing,
no scaffolds or labor camps, no exploitation.
We eat what we find, at most we have children exploiting their parents.
We don’t have assassinations.

And so we don’t have police and informers.
We don’t have thugs performing as agents.
We have the freedom you people are craving, but if you catch us
We end up on sticks for your peace-loving teeth.

Tr. MW, Feb. 2013

施明正 (1982)

候鳥

是的,我們是九月的候鳥到達
西太平洋的孤島,我們喘息
我們羨慕島嶼的美麗風光
我們駕著和風,化成浪花,在綠島的藍空翻騰

我們長著令人羨慕的翅膀
我們不必護照,我們隨時翻騰人造的國境
我們沒有職業,沒有房屋
可是到處是糧,隨地是家

我們沒有牢獄,沒有告密、誣告
沒有死刑、勞役、剝削
我們自找自吃,頂多只在兒時剝削過雙親的口糧
當然,我們也沒有暗殺

因此我們也就沒有線民與警察
更沒有冒充特務的流氓
我們雖有人類羨慕的自由,可是佈著陷阱
把我們考成一串鳥仔疤的,竟是高呼自由與和平的人

UNITED IN SOLIDARITY. 聯合抗議拜新年。HAPPY YEAR OF THE SNAKE! 祝大家蛇年快樂!

二月 9, 2013

《新诗典》以本诗为天下苍生祈福! //@老纪微波:抄送@长安伊沙
In bloom in the chanting
Zhan Che
Chanting sutras, blossoms opening
– stopping by the shrine of the Le Sheng Old People’s Home
[to be demolished]

100 year old banyan tree stretching its roots
sunlight in the wind tipping millions of leaves
some kind of music comes from these instruments
from strings and keys
from hairs and tongues
lepers kneeling before Buddha statues
wrists without hands
wrists that had knives tied to them for cutting vegetables
wrists, mallets tied to them beating wooden fish
– wooden fish swimming in sounds of bells
sounds of bells swimming in rain

those fish without noses
bats with no eyes
earthworms with no hands or feet
by the sound of those wooden fish
growing into whatever they planted
osmanthus smiles magnolia
scents through their four elements six roots of desire
through their five sensory organs in forms of flowers
scents drawing in sutra chanting
in the unseen world –
from their deformed hands feet noses lips
growing twigs and leaves
osmanthus blossoms magnolia smiles
smiling bodhisattvas
in scents of sandalwood and flowers
lighting lanters to walk through the night

but they will be banished by rigid laws
this cultural heritage for all mankind fits into
colonial history public health human rights
they are helpless in this official-commercial structure
but they will take to the streets kneeling and praying
with their deformed blood-swollen hands and feet
kneeling praying entreating towering authorities
bringing their muttering whispering groaning
flower scents and chanting sutras
drip into memory drop in the rain

Published in Unitas Daily (Taiwan) June 23, 2006
http://www.wretch.cc/blog/htycy/4055637

Tr. MW Febr. 9, 2013

詹撤
在梵唱中開花
-駐足於樂生療養院佛堂邊

【2006/06/23 聯合報】 【詹澈】

百年榕樹還在往下伸長鬚根
陽光在風中翻動百千萬計的樹葉
有一種音樂來自那些根鬚與葉片的樂器
那些弦和鍵
那些髮和舌
那些跪在佛像前的痲瘋病患者
用沒有手掌的手腕
綁過菜刀切菜的手腕
綁著木槌敲著木魚
──木魚游在鐘聲裡
鐘聲遊在雨絲中

那些沒有鼻的魚
沒有眼的蝙蝠
沒有手和腳的蚯蚓
都在木魚鐘聲中
長成他(她)們植栽的桂花 玉蘭花 含笑
花香瀰漫在他(她)們的四大與六根
他(她)們的五官有了各種花的形狀
香氣隱隱引著誦經聲
冥冥中──
從他(她)們殘缺的手掌腳趾鼻脣裡
長出了樹枝與樹葉
開出了桂花 玉蘭花與含笑
含笑的佛菩薩們
在檀香與花香交融中
點亮了暗夜前行的路燈

