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Through active par-ticipation, it is exp-ected to deliver to the public the information about the close relationship of writers with digital publication and network literatures and to play an important role in the two areas.
Since showing up last year, Chinese Writers Pavilion has been highly spoken of and its forums of “Review and Exhibition: Chinese Literatures for the World” and “Chinese Literature Books and International Market” and “Going Out” Exhibition of Chinese Literature have drawn extensive concerns of the society. This year, at the Beijing International Book Fair (BIBF), what pleasant surprises will Chinese Writers Pavilion bring about? What new achievements and measures will Chinese Writers Association in advancing “Going Out” of Chinese Literature? Right before the 18th Beijing International Book Fair, the reporter made a special interview with Mr. He Jianming, Vice Chairman of Chinese Writers Association and President of China Writers Publishing House.
Reporter: at BIBF last year, Chinese Writers Pavilion, showing up for the first time, became one of the three highlights together with digital publication and hosting country. This year, what pleasant surprises will Chinese Writers Pavilion bring to the public?
He Jianming: right after “Going Out”, the key words for Chinese Writers Pavilion this year will be “digital publication” and “network literature”. In line with these two themes, we will highlight literature and writers , and stress on the association between the traditional writers and the digital publication and network literature as well. The traditional writers should attach great importance to such brand-new platform as digital publication. Through active participation, it is expected to deliver to the public the information about the close relationship of writers with digital publication and network literatures and to play an important role in the two areas.
Additionally, Chinese Writers Pavilion will stress on the position of network literature in today’s society and its future tendency. Years back, our traditional writers have not personally experienced the impact of network literature on traditional literature, but now they have to pay attention to the influence of network literature. The traditional writers have not fundamentally changed their way of creation and the form of publication though, their works have been impacted a lot from network, upon being marketed, and the dissemination of such works are increasingly amplified or reduced. For instance, taking advantage of the force of such network platforms as microblog, some of the works have gained more concerns from the society. In the era of the Internet, a great change has also taken place in readers’ reading interest and their evaluation standards of literature works, while some works pursuing pure literary spirit have become unknown to the public. The youngsters are nowadays increasingly used to understanding and reading works through the network platform, and for writers, writing is the basic way for them to communicate with even more readers; therefore, If such a major reading platform or means is ignored, the existing value of works will be shrunk. This equal writing style, without any threshold, is much more beneficial to network writers, who can express their ideas and values freely and display them adequately. However, as network literature works are not controlled level by level as the traditional works, they are observed with such problems as randomness and roughness and show a phenomenon of weeds among seedlings. BIBF will provide a good platform for literatures in two different forms: tradition and network to display, exchange, and impact with each. It is expected that the importance attached by Chinese Writers Pavilion to digital publication and network literature will result in a positive significance.
Reporter: a day ahead, the 8th Mao Dun Literature Prize was unveiled, attracting great attention of media and readers. How will Chinese Writers Pavilion represent the winners and works of the current Mao Dun Literature Prize?
He Jianming: last year, Chinese Writers Pavilion arranged a special exhibition area for Chinese contemporary exquisite books, for the integral exhibition of the works awarded with Mao Dun Literature Prize, Lu Xun Literature Prize and other prizes, and this year, it will set up a special area for works winning recently in the Mao Dun Literature Prize. Additionally, except for Zhang Wei and Mo Yan being abroad, other winners of Mao Dun Literature Prize, evaluation members, and responsible editors will be present at BIBF to communicate with readers. At the 2011 Chinese Literature Observation Forum held by Chinese Writers Pavilion, guests present will hold in-depth discussion on the Mao Dun Literature Prize.
In two decades of writing the book,You are on the Highland, Zhang Wei has spent all his efforts on the work and realized his dream of literature. To some extent, “You are on the Highland” also shows the stay of Zhang Wei on the highland and his literary pursuit on the highland. The work represents the highest level of contemporary writers at this stage.
