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07/10/2025

《骨皮肉》中英雙語版發表會:當文學跨越語言邊界
Bilingual Edition Launch: When Literature Crosses the Boundaries of Language

日期:2025/10/18(六)
時間:19:00-20:00
地點:底加書店(台北市中正區羅斯福路四段24巷13號B1)
講者:顔艾琳(作者)
與談:羅秀芝(獨立策展人╱紀錄片導演)

《骨皮肉》是臺灣詩人顏艾琳的代表作,以其對女性特質的坦率探索和一系列情慾詩,在文壇掀起廣泛討論,她以詩的語言書寫身體與存在的邊界,記錄女性在現實與意識之間的掙扎與感知。

《骨皮肉》中英雙語版則以譯者簡莉芳的全新譯本,再現詩集的節奏與肌理,讓語言在轉換中生成新的意義與層次。

發表會邀請策展人,也是紀錄片導演羅秀芝與作者對談,從「語言的再生」與「身體的敘事」兩個面向,探討詩如何在翻譯與轉譯之間繼續呼吸。

這是一場關於文字、聲音與理解的對話——
當語言跨越邊界,文學將如何被重新閱讀與聽見。

p.s. 現場可簽書

#骨皮肉 #中英雙語版 #顔艾琳 #底加書店 #島座放送

06/10/2025

[𝐍𝐄𝐖 Cha: An Asian Literary Journal 𝐄𝐗𝐂𝐋𝐔𝐒𝐈𝐕𝐄—𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖] In this interview, poet and critic Tiffany Troy speaks with translator Chenxin Jiang about her recent rendering of 𝑓𝑜𝑟 𝑛𝑜𝑤 𝐼 𝑎𝑚 𝑠𝑖𝑡𝑡𝑖𝑛𝑔 ℎ𝑒𝑟𝑒 𝑔𝑟𝑜𝑤𝑖𝑛𝑔 𝑡𝑟𝑎𝑛𝑠𝑝𝑎𝑟𝑒𝑛𝑡 (Zephyr Press, 2025) by Hong Kong poet, filmmaker, and scholar Yau Ching.

Chenxin Jiang:

/ I describe Yau Ching’s language as Cantonese-inflected standard Chinese because I think that description is more accurate than calling it Cantonese per se: her writing is generally perfectly intelligible to non-Cantonese-speaking readers of standard Chinese, but here and there she slips in a Cantonese word or form of grammatical usage. The indignation that Yau Ching describes certainly has a linguistic edge to it: it is anchored in part in the disregard for local identity that animates the line “if your name is not an English name / the island will give you one.” (Yau Ching does not go by what Hong Kong people would recognise as an “English” or Western name; as a person who has a Chinese pinyin name, I can attest that when I was growing up in Hong Kong I was asked once a week whether I had an English name.)

It is worth noting that the poem does not explicitly identify its titular island as Hong Kong—and Yau Ching herself would observe that Taiwan is also a plausible referent. In the English, I mostly render the indignant quotational shouts (“go north! north! north!” “shame! shame! shame!”) using repetition that mirrors the Chinese, with the exception of the cluster foreign/cosmopolitan/the world (in the line “it’s a multinational corporation shouting about being foreign! / cosmopolitan! the world!”) for 國際. To my ear, this was helpful in breaking up the repetition in the stanza and avoiding the five-syllable mouthful “international.” But I think it also captures some of the complexity and resentment that comes with the extreme disparity in wealth mentioned elsewhere in the stanza. /

⧉ 𝐑𝐞𝐚𝐝: https://chajournal.blog/2025/10/05/chenxin-jiang/
。。。。。

🎙️  : In Conversation with Yang Hao — Writing, Translation & a Changing World📍 Trinity Centre for Literary and Cultural ...
29/09/2025

🎙️ : In Conversation with Yang Hao — Writing, Translation & a Changing World

📍 Trinity Centre for Literary and Cultural Translation, Trinity College Dublin
📅 Wed, 15 October 2025
🕡 6:30–8:00pm

Speakers
• Yang Hao (author of Diablo’s Boys)
• Nicky Harman (translator)
• Michael Day (translator)
• Mark O’Connell (Irish writer)
• Professor Peter Arnds (TCD)

Novelist Yang Hao, author of Diablo’s Boys (Balestier 2025), joins her translators Nicky Harman and Michael Day, Irish writer Mark O’Connell, and Professor Peter Arnds for a wide-ranging conversation on craft, translation, and our changing world. Hao will also discuss her new short-story collection The Long Slumber (《大眠》)—much of it written in Dublin—with two stories already available in English.

🎟️ Book tickets: https://www.tickettailor.com/events/tclct/1880221

Writing, Translation, and the Changing World: Yang Hao in Conversation – Trinity Centre for Literary and Cultural Translation, Wed 15 Oct 2025 - Chinese novelist Yang Hao, whose Diablo’s Boys was recently published in English, will be in conversation with her translators Nicky Harman and Michae...

