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Poetry, Translation

Yong Shu Hoong – two poems (translated by Chow Teck Seng)

Yong Shu Hoong has authored one poetry chapbook, Right of the Soil (2016), as well as five poetry collections, including Frottage (2005) and The Viewing Party (2013), which won the Singapore Literature Prize in 2006 and 2014 respectively. His poems and short stories have been published in literary journals like Quarterly Literary Review Singapore and Asia Literary Review (Hong Kong), and anthologies like Language for a New Century (W.W. Norton, 2008). He is the editor of anthologies like Passages: Stories of Unspoken Journeys (2013), as well as Here Now There After (2017), which was part of The Commuting Reader series commissioned for the #BuySingLit movement. He is one of the four co-authors of The Adopted: Stories from Angkor (2015) and Lost Bodies: Poems Between Portugal and Home (2016).

 

Negation

I’m not a vegetarian
but I go meatless
on occasions for
the best intentions.
Eating too fast is
another sin. When I
bite my lip and blood
corrupts my vegetables
I’m no longer even
a vegetarian for a day.

 

 

我非素食主义者
但因缘际会,总有些时候
为一些美好的诉求

戒肉
自然,吃太快
也是罪。当我
咬到唇 血
染口边蔬菜时
那日 我已断非
一清白的素食者

 

(Translation by Chow Teck Seng)

 

~

 

Meat Joy, 2014*

 

 To put it blandly, it is

just lunch.

 

But armed with a pinch

of salt, I can certainly try

to unlock all the flavours

and serve a fresh perspective.

 

Take for example, a wedge

of New York City, stuck

in a mall in Hillview where a few

HDB blocks used to stand,

before the entire estate

was roundly erased. After dust

settles, the new sign proclaims:

Dean & DeLuca. A chain of

upscale grocery stores, first

started in SoHo in 1977.

 

This is 2014, 11.30am.

 

I’m having my $18 burger.

The beef is so thick that

well-doneness doesn’t seep into

the patty’s core. I survey

the large plate, and consider how

best to devour the grub.

 

My mouth isn’t wide enough.

 

So I pick up the knife

to draw blood by carving

through the meat, reflecting:

 

How well this red sap

must look, when splattered 

across the floor space

of gleaming white marble!

 

I feel like having a brawl

 

 

With the taste of violence

upon the wingtip of my tongue.

But there’s no worthy opponent

here – only nerdy schoolgirls

fretting over homework, and

straight-laced office workers

celebrating Happy Birthday

with a silly cupcake bearing

a desolate candle.

 

I want to get up

and blow out that flame

wavering for way too long

under someone else’s nose,

but I’m too filled to move.

 

I do not dare to request

for more hot water to douse

my half-spent teabag.

 

Lunchtime is officially over

 

If not for the haze, lapping

menacingly against full-length window.

 

* This poem appeared on the website Kitaab and in Yong Shu Hoong’s chapbook, Right of the Soil (Nanyang Technological University & Ethos Books, 2016), but without the Chinese translation.

 

无肉不欢,2014

 

说白点, 这
不过就是午餐

别太较真  就如一把
盐巴, 我会尝试
从新鲜的视角  去品
出最丰富的味道

举例来说,纽约市的斧头
餐馆,已深入
本地山景区的商场腹地
当然原本挺拔的几座组屋
已连根拔起 整个住宅区
也完满删除。尘埃落定处
竖起招牌宣称:
Dean & DeLuca
高大上的食品连锁广场
品牌1977创建于SOHO

现在是2014年,上午11点30分

我正啃食18元的汉堡
过厚的牛肉,肉饼内部
未能熟透。我眼观巨盘
的四周,思考 如何让口
绕道避开令人为难的血腥

唯我嘴断非血盆大口

于是动刀
雕刻肉身
划出血痕
引血反思:

当血水溅洒
雪白晶莹的
大理石地板
上,红将会
何等娇艳?

我但觉经历一场厮杀

舌尖遂尝
暴力的滋味
一一竟是所向披靡
此处,仅有乖乖牌学生妹数名
纠缠在功课里
一些一本正经的
公司职员在庆生:
为可怜兮兮的杯型小蛋糕
插上孤单的小烛影

我想站起
把窝在人鼻息下
摇摆不定 太久
的火焰 一口气给灭了
唯自己 实腹饱难动

我也不敢
要多点沸水
让未泡尽的茶袋 再来个水浸灭顶

午休已尽。该落下庄严的帷幕?

