Posts by Nicky Harman

Translation Tuesday: “Katherine” by Ling Shuhua

She didn’t understand why her mother was so against her playing with Silver. She was fascinated by this little country girl.

For this week’s Translation Tuesday, we bring you a short story by Ling Shuhua, translated from the Chinese by Nicky Harman. The Wu family has escaped to the mountains for their holiday, but their tranquil lifestyle belies the turmoil brewing around them—they’re in 1920s-1930s China. For Katherine, the youngest daughter, every day is a battle with her status-conscious mother, who is intent on shaping her children according to trendy Western sensibilities. Katherine finds solace in the company of Silver, her nanny’s daughter, whose practical countryside wisdom provides a counterpoint to her mother’s imported values. Their innocent antics set off a chain of events that exposes the fragile facade of propriety so carefully maintained by the Wus, and, more generally, the affluent class to which they belong. 

The rain stopped at dawn, and a mist descended over the trees in the valley. Amid the white-out, all that could be heard was the waves breaking on the beach, their steady rhythm seeming to promise a beautiful morning. 

A long-drawn-out hoot broke the silence. The jade-green foothills lay in a dreamlike haze, the mountain peaks facing out to sea floated clear of the mist as if from behind clouds at sunset, and the coastline emerged in perfect chiaroscuro, like a Chinese ink wash painting.

The surface of the water began to glow with brilliant dawn colours and the sand on the beach caught flickers of light; in the eastern sky, the sun spewed bright golden rays of light through the layers of crimson clouds. 

Then the mist vanished and on the hills, buildings painted red and green, as neat as little doll’s houses, could be seen amongst the greenery. 

Set back at some distance from them was an impressive-looking villa painted a vivid red and flanked on one side by a broad veranda in pale green. This, the summer home of company director Wu, could be seen from miles away.

On the veranda, the aroma of coffee and buns filled the air; Mr. Wu was having breakfast with his wife and two of his children—a boy and a girl of twelve or thirteen, smartly dressed in Western-style clothes.

Below them, on the lawn, a big empty space dotted with bright flowering trees and shrubs, the youngest daughter, Katherine, was sitting on a rock playing at cockfighting with Nanny Wang’s daughter, Silver. They were jabbing at each other with big handfuls of pine needles. Suddenly, Katherine stopped and gazed out at the sea.

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Honoring the Art of Translation: Paper Republic

Read Paper Republic is one of the most important things we can do . . . to deliver on our mission of getting more people reading Chinese literature

In the preface of the formidable Narrative Poem, Yang Lian wrote: “Long must be identical with deep, and we have to make it new for a depth never before expressed.” This maxim is Yang’s contemporary grasp of the enormously, incomparably complex world of contemporary Chinese letters, which threads tradition with novelty, comprehension with inquiry, intelligence with intuition, and is profuse with dislocations, disruptions, oppressions, and erasures. Diving into this amassment—either as reader or translator—is often an overwhelming endeavour, so it is both a relief and a source of joy that such a thing like Paper Republic exists, an online hub that serves as a platform for new Chinese writing, a resource for Chinese-English translators, an extensive database, and the base of a vibrant community eager to share dialogue and talents. In our second feature for National Translation Month, we’re proud to shed a spotlight on their impressive accomplishments with a text written cumulatively by their brilliant team.

“Paper Republic began very simply as a group blog, run by translators of Chinese literature into English,” writes founding member Eric Abrahamsen. It was 2007, four or five of us had found each other in Beijing, and we formed a sort of mutual support group/social club.”

Since then, Paper Republic has grown and changed almost beyond recognition; incorporated as a company, we’ve spent a decade making concerted efforts to interest western publishers in Chinese literature, producing book reports, and even dabbling in literary agency. A few years ago, however, we began to focus on readers and translators. We are now a registered charity/non-profit organization, made up of a team of volunteers based in America, UK, China, and Japan. In addition to providing information about Chinese literature to people in English-speaking countries, we promote new Chinese writing in translation, publish free-to-read short fiction and essays online, host an extensive database on Chinese writers and their English translators, mentor Chinese-to-English translators, and provide resources to schools teaching Chinese.

In order to introduce Chinese writers to the world, we started Read Paper Republic back in 2015—sourcing, translating, editing, and publishing one short story every single week for a year, completely free to read. It was a mammoth undertaking, and the fact that we managed to pull it off at all is testament to the generosity of the authors and translators involved. One of the things that is special about Read Paper Republic is that every story, no matter how experienced the translator, is edited by a member of the team, who also checks the text against the Chinese, assuring literary quality as well as accuracy. From the very first series, we had aspiring translators offering their work; our editing process is both beneficial to them, and also fits perfectly with one of our aims as a non-profit: to mentor new translators. READ MORE…

Asymptote Book Club: In Conversation with Nicky Harman

The novel is savagely realistic in its description of relationships between squabbling siblings and its forensic teasing-out of a family’s secrets.

Continuing our Asymptote Book Club interview series, Assistant Editor Kevin Wang talks to Nicky Harman, translator of Yan Ge’s The Chilli Bean Paste Clan. In addition to co-Chair of the Translators Association (Society of Authors), Nicky Harman is one of the foremost contemporary Chinese-to-English translators and a passionate advocate for Chinese literature in English. Her previous work includes translations of novels by Jia Pingwa and Xu Xiaobin.

Read on to find out why Yan Ge asked for the swearing to be made more “colourful” in the English version of her work, which sections of The Chilli Bean Paste Clan were almost untranslatable, and why relying on Google Images can sometimes be a dangerous approach to translating…

Kevin Wang (KW): In your acknowledgements, you mention that Yan Ge “went above and beyond the call of duty in examining and discussing the English text.” How would you describe the differences between working with an author closely involved in the process and translating a nonliving author? 

Nicky Harman (NH): Well, I do like my authors to be alive! I almost always want to be able to raise a few queries with them. For instance, with Jia Pingwa, I needed to know more about a rudimentary cooker that the migrant workers used in 高兴 (Happy Dreams). He kindly did a sketch for me, and it turned out to be made from an old oil drum. That’s the kind of crucial information that you couldn’t get if the author was dead: in this case, the internet was no help.

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