Q&A

Translating Tibetan Literature

Kevin McGeary talks to Tsering Döndrup’s translator, Christopher Peacock

Christopher Peacock is a PhD candidate at Columbia University, and translator from the Tibetan of The Handsome Monk and Other Stories, a collection of fiction by Tsering Döndrup. Born in 1961 in Qinghai, a Tibetan area of China, Döndrup began writing in the early 1980s and has published many collections of short fiction and four full-length novels. His work has been translated into several languages, and he is the recipient of a number of Tibetan, Mongolian and nationwide literary prizes in China. I talked to Christopher Peacock about Döndrup’s work and the state of Tibetan literature.

How did you become involved with Tsering Döndrup and The Handsome Monk?    

Initially, because I was researching his short story ‘Ralo.’ I was aware that several Tibetan critics had compared it to Lu Xun’s ‘The True Story of Ah Q,’ and this fit very closely with my interest in Tibetan adaptations of Chinese literary discourse. I interviewed the author about the story, and later I translated it for my own use. As I read more of his work, I became interested in putting together a whole collection.

Q&A

Blood Letters of a Martyr

Ting Guo talks to Lian Xi about his new biography of Lin Zhao

On May 31, 1965, 33-year-old Lin Zhao was tried in Shanghai and sentenced to 20 years of imprisonment. She was charged as the lead member of a counter-revolutionary clique that had published an underground journal decrying communist misrule and Mao’s Great Leap Forward, a collectivization campaign that caused an unprecedented famine and claimed at least 36 million lives between 1959 and 1961.

“This is a shameful ruling!” Lin Zhao wrote on the back of the verdict the next day, in her own blood. Three years later, she was executed by firing squad under specific instructions from Chairman Mao himself.

Q&A

The Golden Age

In conversation with speculative novelist Chan Koonchung

You came up with the idea for your novel in 2008. Why set it five years later?

In 2008, I realized something significant had happened to China’s perspective of itself and the world’s perception of China. I thought I had a story. I call it “the new normal.” The title of The Fat Years in Chinese is Sheng Shi (盛世), which means the golden years of ascendency and prosperity. This phrase was not used to describe China for at least a century and a half. Now, suddenly everyone is using sheng shi to describe China.

But as I started writing the book in 2009, my intellectual friends in Beijing didn’t agree – they didn’t feel that China was entering an age of ascendency. They emphasised the dark side of China. I wanted to write about what was happening before my eyes, but I didn’t feel my writer friends would agree. So I set it in the not-too-distant future, 2013, so I could come up with fictional events to describe my view of what was happening. In fact, it’s all about the present.

Q&A

The State of Chinese Sci-fi

In conversation with young author Fei Dao

When did you start writing science fiction?

When I was at middle school, 16 or 17, I started to read a lot of sci-fi. I read the magazine Science Fiction World and became more familiar with sci-fi literature. I liked it because there was a lot of imagination and novelty in it. At that time, my dream was to become an author. When I started out, I didn’t think at all about writing science fiction. Back then I felt sci-fi was very difficult to write, and needed some knowledge of science, so I could only appreciate it but not write it myself.

Diaspora, Q&A

Singapore with a Republican Accent

Rebecca Choong Wilkins interviews Jannis Jizhou Chen about the Sinophonic voice

Jannis Jizhou Chen was born in Chengdu and left China in his teens. Since then he has sojourned in Singapore, Germany and the United States. His publishing debut is a collection of short stories in Chinese, The Stories of Eng Watt Street (永發街事), released in January. Rebecca Choong Wilkins sat down with him as part of her Diaspora column for the China Channel to talk about the controversies of the Sinophonic voice, in all of its varieties.

Can you tell me about your debut work?

It is a collection of 12 short stories taking place in Singapore on Eng Watt Street. I had lived there for six years and got to know many lovely neighbors. I started writing some of the stories while there, and turned many of my dear neighbors into fictional characters. Each story focuses on one household, but when read together, they form certain connections with each other.