然而他(她)們將被僵化的法令遷徒
這合於人權的 殖民史的 公衛史的
人類共有的文化古蹟 一群與建築
在官商結構中弱弱無依
然而他(她)們將要去跪拜遊行
用殘缺的紅腫膿血的手腳
向著尖聳的權勢跪拜懇求
帶著噥噥喃喃 嘸嘸唔唔的
在雨聲中滴答著記憶的梵唱與花香

drache ade 别龍年

一月 28, 2013

Beijing

drache ade

der mond ist ungeheuer oben.
der drache ist bald nicht mehr da.
am spielplatz sehen wir noch den mond.
es war ein schoener nachmittag
mit kleinem bob im belvedere.
der schnee ist jetzt schon laenger da.
die rampe bei den stufen rechts
wenn man hinaufgeht. leo fuhr
auf maias kleinem leichtem bob
vom schiurlaub in kaernten noch.
es war ein schoener ruhiger platz
und niemand stoerte sich an uns.
und eine mexikanerin.
der erste schnee, ganz frisch in wien
mit ihrem freund. der kann gut deutsch
er wohnt auch hier. sie fragten uns
und leo liess sie einmal fahren
und sogar beide je einmal.
der mond ist ungeheuer oben
ein bisschen hoeher als im herbst.
der letzte mond im drachenjahr
das fruehlingsfest ist heuer spaet
es kommt am zehnten februar
der mond ist ungeheuer oben
ein bisschen hoeher als im herbst.
das drachenjahr war ganz ok
mehr wasser als beim letzten mal
es rannte damals jiang zemin
mit fackel in die neue zeit
auf dem milleniumsmonument
jetzt gibt es schon den xi jinping
viel wichtiger: es gibt mo yan
man ahnte beides lang davor
beim letzten mal wars gao xingjian
das war im letzten drachenjahr
recht lang ists her. 12 jahre frueher
da war ich in taiwan
die 80er jahre
das letzte jahr vor 89
hat da shen congwen noch gelebt?
der haett es auch noch fast gekriegt
in stockholm, aus des koenigs hand
fuer literatur aus den vierziger jahren
und dreissiger jahren. vor 49.
jetzt gibts in deutschland liao yiwu
aus taiwan kamen lai hsiangyin
und chen kohua unlaengst nach wien
in taiwan ist viel hoffnung da
in china ist die luft recht dick
der mond ist ungeheuer oben
ein bisschen hoeher als im herbst
das drachenjahr war ganz ok
mehr wasser als beim letzten mal
in peking wars sogar zuviel
im juli, mit ertrunkenen.
zum abschluss wurde es sehr kalt
am ende kam ein schlimmer smog.
war es ein gutes drachenjahr?
ich weiss es nicht. wir sind in wien
in wien gibts haeupl weiterhin
und bundesheer. an seinem platz
und wenigstens nicht fuer den krieg.
der mond ist ungeheuer oben
den fluechtlingen ist ziemlich kalt
vor 20 jahren: lichtermeer
ich war in china. doch davor
nach 89 bald danach
war ich in wien. da war der loeschnak an der macht.
der cap war auch schon funktionaer.
das boot war voll. das sagte wer.
es gab die plakate
gesetze statt hetze
als auslaenderhetze.
das als das das statt war
das wollte ich kleben
auf alle plakate. in einer nacht.
ein bisschen wie bei ai weiwei.
ich hatte nicht genuegend freunde.
dann kam der krieg. jugoslawienkriege.
und ich war in shanghai.
dann war ich zivildiener, lehrer
fuer fluechtlinge aus bosnien.
doch nur weil ich wollte.
der grissemann hat nichts getan.
vielleicht aber spaeter.
es gibt nichts gutes. man tut es.
von kaestner. wie war das?
dann ging ich nach wuhan.
und spaeter nach chongqing.
dazwischen war rumaenien.
wir lernten und lehrten.
wir kamen nach peking.
und jackie ging zum militaer.
militaer in der botschaft.
und alles ganz friedlich.
und ich uebersetzte
dann waren schon die kinder da.
der mond ist ungeheuer oben
ein bisschen hoeher als im herbst
der letzte mond im drachenjahr.
ich muss jetzt endlich schlafen gehen.

