US-based author and translator Jennifer Feeley has published academic and creative writing in English and Mandarin. Her translations from the Chinese language have appeared in numerous journals and anthologies. These include FIELD, Epiphany, Cha, Words Without Borders, Chinese Literature Today, PEN America’s Glossolalia, Chinese Writers on Writing and Creating Across Cultures: Women in the Arts from China, Hong Kong, Macau and Taiwan. Feeley is the translator of Not Written Words: Selected Poetry of Xi Xi, for which she won the 2017 Lucien Stryk Asian Translation Prize and the Hong Kong Publishing Biennial Award in Literature and Fiction the same year. She is also co-editor with Sarah Wells of Simultaneous Worlds: Global Science Fiction Cinema (2015). Feeley holds a PhD in East Asian Languages and Literatures from Yale University.
What are the challenges and joys of translating contemporary Hong Kong literature?
Work by Hong Kong authors only constitutes a tiny portion of Sinophone literature translated into other languages. This poses a challenge because it can make it harder to convince publishers that there is a readership for Hong Kong literature in translation (especially works that aren’t overtly political), and also readers may be less “culturally literate” in understanding Hong Kong beyond superficial newspaper headlines and clichéd images. There’s also a lack of financial resources both for translators and publishers, compared with translating Sinophone literature from other regions such as China and Taiwan.
Each author and literary work brings unique requirements. For Xi Xi, her extensive wordplay and allusions are both joys and challenges. For Wong Yi, and another author I translate, Lau Yee-Wa, the use of Cantonese in their writing has been both a pleasure and a learning opportunity, as it’s required and inspired me to learn Cantonese. Wong Yi even sent me textbooks to help me learn the language! While I am getting better at reading Cantonese, my listening and speaking skills still lag behind.
Do you consider yourself a pioneer in this field?
I am definitely by no means a pioneer in translating Hong Kong literature. I would attribute that appellation to Eva Hung and her colleagues at Renditions, the journal of Chinese literature in English translation. Eva Hung was one of the first people to translate Xi Xi’s writings into English, and she’s also edited collections of Xi Xi’s fiction.
Today, there are many outstanding translators of Hong Kong literature into various languages, not just English, several of whom are from Hong Kong or are heritage speakers of Cantonese and/or members of the Hong Kong diaspora. I hesitate to start naming names because I don’t want to overlook anyone, but I’d like to give a special shout-out to Chris Song, who is doing so much for Hong Kong literature as a scholar, writer and literary translator, not only of contemporary works, but also early-twentieth century Hong Kong writings. I’d also like to single out Tammy Lai Ming-ho, who is an important writer, translator, researcher, editor, publisher and curator of Hong Kong literary works.
What are the options if someone wants to become a translator?
You don’t need to enroll in a degree in literary translation to find a support system, although there are some fantastic programmes out there. The US-based American Literary Translators Association (ALTA) helps literary translators at all stages of their career and has a great list of resources on its site. It runs an emerging translator mentorship programme and offers travel fellowships so emerging translators can attend their annual conference, which is held in cities across the US. ALTA’s cohort this year includes two Hong Kong-born translators, Tim Tim Cheng, who translates prose and is based in the UK, and Ireland-based Michelle Chan Schmidt who translates poetry.
Other opportunities available for emerging translators to expand their networks include the British Centre for Literary Translation (BCLT). It offers a week-long translation summer school that alternates between in-person study groups at the University of East Anglia, Norwich, and classes delivered online. In addition, sponsoring bodies, like arts and cultural organisations typically offer bursaries for the mentees in their chosen genre and the BCLT also offers advanced translation workshops.
What advice would you give to a translator at the start of their career?
Before seriously embarking on a project, obtain written authorisation from the copyright holder. This person may not necessarily be the author. It’s so important to obtain this permission before trying to publish something, or even before applying for a grant.
The second piece of advice I have is that it’s a professional courtesy to do your research to find out whether an author you want to translate already has an established relationship with a translator who works in the same target language as you. Translators invest tremendous time and effort (often unpaid) in translating samples, plus writing cover letters, pitches and synopses, acting not only as translators but also de facto agents. It is vital that authors and translators cultivate mutual trust and respect.
I’d encourage emerging translators to start small. Translate shorter pieces and submit them to journals and anthologies. Translating samples and writing synopses for literary agencies is also a great way to obtain experience and expand your network, but beware — if a publisher acquires an agented book, they may choose a different translator (for a host of reasons). Try to minimise the amount of free labour you give. Aim to submit to publications who will pay you (at least a modest amount) for your work.