唯全景玻璃窗外
尚有雾霾,正肆虐着 掩埋天地如幕

 

(Translation by Chow Teck Seng)

 

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Literary Nonfiction, Translation

Ning Dai – ‘Lessons’ (Translated by Nyuk Fong Parker)

Screenwriter and novelist Ning Dai was born in Tianjin, and graduated from the Beijing Film Academy in 1989. Her films include 找乐 (For Fun) and 警察日记 (Police Diary). In 2006 she won Best Screenplay Adaptation for 看上去很美 (Little Red Flowers) at the 43rd Golden Horse Awards in Taiwan.

Nyuk Fong Parker is a literary translator based in the USA.

 

Lessons

Throughout the course of my education from primary to secondary school, two math teachers stand out in my memory. One of them was Mr Liu Kezhi, who began to teach us during our second year at middle school. The other was Mr Li Deyu, who taught us in our second year of high school.  Mr Li had been Mr Liu’s teacher, but they had completely different teaching styles.

Mr Liu’s first day of teaching was the start of a new school year.   My classmates and I had spent recess chatting. When the bell rang for the lesson to start, Mr Liu appeared at the classroom door. At that moment, we all guessed that he was the new math teacher. However, the bell had not yet stopped ringing, and the teacher had not come into the classroom, so we seized the opportunity to carry on talking. Suddenly, something dawned on us. One by one we fell silent. The bell had stopped ringing. Why had the teacher not said anything? Why hadn’t he come into the room? He was still standing in the doorway. I looked at him. He was watching us sternly. His eyes swept over us, row by row and one by one. Tall, slender, and dark, he was wearing a slightly faded navy-blue Chinese tunic suit. The math book in his hand was rolled into a small bat, which he was rubbing. As soon as silence had fallen, Mr. Liu finally walked in, not saying a word. He threw his book on the desk and said, “Let’s begin.” He did not mention his long wait outside the classroom. From then on, he was exactly the same every day, not changing his outfit, expression, look, or demeanour. I couldn’t remember when it started, but we changed. Whether the bell was ringing or not, when we saw Mr Liu at the door, we stopped talking straight away.

Mr. Liu had another distinctive feature. During class, he would never say anything that wasn’t related to math. When he opened his mouth, it was to talk about the lesson. He never looked at his text book. It always lay rolled up on the desk, and he took it away when class was over. He also never criticized a student by name. He had a special trick, pinching the chalk in his hand until it was as thin as a pill, and accurately shooting it in the direction of his target. If a student talked in class without permission or made inappropriate gestures, Mr Liu would stop the lesson, take a piece of chalk, and flick it at the student, then stare at the culprit without a word. He would only continue with the lesson when the errant student realised their mistake and corrected it. Once, my deskmate and I were playing with carbon ink. A piece of Mr Liu’s chalk landed squarely in the ink bottle. My friend and I were astonished at the accuracy of our teacher’s aim. As we watched the chalk bubbling in the ink, we couldn’t help but laugh. Mr Liu continued to stare at us. His sternness stopped our laughter. I closed the lid on the ink bottle tightly, but Mr Liu didn’t continue with the lesson. He was eyeing the ink bottle. We had no choice but to put it into the desk drawer. We never took it out again during class.

I was very fond of Mr Liu. I started to like him the first time he gave us homework. He asked us to complete it on math paper, folded in the middle, as if doing crafts. We were to use an angle ruler and a pair of compasses to draw on it or write questions, answers, laws, and theorems, as if we were writing a composition. It was fun. Thanks to Mr Liu, I discovered that math homework could be easy and enjoyable. I forgave him for his serious words and manner.

My deskmate liked to chat with teachers. I was never able to do this; I studied music and art outside of class, so I had to fit my homework in during class time. She often told me that Mr Liu was praising so-and-so for making great improvements, and said so-and-so had a talent for math but was not careful enough. I looked forward to a word of praise from Mr Liu, but it never came. He tended to compliment students who raised their hands for the first time in class. When I thought about that, I felt as if I had seen Mr Liu’s private smile.

I didn’t know Mr. Liu’s full name at secondary school. I was at the stage when I felt no need to know what teachers were called outside of class. Just calling him “Mr Liu” was enough; everyone would know I was referring to my math teacher.