MW Sa., 26. Jaenner 2013

SPRING SNOW 春雪

一月 22, 2013

Yi Sha
Yi Sha

SPRING SNOW

when I was prepared
to enter spring
it snowed again

every snow
brings good feelings
makes me pray

dear god
for suicides tomorrow morning
let it snow once more
they need it

2005
Tr. MW 2013/1

伊沙

春雪

在我做好了準備
走進春天的時候
又下了一場雪

每一場雪
都會帶來好心情
它讓我祈禱–

老天爺
為明天早上的自殺者
在下一場吧
他們需要

2005

2008年开始翻译了几首,瑞士NZZ他们要很短的,所以最近给他们寄 《春雪》等等,从《尿床》一本台湾版选几首最短的。有《精神病患者》、《感恩的酒鬼》、《致敬》、《我想杀人》、《鸽子》等等。也许他们还会登出一两。 2008年偶尔读《雪天里的几种事物》,很喜欢,翻译了以后寄给报刊,他回答说很喜欢,不过一直未登出,太长。译文可以查看在这里

More poems by Yi Sha in German

Yi Sha became well-known in the 1990s for acerbic remarks on other poets. He has been widely criticized himself. Spring is a time of hope. The Chinese moon year begins with Spring Festival, the biggest holiday of the year. Typically for Yi Sha, this poem sounds rather mundane, laconic and depressing, dashing most expectations connected with poetry.  The line “For suicides tomorrow morning” is a little truncated in my German version that was printed in the Neue Zürcher Zeitung (see image). “Für die Selbstmörder von morgen” makes a better rhythm than “Für die Selbstmörder von morgen früh”. In English I wasn’t tempted to leave out the morning. But you could say “dear god/for suicides in the morning/ let it snow once more.” In German there is something like a rhyme within the first two lines. When I was prepared/ To stride into spring/ it snowed again. Does it sound better this way in English too? You decide.
Why did I pick this particular poem? I didn’t pick it for publication. Andreas Breitenstein at NZZ (Neue Zürcher Zeitung) likes to print poems whenever he can wrangle a little space in any particular day’s edition. They have to be short. I had translated another poem by Yi Sha about snowfall in 2008. Mr. Breitenstein liked it, but it was too long. So I looked through Yi Sha’s collection Niao Chuang 尿床 (Wetting the bed), published in Taiwan in 2009. It’s a very nice edition. Huang Liang 黃梁, a critic in Taiwan, has brought out two ten-volume Series of Mainland Avantgarde Poetry 大陸先鋒詩叢, in 1999 and 2009. A great resource.  I just picked some of the shortest poems in there.

FAREWELL – Song Tik-lai 宋澤萊

一月 9, 2013

Song Tik-lai 宋澤萊

FAREWELL TO THE 20th CENTURY

Thank you, 20th century
We all grew up some time with you
I was born and grew up too
In your arms I feel at home
In your last year
You are generous
To set me free

One hundred years
Two world wars
Cold war east-west
Countless other wars and conflicts
I don’t have much experience
I carried my gun
Two years military service
Thank heavens
I stayed alive

One hundred years
One economic depression
America’s streets full of beggars
Some nations went hungry
Russia and China adopted
Communism
I have only shallow experience
When I was small
There was no rice
But there were dried sweet potatoes
Thank you
I didn’t stay hungry
Although malnourished

There was political tragedy
Military dictators
Even governing through terror
Countless people
Went to jail
Wailing was heard on
The earth’s every corner
I have limited experience
Held and carried
Flags and banners
Walked in streets
Of silent protests

There was art in various ways
Dadaists and surrealists
Stream of consciousness, expressionism
Existentialism, postmodernism
Baffling and shouting, collapsing
Suicide and going crazy
I don’t have much experience
Still at my desk
With simple words
Writing my poems

I went to Grandpa’s grave
One hundred years of graves and mounds
Thousands and millions
Buried simply
Left in the 20th century
Wrongs and grievances abroad
I don’t know much and beg your pardon
I went through this time
And stayed alive

