World literature, global culture and contemporary Chinese literature in translation

Abstract

The starting point of this article is the concern shown by Chinese writers, academics, and cultural officials in regard to the status and reception of contemporary Chinese literature. One factor often overlooked is the necessity, at this moment in history, for Chinese literature to be translated for the global market. The relative success of contemporary Chinese literature in French, German, and Japanese markets is evidence that the Anglophone market is resistant to foreign literature in general; the relative success of traditional Chinese literature, from Confucius to the 19th century, even in the Anglophone markets is evidence that English-language readers are not prejudiced against Chinese-language literature in general. From these premises, the article looks at ways in which the translation of Chinese literature and its publication for readers outside China can be improved. It summarises recent evidence on the failure of contemporary Chinese literature in global literary culture, indicates some areas of misunderstanding in regard to its global reception, outlines measures that could be taken to promote literary translation within China, and notes the role inevitably played by chance and contingency. My annotation: The essays shows the general ignorance of the function of translation for improving the status and reception of contemporary Chinese literature as a part of China’s soft power. Comparing to Classic Chinese literature, contemporary Chinese literature is marginalised in world literature. To translate Chinese literature for the global market may improve the visibility of it. It is another thing to talk about its reputation within world literature. By evidencing the relative of contemporary Chinese literature in the French, German and Japanese markets, Bonnie defends on the general justice the Anglophone market has done to Chinese-language literature, which I think is a problematic argument. Based on these observations, she suggests the ways to improve the translation and publication of Chinese literature for Western readers. Bonnie points out that literature is used by Chinese cultural officials “to enhance China’s national identity domestically and internationally and to extend its global soft power (48)”. The state’s anxiety for global influence is obvious. Yet, little attention is drawn to find out the real approaches to relieve the anxiety and to achieve its national goal. She distinguishes the difference between world literature and global culture, indicating internal reaching doesn’t mean an advanced positioning within world literature. One important failure that results into the low positioning of contemporary Chinese literature is the absent addressing on certain topics, such as censorship, the assessing methods for literary quality, etc. There is a general assumption that Chinese literary is part of the world literature, whereas, in practice, what is really emphasised about the relationship between Chinese literature and world literature is the status of Chines literary in the world. Her point then leads to the attention to the practical and theoretical distinction between literary status and commercial fame, and the question of what is meant by literature, or good literature. “That Chinese literature, past and present, is part of both world literature and global culture: the problem of its reception arises from questions of its status, how its promoters are willing to present it, and how its writers grasp issues of universality and local colour.” If her concern is “the neglect of the role of translation in the promotion and reception of contemporary Chinese literature around the world”, then her real concern is about how to use translated literature to improve the status of elite literature relative to that from other nations. The questions extends to the quality of the Chinese literature. For contemporary Chinese literature to become better known outside China, literary translation is crucial. The mission should be taken by all parts: governmental agencies, commercial or academic publishers or individual translators. In the long run high-quality translation of high-quality fiction or poetry may be a more lasting way in which to enhance status. Otherwise, the most obvious way in which the Chinese state could vastly improve the status of contemporary Chinese literature in the world is by abolishing literary censorship.