Before the Mao Dun Lite-rature Prize was announced, You are on the Highland had been sold in twenty thousand copies. Upon announcement of Mao Dun Literature Prize, another 10,000 copies of the work were sold due to being given the attention. After You are on the Highland was awarded with the Prize, I heard such a voice: “the work is as long as with more than 4 million characters and only one person in China has read through the work: responsible editor.” By completely ignoring and violating the creation attitude and literary pursuit and all the efforts made by the writer, such viewpoint attached no attention to the spiritual value delivered by the important work. Before its publication, several publishing houses wanted to publish You are on the Highland, but eventually gave up due to the market factor. As a publisher, it is a big risk for me who wished to represent originally the literary dream of Zhang Wei over the last two decades; however, as Vice Chairman of Writers Association and President of Writers Publishing House, I should undertake such a literary responsibility. Upon publication of the book, I have myself been on a highland in terms of understanding publication and literature. By means of the exhibition and forum, we also hope to show, to the public, the creation attitude of contemporary literature writers and their obsessive pursuit of literature. Reporter: since its estab-lishment, what substantial roles has Chinese Writers Pavilion played?
He Jianming: being diff-erent from other units, Chinese Writers Pavilion will not focus on displaying various books. With their works, the Chinese writers show up, as an overall image, and directly face the Chinese readers and global readers and publishers, as is beneficial for Chinese and foreign readers and publishing sector to understand better the Chinese literature as well as for the workers of Chinese literature to communicate with and propagate to the society, and more importantly, it is an effective way for advancing “Going Out” of Chinese literature. Upon establishment of Chinese Writers Pavilion, writers positively participated in, showing a high acceptance by the public. Previously, at different major book fairs, writers had been all arranged for signing promotion separately, without forming a central segment and highlight. By setting up the Chinese Writers Pavilion, communication with foreign writers and publishers becomes even wider. In addition to the forum, Chinese writers have also exchanged privately with foreign writers delegations and publishers. As for the market effect, Chinese Writers Pavilion also plays a great advancing role in marketing the works of participating writers. According to our future goal, Chinese Writers Pavilion will not be merely limited to BIBF, but is expected to show up and become a highlight at China Book Fair, Shanghai Book Fair and international well-known book fairs.
Export of literature cannot be treated as economy. As for the literary works moving the internal world of people, we should not be impatient in the process of “Going Out”, but comply with its unique rule.
Reporter: for some constra-ining factors, such as translation problems encountered in the “Going Out” of Chinese literature, how to resolve such difficulties?
He Jianming: Chinese Writers Association is now in cooperation and discussion with China International Publishing Group (CIPG) and other institutions, with the hope of actually forming a strong partnership. For Chinese literature to “go out’, translation becomes a main constraining factor. In China, there are many excellent writers and works, but translation capacity is weak. With Chinese Writers Association providing contents and CIPG and others providing translation forces and channels, it is expected to resolve the shortage of translation talents in the process of “Going Out”. Recently, I met with Vice President of Amazon, who reflected that in translating the works of Chinese writers, it seemed to be comparatively scrappy due to that they scattered in different publishing houses. I introduced to him that Chinese Writers Association aggregates rich resources of Chinese excellent writers. We hope to establish a work base of Chinese writers so that foreign publishers can have a definite objective in introducing Chinese works. Meanwhile, foreign publishers are expected to have an in-depth understanding of China and Chinese writers. In the contemporary literature, they have missed numerous excellent works in the corners they have not been aware of. We also hope that in introducing Chinese literature, they will not be limited to novels only, but should also include various varieties such as poems, essays and documentary literature.
Reporter: in the coming years, what will the “Going out” of Chinese literature focus on?
He Jianming: more impo-rtantly, our writers need to create outstanding works. On the premise of being accepted and read easily by overseas readers, they should write works that can reflect the status of contemporary China and style and outlook of contemporary Chinese people.
The process for cultural “Going Out” should be mild and gentle and export of literature cannot be treated as economy. As for the literary works moving the internal world of people, we should not be impatient in the process of “Going Out”, but comply with its unique rule. It is just like Hollywood culture that started to be unconsciously accepted though being not much accepted by the public upon accessing the Chinese market. Besides, Hollywood culture has played a positive role in advancing the Chinese culture industry to some extent. With more and more foreigners coming to study and work in China, they also start to write about their real experiences in China; many of the Chinese have also started to write in English, introducing the Chinese culture to foreigners, as will be the development trend for the future. Actually, Chinese literature has never stopped in “Going Out”. In recent years, in addition to UK and USA, Japan, South Korea and other countries have also shown concerns over the Chinese literature, and this is a pleasing achievement.
Due to various constraining factors, Chinese Literature still has a long way for “Going Out”. However, just like the social development of China, Chinese literature has attracted high concerns of the world. As China develops and enhances its strength and different types of cooperation and exchange increase, Chinese Literature shows a bright prospect in going global.
