{"id":797,"date":"2019-04-09T11:30:15","date_gmt":"2019-04-09T10:30:15","guid":{"rendered":"http:\/\/blogs.exeter.ac.uk\/translatingwomen\/?p=797"},"modified":"2019-04-09T11:30:15","modified_gmt":"2019-04-09T10:30:15","slug":"the-chilli-bean-paste-clan-yan-ge-nicky-harman","status":"publish","type":"post","link":"https:\/\/sites.exeter.ac.uk\/translatingwomen\/2019\/04\/09\/the-chilli-bean-paste-clan-yan-ge-nicky-harman\/","title":{"rendered":"The Chilli Bean Paste Clan: author Yan Ge and translator Nicky Harman debate their novel and its anti-hero"},"content":{"rendered":"

Following on from last week’s review<\/a> of\u00a0The Chilli Bean Paste Clan<\/em> (Balestier Press, 2018), I’m delighted to bring you this exclusive interview with author Yan Ge<\/a>\u00a0<\/strong>by translator\u00a0Nicky Harman<\/a>.<\/strong><\/p>\n

Set in a fictional town in West China, this is the story of the Duan-Xue family, owners of the lucrative chilli bean paste factory, and their formidable matriarch. As Gran\u2019s eightieth birthday approaches, her middle-aged children get together to make preparations. Family secrets are revealed and long-time sibling rivalries flare up with renewed vigour. As her son Shengqiang (Dad) struggles unsuccessfully to juggle the demands of his mistress, his mother and his wife, the biggest surprises of all come from Gran herself\u2026<\/em><\/p>\n

\"\"

Yan Ge and Nicky Harman, images from the authors<\/p><\/div>\n

NH:<\/strong> I was introduced to your writing by Ou Ning<\/a>, founder and editor of the influential Chinese-English avant-garde literary magazine, Chutzpah<\/em><\/a>. At that time, 2011, you had submitted chapters 1 and 2 of The Chilli Bean Paste Clan<\/em> to him, under the title \u2018Dad\u2019s Not Dead\u2019, and I translated them. I was immediately impressed by the fresh, direct way you depicted these squabbling, middle-aged siblings and the foul-mouthed philandering Dad, a small-town businessman, who is its (anti)hero. The novel is very different from any of your previous writing, which is both more literary and has more fantasy elements. You\u2019ve written that this shift of style and topic was a deliberate decision on your part and you\u2019ve written very amusingly<\/a> about your struggles:<\/p>\n

\u2018It took me so long to find the voice of The Chilli Bean Paste Clan<\/em>, or the voice of Xue Shengqiang (Dad), because it was by no means my natural voice. \u2026 I wrote and rewrote the first chapter so many times and none of these worked. \u2026So one day, in Durham (USA), I was on my way back home from the campus and I passed a petrol station. And there came my epiphany! I went in and purchased a pack of cigarettes (White Marlboro, I will never forget). With that I went back home, sat by my table, clumsily lit a cigarette and started to imagine Xue Shengqiang\u2019s life. And that was when it came to me that he cursed a lot<\/u>. So I wrote another version of the beginning of the story with a cigarette dangling between my lips and tears in my eyes (from the smoke). But it worked. It was his voice and I was very happy. So I actually smoked a lot when I was working on The Chilli Bean Paste Clan<\/em>. Chain-smoking in the middle of the night. Typing and cursing along with Xue Shengqiang. Sure enough, after I finished the book I returned to being a non-smoker.\u2019<\/p><\/blockquote>\n

You once said that when you re-read your novel a year or so later, you realised how angry you were when you wrote it. Can you say a bit more about that?<\/p>\n