Now that I think about it, learning math from Mr Liu enriched my life in major ways. I not only began liking the subject, but – more importantly – I learned the meaning of self-awareness, even though he never taught it directly. All he did was wait patiently, tenaciously, for us to develop it on our own.

Our math teacher at high school was Li Deyu.  It was my deskmate who told me that he’d  been Mr Liu’s teacher as well. This was some consolation; I still missed Mr Liu.

Mr Li was very different, both in his bearing and in the way he taught. He was a lot older than Mr Liu, and always wore a blue mandarin jacket – a rare sight in Beijing’s secondary schools during the 1970s. When Mr Li came into the classroom each day, he would open his textbook earnestly and turn to the lesson. He would then place a long wooden ruler on the desk to hold the page down. While he taught, he would turn the pages for an occasional look. When the class was noisy, he would use the ruler to rap the desk or black-board.

The fact that Mr Li  had been Mr Liu’s teacher was also visible in one habit. Like his student, Mr Li would never target a student by name for criticism, no matter how big their mistake. But he never stopped talking. He liked to comment on everything that happened, talking about his childhood and the Christian School he had attended. He remarked upon everything he saw. He had a smooth intonation and casual expression, but never held back with a joke or a cutting riposte. For instance, he would suddenly stop in the middle of a lesson and tell us a lively anecdote about his younger days. Apparently, the reason he’d enjoyed festivals as a child was because he liked the peddlers who wove through the streets, calling out their wares while they beat their wave drums. He always looked forward to the sound of those drums. The wave drum is small and round, with two small balls tied to its side. As the peddler shook the drum, the sound rang out in a jagged rhythm.

As he told these tales, we would all listen, entranced. But Mr Li would change the subject abruptly, to teach us a lesson about classroom distractions. Students nowadays, he said, were always turning their heads to chat with their friends during lessons.

Each day, after Mr Li had reviewed our homework, he would describe plays he had attended during his childhood, bustling with the noise and excitement of the theatre. His favourite dramas had military themes. He had seen actors with poor technical skills who could not execute their moves well, messing up their face makeup with a sweep of their long sleeves, appearing more like clowns than martial artists. Mr Li compared this to our messy homework notebooks. It was always fun to listen to him in class; he always raised a laugh. I looked forward to math class as if waiting to watch a cross-talk show.

My strongest memory of Mr Li is his fondness for the English phrase “lazy bones.” The first time I heard him use it was when a student was late coming to class. Mr Li stopped the lesson and watched, expressionless, as the student took his seat. Then, he asked if any of us knew how many bones we had in our bodies. As we were guessing and counting, he uttered the words “lazy bones.” He knew we were learning Russian, so he started explaining that the English language was figurative as well. To describe someone as lazy in English, there was no need to say it directly; it was enough to say that his bones were lazy. He’d learned it at the Christian school he had attended. Lessons there were taught in English, and latecomers were always labelled “lazy bones”. We all laughed when he told us. From then on, whenever someone was late for class, I would look at Mr Li, waiting for him to say it. I didn’t dare to be late, partly because I was afraid of being called “lazy bones”, but mostly because I enjoyed his “cross-talk” so much.

Later, when I came into contact with English through my work, I asked a colleague to teach me how to write Mr Li’s pet phrase. My colleague was confused. She thought it came from a Chinese saying. I didn’t believe her, and finally found it in a dictionary. It was only then that I understood its true meaning: Mr Li had been cautioning us not to waste or neglect even a moment of our lives.

After I graduated from high school I never saw Mr Li again, and I never will – he has passed away now. However, about five or six years after I left school, I saw a picture of him in the Beijing Daily. A friend from secondary school called me, saying that a piece had been written about him. After he retired, he had volunteered his services to teach math to soldiers in the armed police force. I found a copy of the newspaper, and there was my Mr Li – his usual amiable self, still working, even in retirement. My friend and I talked about visiting him, but we never got around to it due to our busy schedules.

