This is the fifth entry in our series covering all twenty-five Reading the World 2008 titles. (We’re 20% of the way there!) Write-ups of the other titles can be found here. And information about the Reading the World program—a special collaboration between publishers and independent booksellers to promote literature in translation throughout the month of June—is available at the official RTW website.
The Corpse Walker is one of the few titles in Reading the World history that’s nonfiction. Voices from Chernobyl by Svetlana Alexievich was part of the program a few years back (the same year it won the National Book Critics Circle Award for Nonfiction). Similar to Voices, Corpse Walker is a collection of oral histories. In this case, Liao Yiwu interviewed twenty-seven ordinary Chinese citizens from the “bottom of Chinese society: people for whom the ‘new’ China—the China of economic growth and gloablization—is no more beneficial than the old.”
With a good writer as interviewer, these sorts of books can be incredibly interesting and enjoyable. And in this case, thelist of people interviewed sounds fascinatingl:
Here are a professional mourner, a trafficker in humans, a leper, an abbot, a retired government official, a former landowner, a mortician, a fen shui master, a former Red Guard, a political prisoner, a village teacher, a blind street musician, a Falun Gong practitioner, and many others [. . .]
Liao Yiwu himself is a pretty interesting guy. According to the flap copy, he spent four years in prison for writing an epic poem condemning the killings on Tiananmen Square.
Liao’s interviewees, most of them having no place in the official history nor voices that can reach a wide audience, prove to be among the best storytellers from the country. Reading The Corpse Walker is like walking with Liao: Even though our feet are not blistered and our bodies are not starved, in the end we are shaken and moved.
The World: Are works of non-fiction regularly censored in China?
Huang: “The Corpse Walker” was published and banned in 2002. But today a growing number of non-fiction works are published without interference from the police, even though some of these books criticize corruption in the government. In fact, books about the lives of real life people are enormously popular today — true stories sell well in China. But the government’s heavy hand, via self-censorship among publishers, still influences what is printed. If an author tackles a sensitive topic and publishers feel that the government would disapprove, they market it as fiction. So you have a paradox: on the one hand, more non-fiction is available, on the other, censorship continues because publishers are reluctant to print anything that might be seen by the authorities as threatening China’s economic stability, its carefully maintained image of wide spread economic prosperity.
There’s also an interesting bit in the interview on the difficulties of translating this book:
Still, some parts of Liao’s book were not translatable. The reason we picked 27 stories out of the 60 in the Chinese version was because of cultural reasons and the challenges posed by the speaker’s dialect, which in some cases was impossible to translate. There was one interviewee who talked about prisoners, drawing on a particular language that inmates use when torturing each other. It was a very interesting story but I gave up on it because I couldn’t capture its flavor in English.
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .