A Case of Two Cities

interpreter, it sounded quite smooth in English. The audience politely applauded.
     
    American writers spoke too, one after another. It was the first conference after the interruption of 1989. They had a lot to tell, and a lot to ask too. When Professor Reed began to talk about the significance of their meeting, Chen was hardly able to keep himself focused, though he kept nodding and applauding as before. The jet lag had started kicking in. And there was something else waking up in the back of his mind.
     
    But the conference went on. Every attendee, Chinese or American, was supposed to talk for five to ten minutes, interesting or boring. Chen felt like lighting a cigarette, but there was no ashtray on the table.
     
    An unexpected topic came up in the discussion. As most of the Chinese writers introduced themselves as “professional writers,” James Spencer, an American poet, took a great interest in it. “I wish there were an institution here like your Writers’ Association. A sort of government salary for your writing. It’s fantastic. In the States, most of us can’t make a living on writing. That’s why I teach at a university. We all envy you. I would love to go to Beijing and become a professional writer too.”
     
    The American poet would have to live in China for years, Chen thought, before learning what a “professional writer” was like. Chen chose not to make any comment. Zhong said, however, with a sarcastic note discernable perhaps only in Chinese, “You are most welcome, James.”
     
    After lunch, the Chinese visited the campus bookstore. Bao frowned, muttering, “I have not seen any of our works here.”
     
    “It’s not a large bookstore,” Chen said.
     
    “It’s not just the size of it,” Zhong said, siding with Bao.
     
    All the other writers took the issue seriously. In China, they were considered the leading authors in their respective genres. So they had taken for granted their popularity in the States, but they found it far from so. The Americans had hardly heard of their works, except a few university professors specializing in modern Chinese literature. And only one touched on Chen’s translation in his speech during the morning session.
     
    So in the afternoon session, Shasha launched into an unrehearsed topic. Wearing a scarlet sleeveless silk cheongsam, she spoke in an authentic yet graceful way.
     
    “I am going to address an important issue—the imbalance in the Chinese-American literature exchange. If you ask a college student in Beijing—not necessarily even one majoring in Western literature—he or she will reel off a list of American writers. Not only Mark Twain and Jack London, but a horde of contemporary writers, including some of you sitting here today. We have a dozen magazines devoted to the translation of Western literature. One Chinese critic saw the influence of Oates in my novels, and she’s right. Mr. Chen, our delegation head, has translated Eliot and other American poets. Very popular translations. But what have our American colleagues done about modern Chinese literature? Little, I have to say. Very little.”
     
    Bao nodded. Little Huang was busy making notes. Peng, too, assumed a serious expression. Zhong took the floor. “There seems to be a political tendency. Those Chinese writers translated here—such as Sun Congwen or Zhang Ailing—are hardly relevant today.”
     
    Zhong had a point. For more than thirty years after 1949, the history of modern Chinese literature had been written to one overt political criterion. Those not affiliated with the Party or the socialist revolution were either criticized or ostracized. On the other hand, studies of modern Chinese literature in the West turned out to be exactly the opposite. Those writers were chosen in terms of their intrinsic value, and for their antigovernment stance as well.
     
    Bonnie Grant, a sinologist who had translated Misty poets, commented with a hardcover in her hand, “There are Chinese writers writing in English here, and their books sell well. Perhaps there’s something wrong with the translation of your work.”
     
    “We are in a commercial market,” James Spencer said, once more trying to make the point. “It’s a matter of selling one’s product. The bookstore can think about nothing but profit.”
     
    “Not just in the bookstore,” Bao cut in. “I cannot find my book even in the university library. I have asked Pearl to do a search for me during the lunch