After another five or six years, I was studying overseas. Just before I came back to China I had a dream about a small art exhibition. Mr. Liu was there, wearing his usual solemn expression. He seemed to be narrating something, guiding me further into the exhibition hall. In the middle of the deepest part of the hall was Mr. Li. He was standing in front of a large portrait of himself, rattling off humorous, sparkling patter. The effect was different from his classroom discourse. His audience were not laughing. When I woke up, I realised I’d been dreaming in black and white. A thought struck me. I knew I had to visit Mr Li when I returned to China. A month after I got back, I called my old deskmate, who was now a math teacher. She told me that Mr Li had passed away from an illness two months earlier. I had lost my chance. I had neglected him, but what I’d wanted to tell him was this: I had never neglected a single moment of my life since leaving secondary school. That was the lesson he had taught me.

I have never forgotten Mr Liu and Mr Li. My respect for them has lasted throughout my life. One of them taught me to be aware of myself; the other taught me never to be lazy. They were brilliant teachers, but the education they gave me was more than mathematics. What they taught me will benefit me for life. It had nothing to do with numbers.

 

(Originally published as《我的两位数学老师》in《心理月刊》in October 2012)
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Poetry, Translation

Xu Zhimo – ‘Listening to a Wagner Opera’ (translated by Shelly Bryant)

The translation of this poem was originally commissioned by Lynn Pan for use in her research for her most recent book When True Love Came to China. She has generously allowed us to reprint the work at AlluviumWhen True Love Came to China can be found at Amazon.

Listening to a Wagner Opera

by Xu Zhimo
powers divine or demonic
bring forth thunderous
sounds, a raw howl
like waves on the wild deep;
hellish fires’ rumbles
thrill, like a leonine roar
commanding the seas to split
the skies rent ‘twixt stars and sun;
a sudden silence; only soft
sounds of pine forest
its gentle birdcall before
the cabin’s fluttering curtains;
silence, a portent overshadowing
a barren snowy landscape
o’erflown by a solitary bird
singing its sorrowful song;
in sorrowful song, the reed
flute’s secret seduction
like hoofbeats on a frozen
arid land, armor’s beating rhythm;
beating rhythm, a flood of sound
booming, crashing, banging
to signal a new epoch, the tune
of hoofs pounding and blood flowing;
it is Prometheus, the theft
and the rebellion, chained
to his mountain peak, each meal
dug out from his breast;
it is romance, sorrowful and tragic
it is love, devoted and loyal
all-consuming, universal and miraculous
all-surpassing love;
the artist’s inspiration
the genius of heaven
beyond all powers of explanation
lasting beyond human bonds;
a brewing gloom’s complaint
a raging holy love
a tragic compassion’s spirit
– the genius of the arts.
brilliant, furious, fervent, tragic
out of the forge of love
the artistic impulse draws
the peerless opera of Wagner
• Published in March 10, 1923 “Current News · Learning Light” Volume 5.3.8
† translated by Shelly Bryant, October 2013

听槐格讷(Wagner)乐剧

– 徐志摩

是神权还是魔力,
搓揉着雷霆霹雳,
暴风、广漠的怒号,
绝海里骇浪惊涛;
地心的火窖咆哮,
回荡,狮虎似狂嗥,
仿佛是海裂天崩,
星陨日烂的朕兆;
忽然静了;只剩有
松林附近,乌云里
漏下的微嘘,拂扭
村前的酒帘青旗;
可怖的伟大凄静
万壑层岩的雪景,
偶尔有冻鸟横空
摇曳零落的悲鸣;
悲鸣,胡笳的幽引,
雾结冰封的无垠,
隐隐有马蹄铁甲
篷帐悉索的荒音;
荒音,洪变的先声,
鼍鼓金钲荡怒,
霎时间万马奔腾,
酣斗里血流虎虎;
是泼牢米修仡司
通译普罗米修斯,
的反叛,抗天拯人
的奋斗,高加山前
挚鹰刳胸的创呻;
是恋情,悲情,惨情,
是欢心,苦心,赤心;
是弥漫,普遍,神幻,
消金灭圣的性爱;
是艺术家的幽骚,
是天壤间的烦恼,
是人类千年万年
郁积未吐的无聊;
这沉郁酝酿的牢骚,
这猖獗圣洁的恋爱,
这悲天悯人的精神,
贯透了艺术的天才。
性灵,愤怒,慷慨,悲哀,
管弦运化,金革调合,
创制了无双的乐剧,
革音革心的槐格讷!

五月二十五日■原载1923年3月10日《时事新报·学灯》第5卷3册8号。

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