(Excerpted from China Press & Publication Journal , September 6, 2011)
Since showing up last year, Chinese Writers Pavilion has been highly spoken of and its forums of “Review and Exhibition: Chinese Literatures for the World” and “Chinese Literature Books and International Market” and “Going Out” Exhibition of Chinese Literature have drawn extensive concerns of the society. This year, at the Beijing International Book Fair (BIBF), what pleasant surprises will Chinese Writers Pavilion bring about? What new achievements and measures will Chinese Writers Association in advancing “Going Out” of Chinese Literature? Right before the 18th Beijing International Book Fair, the reporter made a special interview with Mr. He Jianming, Vice Chairman of Chinese Writers Association and President of China Writers Publishing House.
Reporter: at BIBF last year, Chinese Writers Pavilion, showing up for the first time, became one of the three highlights together with digital publication and hosting country. This year, what pleasant surprises will Chinese Writers Pavilion bring to the public?
He Jianming: right after “Going Out”, the key words for Chinese Writers Pavilion this year will be “digital publication” and “network literature”. In line with these two themes, we will highlight literature and writers , and stress on the association between the traditional writers and the digital publication and network literature as well. The traditional writers should attach great importance to such brand-new platform as digital publication. Through active participation, it is expected to deliver to the public the information about the close relationship of writers with digital publication and network literatures and to play an important role in the two areas.
Additionally, Chinese Writers Pavilion will stress on the position of network literature in today’s society and its future tendency. Years back, our traditional writers have not personally experienced the impact of network literature on traditional literature, but now they have to pay attention to the influence of network literature. The traditional writers have not fundamentally changed their way of creation and the form of publication though, their works have been impacted a lot from network, upon being marketed, and the dissemination of such works are increasingly amplified or reduced. For instance, taking advantage of the force of such network platforms as microblog, some of the works have gained more concerns from the society. In the era of the Internet, a great change has also taken place in readers’ reading interest and their evaluation standards of literature works, while some works pursuing pure literary spirit have become unknown to the public. The youngsters are nowadays increasingly used to understanding and reading works through the network platform, and for writers, writing is the basic way for them to communicate with even more readers; therefore, If such a major reading platform or means is ignored, the existing value of works will be shrunk. This equal writing style, without any threshold, is much more beneficial to network writers, who can express their ideas and values freely and display them adequately. However, as network literature works are not controlled level by level as the traditional works, they are observed with such problems as randomness and roughness and show a phenomenon of weeds among seedlings. BIBF will provide a good platform for literatures in two different forms: tradition and network to display, exchange, and impact with each. It is expected that the importance attached by Chinese Writers Pavilion to digital publication and network literature will result in a positive significance.
Reporter: a day ahead, the 8th Mao Dun Literature Prize was unveiled, attracting great attention of media and readers. How will Chinese Writers Pavilion represent the winners and works of the current Mao Dun Literature Prize?
He Jianming: last year, Chinese Writers Pavilion arranged a special exhibition area for Chinese contemporary exquisite books, for the integral exhibition of the works awarded with Mao Dun Literature Prize, Lu Xun Literature Prize and other prizes, and this year, it will set up a special area for works winning recently in the Mao Dun Literature Prize. Additionally, except for Zhang Wei and Mo Yan being abroad, other winners of Mao Dun Literature Prize, evaluation members, and responsible editors will be present at BIBF to communicate with readers. At the 2011 Chinese Literature Observation Forum held by Chinese Writers Pavilion, guests present will hold in-depth discussion on the Mao Dun Literature Prize.
In two decades of writing the book,You are on the Highland, Zhang Wei has spent all his efforts on the work and realized his dream of literature. To some extent, “You are on the Highland” also shows the stay of Zhang Wei on the highland and his literary pursuit on the highland. The work represents the highest level of contemporary writers at this stage.
Before the Mao Dun Lite-rature Prize was announced, You are on the Highland had been sold in twenty thousand copies. Upon announcement of Mao Dun Literature Prize, another 10,000 copies of the work were sold due to being given the attention. After You are on the Highland was awarded with the Prize, I heard such a voice: “the work is as long as with more than 4 million characters and only one person in China has read through the work: responsible editor.” By completely ignoring and violating the creation attitude and literary pursuit and all the efforts made by the writer, such viewpoint attached no attention to the spiritual value delivered by the important work. Before its publication, several publishing houses wanted to publish You are on the Highland, but eventually gave up due to the market factor. As a publisher, it is a big risk for me who wished to represent originally the literary dream of Zhang Wei over the last two decades; however, as Vice Chairman of Writers Association and President of Writers Publishing House, I should undertake such a literary responsibility. Upon publication of the book, I have myself been on a highland in terms of understanding publication and literature. By means of the exhibition and forum, we also hope to show, to the public, the creation attitude of contemporary literature writers and their obsessive pursuit of literature. Reporter: since its estab-lishment, what substantial roles has Chinese Writers Pavilion played?