✨ Isle of the Austronesian, edited by Chang Ti-Han and Hsieh Hsin-ChinThis powerful anthology highlights perspectives of...
21/09/2025

✨ Isle of the Austronesian, edited by Chang Ti-Han and Hsieh Hsin-Chin

This powerful anthology highlights perspectives often overlooked—queer, urban, and female Indigenous experiences—showcasing the richness and diversity of Taiwan’s Indigenous cultures.

📖 Featured translated literature:

From the Moment We Parted Ways ~ Austronesian beneath the Southern Cross by Salizan Takisvilainan (tr. Catherine Xinxin Yu)

The Wind Walker by Ahronglong Sakinu (tr. Wang Jo-Hsuan)

The Dorado’s Spirit by Syaman Rapongan (tr. Kyle Shernuk)

The Teacher’s Village by Ma Yi-Hang (tr. Eleanor Goodman)

Tminum Yaku, Weaving and Me by Apyang Imiq (tr. Eleanor Goodman)

My Mother’s Juancun Days by Liglav A-wu (tr. Catherine Xinxin Yu)

📖 Featured articles:

Narrating the Isle: Indigeneity and the Remapping of Taiwanese Literature Chang Ti-Han and Hsieh Hsin-Chin

A Concerto of Identities: A Brief History of Ethnic Consciousness among Taiwan’s Indigenous Peoples Sun Ta-Chuan (Paelabang Danapan). Adapted by Zhang Yi-Wen. Translated by Amanda Ruiqing Flynn

The Light and Shade of the Mountain Forests: The History of Land Use in Taiwan’s Mountainous Areas Kuan Da-Wei (Daya). Adapted by Tsai Yi-Chen. Translated by Aoife Cantrill

Sailing Towards the Austronesian World Chen Chih-Fan. Adapted by Lin Chi-Han. Translated by Wang Jo-Hsuan

Where is Our Refuge? The Plight of Q***r Indigenous People in Cities and in Their Communities Ciwang Teyra, Huang Chao-Kai and Hsieh Wan-Rong. Adapted by Chang Hao-Tang. Translated by Aoife Cantrill

The Journey of Indigenous Women Yang Tsui. Adapted by Ring Anchi. Translated by Amanda Ruiqing Flynn

More than an anthology, this book reimagines Taiwan not just as an East Asian society but as an oceanic and Austronesian world-making space, where Indigenous voices lead conversations on history, sovereignty, and cultural renewal.

edited by Chang Ti-Han and Hsieh Hsin-Chin. Isle of the Austronesian: Indigeneity, World-Making and Taiwan brings together powerful literary and scholarly voices to explore the dynamic contours of Indigeneity in Taiwan. This anthology features poetry, stories, and essays that reflect on land, memory...

✨ New Release: Bone Skin Flesh 骨皮肉 ✨ 「愛情非霜淇淋。你說,也不全然固定或者流動那麼,在這間小小的房裡,空氣中填塞的是什麼?狡黠的你賊賊答我:欲望是甜的,而房間是方糖。因此,我們互相調劑彼此的體味」The...
21/09/2025

✨ New Release: Bone Skin Flesh 骨皮肉 ✨

「愛情非霜淇淋。
你說,也不全然固定
或者流動
那麼,在這間小小的房裡,
空氣中填塞的是什麼?
狡黠的你賊賊答我:
欲望是甜的,
而房間是方糖。
因此,
我們互相調劑彼此的體味」

The bilingual edition of Bone Skin Flesh by Taiwanese poet Yen Ai-Lin 顏艾琳, now translated into English for the first time by Jenn Marie Nunes.

Originally published in Chinese in 1997, this landmark collection of contemporary Taiwanese poetry delves into the feminine—its desires, violences, and contradictions—with language that is visceral, imagistic, and unrelenting. Here, the body is never just metaphor: truth is spit, the sky a leaking breast, the moon a tongue pressed to skyscrapers. Women—mother, lover, crone—appear as mythic and ordinary, tender and grotesque.

Infused with punk spirit and kin to the Gurlesque, Yen’s poems claim the feminine as a site of rebellion, pleasure, and creation. Bone Skin Flesh is poetry that demands not only to be read, but lived with.

“Ai-lin writes as a poet of humanity’s true homeland, free from parochial traditions. Her words affirm human values and open new horizons, making her one of Taiwan’s most respected and cherished contemporary voices.”
— Zheng Chouyu (鄭愁予), Poet

This edition, translated by poet and scholar Jenn Marie Nunes, allows Yen Ai-Lin’s powerful voice to reach new readers while preserving the intensity and intimacy of her original work.



by Yen Ai Lin. Translated by Jenn Marie Nunes. First published in Chinese in 1997, now appears in a bilingual edition with its first English translations by Jenn Marie Nunes. A landmark in contemporary Taiwanese poetry, these poems revel in the feminine-its desires, violences, and contradictions-thr...

