Over the
last few months I have been investigating translated children's literature from
mainland China. It hasn't been easy. I know that there is a lot of it in
mainland China; the four classics (三国演义-San
Guo Yan Yi,水浒传-Shui Hu Zhuan,西游记-Xi You Ji,红楼梦-Hong Lou Meng) all have numerous children's
versions and picture books, readily available in book shops, supermarkets and
street markets. Writers such as Bing
Xin, Zhang Tianyi, Sun Youjun, Sheng Ye, Zheng Yuanjie, Zhou Rui and many more
besides are familiar names in China as children's literature writers. There is
also a wealth of online Chinese literature aimed at young adults; if you look
them up on book.kanunu.org you will find they are added regularly, and there
are plenty of sites that you can find through Baidu (百度一下您就知道). The
problem is – an this could be because I haven't looked in the right place –
that I can't find much of it in English translation (I think only Sun Youjian
has some of his works translated and published that you can find on Amazon...).
One children's story that I have found from
mainland China and translated into English is in a collection of Ye Shengtao's
works. It's perhaps pertinent to note that Ye is one of the founders of children's literature
in China, or 童话-tonghua, which up until the 1920s did not
exist. Children read literature before this, of course, but they read the same
literature as adults. Tonghua came about when China was trying to adapt
to new ideas from foreign countries. The notion that children were different
from, and had different needs to, adults was one of these ideas (for more on
this see Dr Ho Laino's essay 'Children's Literature -Then and Now, 1997). This
idea seems to have stuck, as there are lots of stories and books published in
China, in Chinese, with children in mind. But what I want to know is why does
it seem like hardly any of it, if any at all, has been translated for children
in English?
I've been
looking to the translation of Ye's '稻草人’ - Dao Cao Ren – to find out
more, as it is arguably his most famous children's story. The translation by
Ying Yishi was published in 1987. I've got to admit, the story is an odd one
for a children's story, and I'm not sure it's the most likeable one I've ever
read. I don't think that as a child (spoiler alert) that I'd like to have read
about a girl who gets sold by her alcoholic father and commits suicide, and
about a sweet old lady whose husband and son have died tragically, who's lost
her money and whose crops are destroyed. Even the helpful scarecrow of the
story can do nothing, and in despair drops down in the dirt of the field. It's
a bleak tale, and the translation doesn't sugar-coat it.
But the
translation is interesting. It captures the tone of the original, that of a
children's tale, very well. The issue that I have with it is that it was put
into a collection with Ye's adult literature – How Mr Pan Weathered the
Storm. Its publication like this suggests to me that the translation was
more about preserving Chinese 'Literature' in English than about translating a Chinese
children's story for children to read. The translation also omits a religious
reference from the original, which is perhaps politically motivated, and the
scarecrow talks of how he wants to cook up something nutritious, which is
translated in a way that would not sound very delicious to a child in English
(grub guts and gruel anyone?). I get the impression that although the original
was written with children in mind at the time, its translation in 1987 did not
share this aim.
Because of
its content, it seems like an odd story
to translate for children. But why is it one of the only Chinese children's
stories in English translation? Julia Lovell, in her article last February for
Prospect magazine, noted that anglophone publishers were generally only
interested in publishing something which incites controversy -'either sex or
politics; and ideally both'. It could be that these publishers think this way
because it is what readers want; sex and politics. I've been exploring
translating children's literature in terms of Gideon Toury's norms theory, and
perhaps such desires are the stronger literary norms in anglophone
cultures. Maybe chinese literature, and
even more so for its sub-genres, is marginalised in English. If this is the
case, then I see very little hope for literature which is both 'Chinese' and
'children's literature' being translated into English and published.
I am,
however, willing to think otherwise. There might be a cornicopia of children's
literature translated into English out there, and perhaps I just haven't come
across it yet. If so, I would love to hear about it and I would love to read
some of it. I hope that there is lots out there, and that there is lots more on
the way. The sheer size of the country suggests that China has all sorts of
interesting people with interesting things to say, and with all sorts of
interesting ways of saying them. I know that China has lots of stories to tell,
and lots of children's stories that can capture the imagination, and I want to
read more of them.
Thomas
Newell translates from Chinese into English, and is currently a studying for an
MA in Literary Translation at the UEA as well as an interning for Arc
Publications. Contact thomashenrynewell@gmail.com
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