dear PP friends,
the very first bi-lingual (english and chinese) anthology of contemporary chinese poetry
300 NEW CHINESE POEMS (1917—2012) we published here at Poetry Pacific Press in september has just become available. pasted below please find an introduction to this ambitious project. since 29 november 2013, we have been posting some selections every week on our facebook; and beginning from this issue, we will feature 5 poets from the anthology for your reading pleasure.
we hope this is a good way to promote the poetic/cultural exchange between english and chinese, two major languages used by most human beings on earth today.
if anyone by chance is interested in getting a copy, please free welcome to contact us at yuans@shaw.ca or editors.pp@gmail.com or .
now the introduction itself...
The Chinese New Poetry: The Brilliance of 100 Yeas
— Preface to
300 New Chinese Poems (1917—2012)
By Diablo
Since the year of 1917, the new Chinese poetry has a history of 100 years, during which the Chinese nation has witnessed a series of drastic and important events such as the May Fourth Movement, Confused Fighting between the Warlords, Anti-Japanese War, KMT-CPC Civil War, “Anti-Rightist Movement”, “Movement of Cleaning Politics, Economics, Organization, and Ideology”, the Cultural Revolution, April Fifth Movement, Black 1989, and Reform and Opening up to the Outside World. So much so that it can be said that the 100 years, whether from the angles of history and culture or politics and art, are unexceptionally filled with briers, distress, chaos caused by war, struggles, famine, slaughter, hue and cry, as well as tribulations.
In such a dark and bloody historical context, the new Chinese poetry has undergone stages from its creation to its experiment to its construction: the process shows its utmost fortitude in being undaunted by repeated setbacks. In the past 100 years, there have emerged a host of excellent or great poets who have produced many important and immortal pieces, which have been given attention to the international poetry circle. Unquestionably, it is time to exhibit the whole process and the artistic features of the new Chinese poetry by translating and introducing classic new Chinese poems to overseas countries. Based on this point, through discussions with renowned poetry critics, translators and scholars from 8 universities respectively located in Tianjin, Beijing, Chongqing, Shaanxi, Zhejiang, Hunan, Anhui, and Fujian, etc., we have reached a broad consensus at the end of 2010, namely, to compile a Chinese-English textbook of selected new Chinese poetry, which is tantamount both to the brilliant achievement of 100 years of the new Chinese poetry and to the great tradition of Chinese poetry. Our target is: “with a copy of Chinese-English 300 New Chinese Poems (1917—2012) in your hand, you can get an overview of the history of 100 years of the new Chinese poetry and the representative pieces. Meanwhile, Chinese-English textbook of 300 New Chinese Poems (1917—2012) provides a new view point and breakthrough point for those who are engaged in the research of new Chinese literature, while providing text reference for the future development and construction of Chinese poetry. What is of particular importance is that the Chinese-English textbook of 300 New Chinese Poems (1917—2012), by dint of the extensive and effective international communication system established by IPTRC (The International Poetry Translation and Research Centre) through 18 years, the new Chinese poetry is brought into the whole process of world humanistic order, while providing a true, vivid, and profound landscape of language and mind for the 100 years of course of thought of the Chinese nation.”
We all know that since its birth in 1917, the new Chinese poetry is closely connected with the poetic art of foreign countries during its development. In the information age of globalization, the new Chinese poetry is to be more communicative and interactive with the international poetry circles in a more direct and extensive manner, and one of the most effective ways is to compile large-scale Chinese-English bilingual poetry readers. Which bespeaks our original intention to compile this Chinese-English textbook of 300 New Chinese Poems (1917—2012).
In my opinion, poetry writing is writing of the mind. In other words, we shall regard the Chinese-English textbook of 300 New Chinese Poems (1917—2012) as the miniature of 100 years of the spirit or the mind of the Chinese nation. Leafing through the Chinese-English textbook of 300 New Chinese Poems (1917—2012), we can feel the beat and rhythm of each heart: the powerful poetic force, like surging waves in the Yangtze River charging eastward, is exhibited in each poetic line …
Compared with other selections of the new Chinese poetry, this Chinese-English textbook of 300 New Chinese Poems (1917—2012) is found to have the following features:
(1) In selecting poems, consideration is first given to their artistry and the construction of linguistic text form. While paying attention to the chosen works’ significance in literary history, the modern sense and artistic value (or aesthetic value) of the poems are highlighted.
(2) In addition to poets from Mainland China, Taiwan, Hong Kong and Macao, overseas Chinese poets are also included. The book is a thorough examination of the new Chinese poetry since 1917, which exhibits the free and independent human spirit. The book is a selection of the new Chinese poetry with the longest time span and the most extensive areas.
(3) The included poets are in the order of their dates of birth and, after their poems, included is an introduction to the author.