28/08/2025

[𝐅𝐑𝐎𝐌 Cha: An Asian Literary Journal 𝐀𝐑𝐂𝐇𝐈𝐕𝐄𝐒] Serena De Marchi reviews Liu Liangcheng’s 𝐵𝑒𝑎𝑟𝑖𝑛𝑔 𝑊𝑜𝑟𝑑 (Balestier Press, 2023), translated by Jeremy Tiang:

/ In Liu’s novel, everything comes alive, and every creature has agency: donkeys see sounds and ghosts, dogs decide when the moon will appear in the sky at night (which is why they howl at it), and chickens, with their crows, determine when day breaks. But, most importantly, in Liu’s novel, everything wants to speak, everyone has sounds to make and heavenly castles to build. The novel is a journey into the crevices of language, the dark spots where limitations become possibilities and vice versa. Ku and Hsieh’s ordeal through the desert speak to our human desire of communicating with what is outside of us—be it other humans, creatures, things—while at the same time pointing out the cruel irony: we are mostly bad at it (and that’s how wars start).

If we consider the etymological meaning of the English word “translate”, which is “to carry across” (from the Latin 𝑡𝑟𝑎𝑛𝑠– and 𝑙𝑎𝑡𝑢𝑠), we realise that Liu’s novel really is a story of translation, of what it means to 𝑐𝑎𝑟𝑟𝑦 𝑎𝑐𝑟𝑜𝑠𝑠 sounds and creatures. Ku, then, is the archetypal translator—the one who does the act of carrying. In fact, it was interesting to find out that the Chinese character used for the name of Ku is “库”, which literally means “warehouse”. This would make our protagonist an archive of some sort, a travelling repository of a people’s memory that war and time threaten to destroy or simply leave behind. /

⧉ 𝐑𝐞𝐚𝐝 𝐭𝐡𝐞 𝐫𝐞𝐯𝐢𝐞𝐰 𝐡𝐞𝐫𝐞: https://chajournal.blog/2023/06/09/bearing-word/
。。。。。

27/08/2025

[𝐅𝐑𝐎𝐌 Cha: An Asian Literary Journal 𝐀𝐑𝐂𝐇𝐈𝐕𝐄𝐒] Astrid Møller-Olsen reviews Soon Ai Ling’s 𝐷𝑖𝑎𝑠𝑝𝑜𝑟𝑖𝑐 (Balestier Press, 2023), translated by Yeo Wei Wei):

/ Soon Ai Ling’s short stories weave cultural trajectories from Guangdong, Hong Kong, the UK, Malaysia, and Singapore into a rich fabric of personal experiences and artistic passions. Each story centres around a particular craft, from which vantage point it explores the relationships between cultural heritage and innovation, and between past and future homelands. As each story generates its own pattern, the variety of Chinese-speaking diasporas is showcased, as well as the internal diversity of dynastic China and of the PRC today. In 𝐷𝑖𝑎𝑠𝑝𝑜𝑟𝑖𝑐, cultural influence is not a unilinear movement from an imagined core to a perceived periphery but rather a continuous process of artistic experimentation and cross-cultural inspiration that is inextricably entwined with personal histories of migration. /

⧉ 𝐑𝐞𝐚𝐝 𝐭𝐡𝐞 𝐫𝐞𝐯𝐢𝐞𝐰 𝐡𝐞𝐫𝐞: https://chajournal.blog/2023/05/18/diasporic/
。。。。。

Event in Lisbon (16th July) on Nicholas Y. H. Wong's translation of "Daughters" (Balestier Press, 2025) by the Taiwanese...
14/07/2025

Event in Lisbon (16th July) on Nicholas Y. H. Wong's translation of "Daughters" (Balestier Press, 2025) by the Taiwanese poet Ling Yu, winner of the Newman Prize for Chinese Literature in 2025.

​On 16th July, Nic will read from Daughters and discuss his English translation of Ling Yu’s classical and colloquial poetics in relation to Hiroshige’s floating-world (ukiyo-e) prints and postwar French philosophy and poetry.

RSVP is free, on this link: https://lu.ma/os19ixt3

https://lu.ma/os19ixt3

Nicholas Y. H. Wong recently translated Daughters (Balestier Press, 2025) by the Taiwan poet Ling Yu (b. 1952), winner of the Newman Prize for Chinese…

30/05/2025

The May Watchlist is here to give your spring reading a boost with great new translated books from around the globe. Here, you’ll find translations from Arabic, Slovak, Chinese, Korean, and French. Check out the full list, with reviews from Tobias Carroll and compiled from around the internet, at the link: https://buff.ly/pixv9Zd

Transit Books Parthian Books Balestier Press Black Square Editions

27/05/2025
Congratulations to Ling Yu 零雨 the winner of The 2025 Newman Prize for Chinese Literature🎉 Her poetry collection "Daughte...
10/01/2025

Congratulations to Ling Yu 零雨 the winner of The 2025 Newman Prize for Chinese Literature🎉 Her poetry collection "Daughters" tr. Nicholas Y. H. Wong will be published in March by Balestier Press

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