YG:<\/strong> I started writing the Chilli Bean Paste Clan when I was 26 and I had published several books. As a young woman, I struggled to survive in an industry that was more or less dominated by middle-aged men and I was constantly cringing at their behaviour.\u00a0I suppose a lot of things I saw or experienced made me unsettled and in a sense, disorientated. And to write The Chilli Bean Paste Clan<\/em>, especially to write it in a different country, was my way of \u2018writing up\u2019 or \u2018writing back\u2019 to the patriarchal world that I couldn\u2019t really stomach. On the other hand, I was very conscious that a work of fiction should be a neutral ground and the writer\u2019s personal feelings should not dominate the narrative. So one of the principles for the novel was that I should withdraw myself, in particular, my identity as a young woman.\u00a0But I suppose I can\u2019t really erase myself and my personal emotions, especially they are the things that propelled me to write this novel. So years later, when I reread it, I saw this very angry young woman behind the novel, and her muted anger permeates through the pages. It was both surprising and heartening.<\/p>\n

NH:<\/strong> One thing I found most difficult to grasp as I translated the novel was the undercurrents in the relationships between the main family members: Dad and Gran, Mum and Gran (her mother-in-law), and Dad and his brother in particular. To put it simply, I failed to pick up on some of the hidden hostility. Some examples: In the first chapter, Mum and Dad are interrupted in bed by a phone call from Gran. Mum asks Dad: \u2018\u4f60\u5988<\/u>\u6253\u7535\u8bdd\u6765\u53c8\u4ec0\u4e48\u4e8b?\u2019 My original version was a neutral: \u2018What\u2019s your mother on about now?\u2019 You pointed out to me that she\u2019s being deliberately offensive about the mother-in-law she detests, by referring to her as \u2018your mother\u2019 instead of \u2018Mother\u2019. (In the traditional Chinese family, the woman becomes part of her husband\u2019s family, so his mother is her mother too.) After we talked about this, my translation became \u2018What\u2019s up with that mother of yours<\/u> now?\u2019<\/p>\n

At the beginning of chapter 2, Dad is enjoying a few leisurely moments with a cigarette. His thoughts wander and we read that \u2018\u4ed6\u5fcd\u4e0d\u4f4f\u5c31\u8981\u5f00\u59cb\u60f3<\/u><\/strong>\u5976\u5976\u6b7b\u4e86\u7684\u4e8b\u4e86\u2019, literally, he can\u2019t help thinking<\/u> of Gran\u2019s death. \u60f3<\/u> can be \u2018want \u2018 as well as \u2018think\u2019 but I simply couldn\u2019t believe that he really wanted his mother to die so I glossed \u2018think\u2019 into the noun \u2018anxieties\u2019 (about her death). One of Dad\u2019s redeeming features is that he\u2019s actually a properly dutiful son and he doesn\u2019t acknowledge his deeply-buried hostility to anyone, even himself, so it seemed logical to assume that his thoughts were anxious. However, after you and I discussed Dad\u2019s conflicted attitude to his mother, I changed \u2018think\/thoughts\u2019 to the more ambivalent \u2018daydreams\u2019. I think there\u2019s something that\u2019s culturally very Chinese about this subtlety of language. Do you agree?<\/p>\n

YG:<\/strong> Yes I do. I remembered when I first left China and lived in the US, I found people shockingly straightforward and it really took me quite some time to adjust. In general I think Chinese language is more abstract compared with English, and this allows a fluidity in both the langue and the culture. To be obscure is almost a virtue in China. Especially in this case, in the love\/hate relationship with his mother, Shengqiang (Dad) cannot say what he really feels and he cannot even admit it to himself.<\/p>\n

NH:<\/strong> There have been quite different reactions to The Chilli Bean Paste Clan<\/em>, centring on a certain moral ambivalence in the story. Some readers can forgive Dad for being a profligate womanizer, others can\u2019t. For Leeds Centre for New Chinese Writing Book Reviews<\/a>, Kate Costello writes: \u2018Yan Ge\u2019s endearing if not entirely sympathetic characters grab you from the first page. Shengqiang (Dad) is delightfully dysfunctional from the very moment we lay eyes on him. He is a rare literary figure that manages to tear at our heartstrings even while we look down on his reprehensible behaviour and laugh at his vanity.\u2019 While Amy Mathewson says: \u2018\u2026in this era of Trump and the #MeToo campaign, I found it difficult to laugh away the misadventures and foibles of Shengqiang. There is much awareness of the long-term effects of sexual harassment that has been highlighted recently and the treatment of the young hostesses by the older men during the drinking engagements made me cringe\u2026\u2019\u00a0 Did you deliberately sit on the fence and avoid moral condemnation?<\/p>\n