(4) In the context of global economy and information integration, the book endeavors, in bilingual form of Chinese and English, to exhibit the development and artistic achievement of the new Chinese poetry in the past 100 years objectively, thoroughly, and comprehensively.
(5) The English translation of this book composes of two types: poetic translation and academic translation, in which poetic translation is dominant.
It is known that there are more common points than different points between two languages; therefore, interlingual translation is possible. The translatability between languages becomes the theoretical basis for translation. However, this does not exclude the differences between languages. Generally speaking, the translation of poetry, among all literary translations, is the most challenging. And if the translator happens to be a poet himself, his translation is usually superior to that done by a non-poet.
Translation, in a real sense, is for a poem or a life to be reborn in another context of words, like Phoenix Nirvana. It is my belief that this Chinese-English textbook of 300 New Chinese Poems (1917—2012), under the collaboration of Chinese and overseas poetry translators and sinologists, is to regain life in the world of English, sparkling with charming artistic rays.
Here, I would like to list the names included in the Chinese-English textbook of 300 New Chinese Poems (1917—2012)（The included poets are in the order of their dates of birth）:
Lu Xun, Shen Yinmo, Liu Bannong, Hu Shi, Guo Moruo, Lai He, Xu Zhimo, Wang Duqing, Wen Yiduo, Li Jinfa, Bing Xin, Zhang Wojun, A Long, Wang Jingzhi, Liang Zongdai, Zhu Xiang, Luo Niansheng, Dai Wangshu, Sun Dayu, Feng Zhi, Zang Kejia, Li Guangtian, Su Jinsan, Yin Fu, Ai Qing, Bian Zhilin, Qin Zihao, He Qifang, Xin Di, Ji Xian, Zhong Dingwen, Tian Jian, Chen Jingrong, Hang Yuehe, Mu Dan, Du Yunxie, Cai Qijiao, Tang Shi, Peng Yanjiao, Tang Qi, Zheng Min, Zhou Mengdie, Hu Pinqing, Chen Xiuxi, Yuan Kejia, Huan Fu, Zeng Zhuo, Liang Zhihua, Lü Yuan, Yang Lingye, Tu An, Niu Han, Shi Tianhe, Lin Hengtai, Kong Fu, Xia Jing, Gong Liu, Yu Guangzhong, Luo Fu, Li Qing, Luo Men, Xiang Ming, Wen Xiaocun, Rong Zi, Yang Huan, Bai Hua, Shang Qin, Chiu Pin, Zheng Ling, Shu Lan, Chan Sirisuwat, Loiushahe, Zhang Mo, Ya Xian, Ma Boliang, Shao Yanxiang, Zheng Chouyu, Han Han, William Marr, Chang Yao, Lee Kuei-shien, Dai Tian, Wai-lim Yip, Wu An, Bai Qiu, Zhang Shijian, Lin Ling, Han Mu, Hsu Chicheng, Lin Huanzhang, Yang Mu, Shi Ying, Huang Xiang, Du Guoqing, Gao Ge, Ya Mo, Hua Wanli, Lan Haiwen, Yun He, Zhang Cuo, Xi Murong, Fu Tianlin, Zhou Tao, Fu Tianhong, Li Minyong, Shi Zhi, Zhang Ye, Leung Ping-kwan, Luo Qing, Mo Yu, Bei Dao, Jiang He, Mang Ke, Shen Qi, Duo Duo, Li Gang, Li Xiaoyu, Zhou Lunyou, Li Yufang, Shu Ting, Hai Shang, Yang Zongze, Yan Li, Wang Xiaolong, Yu Jian, Yang Ze, Liang Xiaobin, Yang Lian, Zhai Yongming, Wang Xiaoni, Mao Han, Gu Cheng, Bai Hua, Xia Yu, Lin Hua, Ouyang Jianghe, Zi Wu, Zhang Shuguang, Liu Cheng, Yang Ke, Da Xie, Zuo An, Wang Jiaxin, Yuan Changming, Liao Yiwu, Wang Shunbin, Yang Ran, Ye Shibin, Wei Ming, Yan Yuejun, Bei Ling, Lv De’an, Luo Yihe, Fang Wenzhu, Han Dong, Meng Lang, Jidi Majia, Chen Dongdong, Chen Kehua, Lu Yimin, Zhang Zao, Ding Dang, Liu Manliu, Xue Yang, Yang Li, Lin Yaode, Hong Ying, Aerdingfu Yiren, Liang Xiaoming, Xi Chuan, Huang Canran, Zhong Dao, Li Yawei, Zhao Xingzhong, Chu Zi, Jie, Chen Meiming, Hai Zi, Na Ye, Nan Ou, Mo Mo, Zhu Likun, Zang Di, Tu Ya, Diablo, Shen Wei, Yao Hui, Xiao Hai, Feng Chu, Shu Cai, Xie Yixing, Gu Ma, Ma Ke, Yi Sha, Wei Se, Zhang Zhizhong, Ye Zhou, Mo Xue, Pu Dong, Lei Pingyang, Yu Nu, Ma Qidai, Ge Mai, Hou Ma, Zhao Siyun, Xi Du, Tang Shi, Xu Jiang, Chen Xianfa, Lan Lan, A Mao, Yang Jian, Wu Touwen, Zhou Sese, Yang Lin, An Qi, Luo Guangcai, Zhou Yunpeng, Jin Lingzi, Meng Ling, Dong Yue, Di Bai, Zhao Weifeng, Lin Zhongcheng, Huang Lihai, Yao Bin, Yang Xie, Duo Yu, Yin Lichuan, Li Xiaoluo, Hai Xiao, Mu Cao, Jiang Fei, Yang Jun, Zhu Jian, Shen Haobo, Ding Cheng, Li Cheng’en, Wu Xiaochong
After three years of efforts, now the Chinese-English textbook of 300 New Chinese Poems (1917—2012) is to be published for the readers, both Chinese and overseas, to appreciate and criticize.