He Jianming: being diff-erent from other units, Chinese Writers Pavilion will not focus on displaying various books. With their works, the Chinese writers show up, as an overall image, and directly face the Chinese readers and global readers and publishers, as is beneficial for Chinese and foreign readers and publishing sector to understand better the Chinese literature as well as for the workers of Chinese literature to communicate with and propagate to the society, and more importantly, it is an effective way for advancing “Going Out” of Chinese literature. Upon establishment of Chinese Writers Pavilion, writers positively participated in, showing a high acceptance by the public. Previously, at different major book fairs, writers had been all arranged for signing promotion separately, without forming a central segment and highlight. By setting up the Chinese Writers Pavilion, communication with foreign writers and publishers becomes even wider. In addition to the forum, Chinese writers have also exchanged privately with foreign writers delegations and publishers. As for the market effect, Chinese Writers Pavilion also plays a great advancing role in marketing the works of participating writers. According to our future goal, Chinese Writers Pavilion will not be merely limited to BIBF, but is expected to show up and become a highlight at China Book Fair, Shanghai Book Fair and international well-known book fairs.
Export of literature cannot be treated as economy. As for the literary works moving the internal world of people, we should not be impatient in the process of “Going Out”, but comply with its unique rule.
Reporter: for some constra-ining factors, such as translation problems encountered in the “Going Out” of Chinese literature, how to resolve such difficulties?
He Jianming: Chinese Writers Association is now in cooperation and discussion with China International Publishing Group (CIPG) and other institutions, with the hope of actually forming a strong partnership. For Chinese literature to “go out’, translation becomes a main constraining factor. In China, there are many excellent writers and works, but translation capacity is weak. With Chinese Writers Association providing contents and CIPG and others providing translation forces and channels, it is expected to resolve the shortage of translation talents in the process of “Going Out”. Recently, I met with Vice President of Amazon, who reflected that in translating the works of Chinese writers, it seemed to be comparatively scrappy due to that they scattered in different publishing houses. I introduced to him that Chinese Writers Association aggregates rich resources of Chinese excellent writers. We hope to establish a work base of Chinese writers so that foreign publishers can have a definite objective in introducing Chinese works. Meanwhile, foreign publishers are expected to have an in-depth understanding of China and Chinese writers. In the contemporary literature, they have missed numerous excellent works in the corners they have not been aware of. We also hope that in introducing Chinese literature, they will not be limited to novels only, but should also include various varieties such as poems, essays and documentary literature.
Reporter: in the coming years, what will the “Going out” of Chinese literature focus on?
He Jianming: more impo-rtantly, our writers need to create outstanding works. On the premise of being accepted and read easily by overseas readers, they should write works that can reflect the status of contemporary China and style and outlook of contemporary Chinese people.
The process for cultural “Going Out” should be mild and gentle and export of literature cannot be treated as economy. As for the literary works moving the internal world of people, we should not be impatient in the process of “Going Out”, but comply with its unique rule. It is just like Hollywood culture that started to be unconsciously accepted though being not much accepted by the public upon accessing the Chinese market. Besides, Hollywood culture has played a positive role in advancing the Chinese culture industry to some extent. With more and more foreigners coming to study and work in China, they also start to write about their real experiences in China; many of the Chinese have also started to write in English, introducing the Chinese culture to foreigners, as will be the development trend for the future. Actually, Chinese literature has never stopped in “Going Out”. In recent years, in addition to UK and USA, Japan, South Korea and other countries have also shown concerns over the Chinese literature, and this is a pleasing achievement.
Due to various constraining factors, Chinese Literature still has a long way for “Going Out”. However, just like the social development of China, Chinese literature has attracted high concerns of the world. As China develops and enhances its strength and different types of cooperation and exchange increase, Chinese Literature shows a bright prospect in going global.
(Excerpted from China Press & Publication Journal , September 6, 2011)