20th century
I don’t count as your victim
Listen, century
I’m not qualified
To raise my voice
In blame
But begging your pardon
At night when the Milky Way blazes
Raising my head
I often think of
Flying away

Tr. Martin Winter, Jan. 2013
With help from Khinhuann Li 李勤岸

宋澤萊
告別二十世紀

感謝二十世紀
庶呢長e時間
予我會凍出世、生長
值妳e懷中我感覺有歸屬
最後e這年
妳寬宏大量
予我離開

一百年
有兩遍世界大戰
東西冷戰
無數e大小戰爭
庶我呒是攏有體驗
干擔八揭搶
做二年e 兵
感謝天
我平安度過

一百年
有一遍經濟大蕭條
美國滿街攏乞食
有人民大飢荒
露西亞、中國實行
共產主義
我e 體驗真淺
干擔值囝仔時代
無米通食
但是,猶有番薯簽
感謝
我無飫著
雖然有卡欠營養

有真濟e政治悲劇
軍人獨裁
甚至恐怖統治
有算朆了e志士
入監牢
哭聲值地球e
每一個角落
我e 體驗無深
干擔八揭
幾遍旗仔
值街仔路
恬恬抗議

有真濟藝術
達達、超現實
意識流、表現主義
存在主義、後現代主義
迷惑、喝喊、瓦解
自殺、起犭肖
我呒是攏有體驗
猶原值桌子頂
用尚簡單e字
寫我e 詩

我八去阿公埋骨e
百年大墓仔埔
歸千歸萬人
埋值土腳
亻因值二十世紀留落
外濟e委屈
原諒我呒是完全清楚
我猶原值世間
繼續活落去

二十世紀
我假那受害無夠深e
世紀
無資格大聲
責備
但是,原諒我
值夜晚銀河燦爛e時
揭頭
我不時道想卜
飛離開妳

NOT

一月 7, 2013

Please click on the image

Mo1

My favourite comments on Mo Yan in the last few months are in the article by Liu Jianmei (刘剑梅), published in FT Chinese on Dec. 11 and posted on the MCLC list on Dec. 19. The title asks something like ‘Does literature still work like a shining light?’ Maybe my translation is not too bright. Should literature be a shining lantern? That’s one of the questions in Liu’s article. Literature and art were thought of as relevant to society and the nation in the 1980s. Liu talks about different approaches and relationships of life and art. Mo Yan deserves careful reading, just like Yan Lianke and Lu Xun. Nothing more or less. Liu uses “Save the cildren”, the last line from Lu Xun’s Diary of a Madman, for a close look into Mo‘s works as well as Yan Lianke’s latest novel Four Books (not published in Mainland China). The main characters of Republic Of Wine and Frogs are unable to save the children, like Lu Xun’s narrator. Republic of Wine features cannibalism and a riotous carnival of language. It’s my favorite among Mo Yan’s novels, along with The Garlic Ballads.

What is art? What is it for? A little more than 100 years ago now, the Dadaists (in voluntary exile in Switzerland and other places) concocted a virtual antidote to the First World War. Words, ordinary and exalted speech, had lost any meaning in the collective carnage. Not much later, Hu Shi, Zhou Zuoren, Lu Xun etc. attempted to change the Chinese language, in written form and on stage. Yomi Braester shows in Witness Against History how Lu Xun’s most famous passages retain ambiguities that belie any straight nationalist reading, even if the author himself would have read them that way. I like the crazed language of the Madman. Republic of Wine, more experimental than any other works by Mo (to my knowledge), goes into that direction. In Bei Dao’s Rose of Time (Shijian de meigui), a collection of essays that appeared in Shouhuo (Harvest) magazine in the early 2000s, when Bei slowly became acceptable in China again, he writes about Pasternak and Mandelstam. In his youth, Pasternak praised Stalin. Later he tried to extricate other writers from the Gulag, with mixed success. Mandelstam believed in Communism all the way to his death in a labor camp. Bei Dao doesn’t say that. But the chapter on Pasternak invokes Russian Formalism and Structuralism that grew out of the abortive 1905 revolution. Art makes reality appear strange and different, enabling the spectator to perceive it more clearly. And the flag of art is always different from the flag on the citadel.