In the process of compiling this book, I have been encouraged and supported by Chinese and overseas poets, critics, translators, and sinologists, hence my homage and indebtedness to all of them!
Poetry is immortal, and art is eternal.
The foregoing is my preface.
June 28, 2013; Chongqing, china
bionote of the editor
Diablo (1965— ), whose original mane is Zhang Zhi, English name Arthur Zhang, and pen name Wuyuelou (Moonless Tower), with ancestral place of Nan’an of Chongqing, was born in Phoenix Town of Baxian County, Sichuan Province. He is doctor of literature and honorary doctor in humanism, and has successively been engaged in many professions. He is the current chairman of the International Poetry Translation and Research Centre, executive editor of The World Poets Quarterly (multilingual), editor-in-chief of the English version of World Poetry Yearbook, embassador in China of the International Poets Association in Chile, and foreign academician of Greek International Literature & Arts and Science Academy. He began to publish his literary and translation works since 1986. Some of his literary pieces have been translated into over twenty foreign languages, such as English, French, German, Japanese, Russian, Greek, Spanish, Portuguese, Polish, Romanian, Danish, Hungarian, Bengalese, Italian, Swedish, Korean, Slavic-Mongolian, Serbian, Hebrew, Arabic, Slovak, Croatian, Bulgarian, Macedonian, and Albanian, etc., to be included into dozens of domestic and overseas anthologies. He has ever won poetry prizes from Greece, Brazil, America, Israel, France, India, Italy, Austria, Lebanon, and Macedonia. His main works include poetry collections such as RECEITA (Portuguese-English-Chinese), SELECTED POEMS OF DIABLO (English), POETRY BY ZHANG ZHI (German-English-Portuguese), Selected Poems of Diablo (Chinese-English), collection of poetry criticism entitled Series Essays on Avant-Garde Chinese Poets, etc. In addition, he has edited Selected Poems of Contemporary International Poets (English-Chinese), Selected New Chinese Poems of 20th Century (Chinese-English), A Dictionary of Contemporary International Poets (multilingual), The Book Series of World Poets (Bilingual), and Chinese-English Textbook 300 New Chinese Poems (1917—2012) , etc.
bionote of the tranlating editor
Zhang Zhizhong (1966— ), his ancestral place is Boai County of Henan Province. He successively obtained a bachelor’s degree in English language and literature from Zhengzhou University, a master’s degree in English and American literature from Tianjin Foreign Studies University, and a doctor’s degree in translation studies from Nankai University, and he has done his postdoctoral study in aesthetics of poetry translation at Henan University. He is now director of Translation Studies Center of Tianjin Normal University, and professor of Foreign Languages College of Tianjin Normal University. Meanwhile, he is guest editor of The World Poets Quarterly, vice chairman of International Poetry Translation and Research Centre, and translation reviser of New Poetry, a large-scale periodical sponsored by the Research Institute of Lierature & Art of Chongqing University of Technology. He has done a huge amount of translation, including over 50 classic American movies (English-Chinese), the 84 episodes of TV play The Romance of Three Kingdoms and the movie entitled The Tale of Sister Liu (Chinese-English), etc. Until now, he has published 44 books (11 in collaboration with others), 70 academic papers, and over 3,500 translated poems. Besides, he has published his own poems. In October, 2003, he received scholarship from Nankai University; in November, 2003, he obtained Excellence Award in the 15th National Translation (Chinese-English) Competition for Youth Sponsored by Han Suyin; in December, 2005, he was entitled as the Best International Translator for 2005; in November, 2006, he won the Prize for Distinguished Translator in the 2nd World Poetry Prizes Sponsored by Dr. CHOI Laisheung; in March, 2007, he was entitled as the academic leader for 2006 by Henan Provincial Educational Bureau, and in September, 2011, he won the Translation Prize of “Contemporary Chinese Poetry Prizes (2000—2010)”.
