One of the things that may have gotten buried in all the articles about Mo Yan receiving this year’s Nobel Prize for Literature is the fact that Seagull Books is bringing out his next work in English translation—POW!, which sounds pretty wild, and has been compared to the works of Witold Gombrowicz and Javok Lind.
Today, over at First Post, there’s an essay by Bishan Samaddar about the book.
I have little knowledge of Chinese literature. Much like Salman Rushdie, who confessed on Facebook that Mo Yan’s Red Sorghum has been lying unread on his bookshelf for ages, I have not had much inclination to pick up Chinese books. Few are available in good English translations. Only when Seagull Books, the publishing house I work for, decided to bring out an English translation of Mo Yan’s new novel POW! did I dive into this phantasmagoria.
In POW! Mo Yan writes in the voice of a child. The narrator is adult, he has decided to become a Buddhist monk, but his childhood has not left him. He recounts his experience of childhood to a certain silent Wise Monk in a ruined temple; his story flows uncontrollably. ‘Verbal diarrhea’, that disgusting cliché that I have always hated, now begins to make sense. Make no mistake about it—the flow in POW! is not just verbal. Having mostly read very middle-class-friendly books, where even the most passionate sex is prettified and lifted above the dailiness of life, POW! is most disconcerting in its obsession with the physical and the vulgar. The brutal genius of Mo Yan lies not just in making you identify with characters and situations as all great literature does but also in his refusal to omit the minutest, ugliest, most embarrassing detail of any experience. The ugliness makes the experience eerily intimate:
The old woman hobbled up to me, took a piece of turnip from her mouth and stuffed it into mine. That was sort of revolting, I don’t deny it. But thoughts of how pigeons exchange food turned revulsion into intimacy. I was reminded of something that had occurred in the past. It was back when my father had gone off to the northeast and Mother and I were surviving by dealing in scrap. We were taking a break at a roadside stall. . . . A blind couple with a chubby, fair-skinned baby were eating at the stall. The baby, obviously hungry, was crying. The woman, hearing my mother’s voice, asked if she would feed the baby. So Mother took the baby from her and a hard biscuit from the man, which she chewed into pulp before feeding him mouth to mouth. . . . I swallowed the turnip the old woman had put in my mouth and suddenly felt sharp-eyed and clear-headed.
The whole essay is interesting, but here are a few more clips that grabbed my attention:
Mo Yan is fixated on orifices. Sex, urinating, defecating aside, there is endless eating. The narrator tells us that he has had an impoverished childhood, bereft of meat, in a village famous for its meat-processing plant. There is hardly anything that is not eaten in this novel—chicken, duck, sheep, goat, dog, pig, cow, horse, donkey, ostrich. [. . .]
The pitch of life depicted in POW! is all too familiar to us Indians—there is eating, and there is vomiting; love and fornication, but also peeing and farting; passionate embraces but also the foulest of abuses; and the impossibly crude sentimental longing that one feels for one’s family. We often try not to notice the most physical aspects of this life but without them that life is pathetically incomplete.
Reading POW! I realized that the crucial thing about life is its irrationality. In a world saturated with Western narratives in which everything happens for a reason, Mo Yan is freedom. His characters have motives that are totally unfounded in reason; they are led to immense violence as well as complete renunciation in a world that we would hate to see as real but, unfortunately, is entirely real. Mo Yan has none of the fanciful flights that you encounter in Gabriel Garcia Marquez; he is a dark but hilarious continuing slapstick, a bawdy and bloody Buster Keaton. His fiction pushes its way up like grain through parched soil. And it does so only because the tale needs to be told.
Definitely check out the article, and then buy the book. I hear it’s being fast-tracked and could be available as early as the end of next month.
A Greater Music is the first in a line of steady and much-anticipated releases by Bae Suah from key indie presses (this one published by Open Letter). Building off of the interest of 2016 Best Translated Book Award longlist nominee. . .
The dislocation of individuals from the countries of their birth has long been a common theme in contemporary literature. These two short novels recently translated into English appear firmly rooted in this tradition of ex-pat literature, but their authors eschew. . .
In Melancholy, Hungarian author, critic, and art theorist László Földényi presents a panorama of more than two thousand years of Western historical and cultural perspectives on the human condition known as melancholia. In nine chapters, Földényi contrasts the hero worship. . .
Pascal Quignard’s __The Hatred of Music_ is the densest, most arcane, most complex book I’ve read in ages. It’s also a book that covers a topic so basic, so universal—almost primordial—that just about any reader will be perversely thrilled by. . .
In Gustave Flaubert’s Madame Bovary, Flaubert attempted to highlight the ordinary, tired, and often crass nature of common expressions by italicising them within the text. When Charles, Emma Bovary’s mediocre husband, expresses himself in a manner akin to that of. . .
Eliot Weinberger takes big strides across literary history in his genuinely breathtaking short work, 19 Ways of Looking at Wang Wei, tracking translations of a short ancient Chinese poem from the publication of Ezra Pound’s Cathay in 1915 to Gary. . .
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
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. . .