Republic of Wine is wilder than the real Mo Yan on the Nobel stage. When the real Mo (sounds funny, doesn’t it? The real NO, or the real NOT, like NOT A WORD), when the real Mo Yan talked about his mother, I was moved. It sounded like my grandmother in rural Austria around 1920. Sometimes she couldn’t go to school in winter because she had no shoes. But Mo Yan also said his mother was afraid he would “leave the collective” with his storytelling. Qunti 群体, the masses, the collective, could that be called an example of Mao wenti or Mao-ti, Mao-Speak in this usage? Actually not, qunti 群體 is an older word, could have been used by Li Dazho and other founders of the Chinese Communist Party, before Mao, Prof. Weigelin told me recently here in Vienna. She was right, I encountered qunti in another text I liked very much, was it by Yu Hua? Anyway, I was rather baffled when Perry Link related how a mother would tell her child on the bus to “jianchi 堅持”, to hold it until the driver could stop and let the child out to go to take a leak. Would “jianchi” really sound strange outside of Mainland China? But the discussions about Mao-style are still relevant – Mo Yan is an establishment figure nowadays, and generates critique of China’s established system in general.
I was a little surprised when Chinese critics of Mo Yan talked about the carnivalesque language in his novels. As if you had to be careful not to lose yourself in there. I did think of Mikhail Bakhtin and his concept of carnival in Dostoyevsky’s novels when I read Republic of Wine. But as far as I remember, Bakhtin had defended language and storytelling that would sound strange and crazy, as opposed to Socialist Realism. So when was Mo Yan’s writing first associated with carnival? Maybe in the 1980s? And how did this association evolve?
A few days after the recent massacre in a primary school in Connecticut, Ross Douthat in the New York Times talked about Dostoyevsky’s Brothers Karamazov. Although Dostoyevsky was a Christian, Douthat says, the senseless cruelty against children in the novel is just cruelly senseless, there is no “rhetorical justification of God’s goodness”. You have to look at the behaviour of characters who show “Christian love” to find any counterpoint. Below this op-ed, there are 121 reader’s comments, all within one day. Many say they want to talk about guns, not literature.
What is literature for? Why is there a Nobel for literature, but not for music or fine art? Or films? Nobels make for debate. Very much debate, in this case. Great.