YG:<\/strong> Absolutely. I don\u2019t think a good fiction writer should judge any of her characters. But at the same time I feel my stand was very clear. I remember we had a discussion when you were translating a particular scene (Dad going to a night club), and I expressed to you that the idea was to make the scene extreme and Dad\u2019s behaviour revolting \u2013 and that was where I stand. I did not write the scene for the reader to appreciate or enjoy, I wrote it this way so the reader would be disgusted and see the absurdity in him and his world.<\/p>\n

NH:<\/strong> You and I have talked and blogged quite a lot elsewhere<\/a> about the challenges of translating Dad\u2019s colourful obscenities, but here I\u2019d like to say something about a different sort of challenge: how to translate the author\u2019s hints without either giving the game away, or making the English so obscure that the reader is left bamboozled. Our novel is full of family secrets, hinted at throughout but only revealed at the end. We the readers have to guess what these secrets are, just as the protagonists in the story do. In the words of another translator<\/a>, Natascha Bruce, \u2018\u2026the translator, somehow, has to be orientated enough not to spin things in ways [the author] doesn\u2019t intend, and to notice the clues she\u2019s laid for piecing things together.\u2019 A key part of the denouement in The Chilli Bean Paste Clan<\/em> are the commemorative couplets unveiled at Gran\u2019s 80th<\/sup> birthday party, in which the calligrapher blows the whistle on Gran\u2019s past life.<\/p>\n

Here is the second line of the couplet in Chinese:<\/p>\n

\u6625\u5a1f\u767e\u8f7d\uff0c\u59dc\u6842\u5ead\u4e2d\u8fce\u7075\u9f9f\u3002
\nMay Spring Grace enjoy a hundred years, may the fragrant hall welcome the clever turtle.<\/p><\/blockquote>\n

Spring Grace is the name of the factory, and alludes to the personal name of its owner, Gran: \u82f1\u5a1f, Brave Grace. The turtle is a common symbol of longevity in China, but in the famous erotic novel Plum in the Golden Vase<\/em>, the clever turtle\u7075\u9f9f refers to the hero\u2019s penis, and the hinted-at appendage is getting a warm welcome! The allusion to one of China\u2019s most famous classic novels defeated me and I omitted it on the grounds that it wouldn\u2019t be recognisable to an English-language reader.<\/p>\n

The lines are a sly reference to a secret from Gran\u2019s past and they are intentionally obscure (the guests don\u2019t understand the allusion, though Gran does and is mortified). They contain classical allusions and, dammit, the couplet has to rhyme! The challenge was to produce a rhyming couplet that hinted without telling. I ended up in English with this translation:<\/p>\n

Long life to our distinguished Madame May
\nAs we celebrate her eightieth birthday
\nLong life to the Mayflower Factory,
\nWhere the fragrant vats embrace the stalk of longevity.<\/p><\/blockquote>\n

Wherein, in order to achieve a rhyme I was happy with, not just Gran but also the factory acquired completely different names. Having arrived at my translation of these four lines in the final pages (after an interesting discussion with you), I then had to go back to the beginning of the novel and re-name both the factory (making it the Mayflower Factory) and its owner (making her May and adding Madame in front for good measure).<\/p>\n

One final question, you wrote this story, was it, eight years ago? Would you write it differently now? For example, because the cultural climate in Sichuan towns or in China has changed? Or because you feel differently as a writer and as a woman?<\/p>\n

YG:<\/strong> Yes, it was eight years ago. (Where has the time gone?) Of course it\u2019ll be very different if I write it now. For instance, I\u2019ll not be that angry or maybe even angrier \u2013 who knows? The world I see is still puzzling and unsettling to me, and that is why I have to keep writing.<\/p>\n","protected":false},"excerpt":{"rendered":"

Following on from last week’s review of\u00a0The Chilli Bean Paste Clan (Balestier Press, 2018), I’m delighted to bring you this exclusive interview with author Yan Ge\u00a0by translator\u00a0Nicky Harman. 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