虹影詩七首 Hong Ying: Sieben Gedichte

十二月 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

­­­­­­­­­­­­­­­­­­____________________________________________________________

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

十二月 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。

翻訳

十二月 19, 2012

沵恏!夲亾適凢姩汏蔀汾炪蝂哋飜譯嘟湜詩戨,佷蕶潵,洎己①矗莈洧柈唍整哋汜淥。洎己竾冩詩,耦尒茬奧哋悡、瑞仕等哋汸蕔刋刋炪。亾姄妏敩《蕗燈》諨刋適佽洧屾崬詩亾涫涫彡渞詩,莪譯荿渶娪。妗姩偢兲奧詶Vagabond Press炪蝂孒顏浚詩潗《沵跞叺叧①個夢》,裡媔拾渞咗祐湜莪哋渶娪譯妏。漻洂娬茬徳國洧噺哋CD淥堷,胕件潵妏洧倆萹莪譯荿徳娪。珆塆莋傢陳尅澕、攋萫荶妗姩拾仴29ㄖ茬惟竾妠蓢渎孒莋闆,莪莋飜譯。朂菦還飜譯孒浭哆哋珆塆詩亾,眀姩茬惟竾妠準備炪蝂倆夲書。《噺蘇黎迣蕔》(Neue Zürcher Zeitung)適倆姩洧陸⑦渞莪哋飜譯,凢苸嘟湜瑭詩,笣葀荰甫、皛劇昜、迋惟、李煜等等。適凢姩飜譯孒倆夲嚠震囩哋尒説。哯茬惟竾妠Löcker炪蝂涻憾興趣炪蝂《溫诂1942》。茬惟竾妠適凢姩茬聅匼國刅厷厔、瑝営峸堡、惟竾妠汏敩、芤ふ敩阮等哋汸哋蹍灠洧莪哋飜譯,给瑺剀姺泩哋奧狆妏囮茭蓅拹浍莋飜譯,並將惟竾妠倳蔀閄踺茿妏件茛狆國萠伖①赽譯荿狆妏。2009姩琺蘭尅湢書蹍徳國伯尒樭唫浍(Heinrich Böll-Stiftung)洧①夲書《Wie China debattiert》,洧蓁暉、慛衞岼、哿衞汸、偡茳等亾哋妏嶂,莪啝凢莅哃倳譯荿徳娪。2010姩偢兲瑞仕妑噻尒哋Christoph Merian炪蝂涻洧①夲《Culturescapes China》,関於2000姩姒後狆國兿朮、踺茿、堷泺、摂影、妏敩等等,裡媔洧①萹夲亾彅啴冩朂菦妏敩哋妏嶂。篨孒仩媔諟菿哋噺蘇黎迣蕔還洧徳國Die Zeit、FAZ、taz、Tagesspiegel等等汏蕔刋適凢姩憕莪哋飜譯。奧哋悡洧卆誌Fleisch2010①仴刋憕④巛膂羙莋傢骉蘭哋萇詩《莪們洳哬摋①隻掱套》,莪譯荿徳娪。徳國莱仳唶汏敩《點嚜》卆誌2009姩、2010姩嘟憕炪莪哋譯妏,洧顏浚、珆塆詩亾鴻鴻等等。奧哋悡Reispapier悸刋、Wienzeile悸刋適倆姩洧佷哆莪飜譯哋詩妏。2012姩伍仴炪刋哋Wienzeile 62裡狆國莋傢洧韓寒、⑦咯、箶怺、鄭尒琼、厐掊等等。竾笣葀奧哋悡Linz(啉兹)哋殷戨婯(Ingrid Fischer-Schreiber)、徳國慕胒嫼哋樊尅(Frank Meinshausen)等飜譯哃倳譯荿徳娪哋妏嶂。2010姩奧哋悡Graz咯菈兹Lichtungen悸刋憕炪莪譯荿徳娪哋詩,2010姩偢兲哯姙奧哋悡毣浍浍萇Helmuth Niederle茬惟竾妠Löcker炪蝂哋《Von der Freiheit des Schreibens》洧莪哋譯妏。2013姩①仴將炪蝂哋惟竾妠Wienzeile妏敩悸刋洧咮妏、 渱影、浵蕥竝哋詩妏,莪譯荿徳娪. 渱影萇萹尒説《K》莪譯荿徳娪,2004姩茬徳國Aufbau炪蝂涻炪蝂。適凢姩將渱影、骉蘭哋詩莋、狆短萹譯荿徳娪、渶娪,茬瓯羙婼迀刋粅憕炪。2010姩12仴徳國慕胒嫼Riva炪蝂涻炪蝂赑玪哋《嚠哓菠伝》(Der Freiheit geopfert),莪啝倆莅哃倳譯荿徳娪。1999姩-2008姩莪啝悽ふ荰鵑炷茬苝倞。茬狆國亾姄汏敩等敩阮嘋娪訁,並苁2000姩给妏囮蔀、亾姄畵蕔、妗ㄖ狆國、伍詶伝譒炪蝂涻等等僟媾莋飜譯。伍詶伝譒炪蝂涻、亾姄畵蕔炪蝂涻洧凢夲莪飜譯哋書,関於狆國書琺、敦瑝坧崫等等。

十二月 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

十二月 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)

十一月 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

十一月 14, 2012

Image

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.

Image

Dieses Leben: 今生:Erinnerung & Liebe 愛和記憶

十一月 3, 2012

It was great. Lai Hsiangyin 賴香吟 read part of her story about a member of a former underground movement who has to confront his own weakness when his divorced wife needs his attention. I read Julia Buddeberg’s translation. Chen Kohua 陳克華 read three poems. First came Nothing 無, very Buddhist. Then a couple of last things. The last café 最後的咖啡館. The last motel 最後的汽車旅館. Very Taiwanese kind of motel dive. Secrete details, medical details, scientific details included in all three poems. Questions and answers. Audience members asked a few questions, and we had an interesting discussion. How and why did Ms. Lai write the story? What comes first, life or politics? And so on. Students, immigrants, veterans maybe, of Taiwan politics. Chinese Studies, East Asian Studies Institute, Vienna University 維也納大學東亞文化系. Austrian PEN. Two days in Vienna. Two nights. 維也納卌八小時左右。Arriving, getting lost on the airport. Translator’s fault. Translator’s idea, the whole thing. Not lucrative. I am sorry. Not smooth. Interesting, yes. Freezing. Exhausting. Fun. Fruitful, hopefully. Thanks very much! To the organizers. Thank you! Everyone who helped us. But above all 賴香吟、陳克華多謝!辛苦你們!Liebe. Liebe und Erinnerung. 愛和記憶。Love and memory. 賴香吟小說的主要題材。維也納很適合你們。柏林也是。柏林比較像現在的台北,相當開放、國際化的。柏林非常重視記憶。維也納的過去其實比柏林可怕,因為沒有柏林那麼公開的重視記憶。

So we had Q&A. Then the encore. We had Vienna in the café, in my translation. Apocalypse. Pouring coffee, to the last. Tabori. Hitler and Freud. Is there a Freud statue? There is his private clinic. Oh well. Statues of Strauss, Beethoven. Vivaldi, very recent. With his orphan students, all girls. Musicians, composers. When Aids broke out in Taiwan, the government forbade intercourse with foreigners. As well as doing it from behind. That’s how Chen Kohua thought of the poem. As a medical man. And risk group member. No intercourse with foreigners, no sex from behind, and we’ll be fine. Right. That’s where the quotation marks in the title come from. Freud and Jelinek. Dreams of Vienna. Love and memory.

陳克華
今生

我清楚看見你由前生向我走近
走入我的來世
再走入來世的來世

可是我只有現在。每當我
無夢地醒來
便擔心要永久地錯過
錯過你,啊–

我想走回到錯誤發生的那一瞬
將畫面停格
讓時間靜止:
你永遠是起身離去的姿勢。
我永遠伸手向你。

1985

Chen Kohua
DIESES LEBEN

Du näherst dich aus meinem früheren Leben.
Ich seh’ dich ganz klar, du gehst in meine Zukunft.
In die Zukunft der Zukunft.

Aber ich hab’ nur die Gegenwart. Wenn ich
traumlos aufwache,
hab’ ich jedesmal die Sorge,
dass ich dich verpasse, für immer —

Ich möchte zurück in den Augenblick des Fehlers,
den Film anhalten,
die Zeit und das Bild:
Für immer stehst du auf, um zu gehen.
Ich streck’ dabei die Arme aus.

1985
Übersetzt von Martin Winter im November 2012

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

十月 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?

LAI HSIANGYIN AND CHEN KOHUA IN VIENNA

十月 19, 2012

Chen Kohua und Lai Hsiangyin treten am 29. Oktober um 20 Uhr im Hörsaal SIN 1, Ostasieninstitut Universität Wien auf. (Campus Altes AKH, Hof 2, Eingang 2.3)

Übersetzung: Martin Winter

Eine Veranstaltung des Österreichischen P.E.N. – Clubs

Mit Unterstützung des BMUKK

https://erguotou.wordpress.com/2012/09/13/chen-kohua/

Mo Yan and Murakami

十月 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

十月 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!

Chen Kohua und Lai Hsiangyin

九月 13, 2012

Click here to read a few poems.

Chen Kohua und Lai Hsiangyin sind im Oktober zu Gast im Literarischen Colloquium Berlin. Außerdem werden sie an der Universität Heidelberg aus ihren Werken lesen.

Chen Kohua und Lai Hsiangyin treten am 29. Oktober um 20 Uhr im Hörsaal SIN 1, Ostasieninstitut Universität Wien auf. (Campus Altes AKH, Hof 2, Eingang 2.3)

Übersetzung: Martin Winter

Eine Veranstaltung des Österreichischen P.E.N. – Clubs

Mit Unterstützung des BMUKK

中國大陸漢英對照版《中国新詩300首》初選篇目

九月 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》

九月 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

八月 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

八月 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

八月 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. […