Translation Notes
Liu Ligan is one of the most original and underrated voices in contemporary Chinese poetry. Seeking more clarity out of Misty Poetry (its obscure metaphors) and more complexity out of the poetics of the THEY group, Liu forged a path of his own. Liu’s poems read like complete novels— intricately planned and paced, they plunge into a singular history of people and places. I consider his poetry radical; what distinguishes it is Liu’s artistry to write our being and time into multifaceted historical realities, which in turn open up our perceptions and sensibilities. Here’s a poetry of cinders.
—Dong Li
Leaving his office on Daoqian Street
at noon, he sprints.
It is early spring, 1979.
The chill wind still stings.
Head down, he swings the clutched newspaper roll
in his hand violently from time to time.
Without realizing it, he walks to the South Gate Pier.
On the People’s Bridge, he looks out into the distance.
In the rust-colored dockyard, he sees
workers in rubber boots unloading.
Empty oil barrels roll in all directions
on the springboard like drunkards.
He frowns, bewildered,
feeling a wailing voice inside,
unable to get it out.
With a hoarse whistle, a ship that carries sand
slowly comes close, ready to be taken into the waves.
Standing there for a long time, just like that,
he suddenly shivers, shedding a tear.
After dark, he goes home,
a Soviet-style panel building,
a corridor blackened by beehive briquettes,
smell of diapers and boric acid soaps,
snuffles of a hunting hound.
By the window, Grandfather, recovering from a stroke,
pats the wicker chair and babbles something at him.
He shakes his head, props up the small dining table,
and spreads the newspaper.
Twenty years, a long shiver.
On behalf of his family, he once donated the dividends
from government policies to an elementary school.
In the blurry photo of the news item,
his frown is no different than on any other day.
But that evening, a beam of light falls
on his dim forehead. Premature lines,
like dark folds of fate,
are finally ruffled by ships leaving the dock,
and then comes the calm.
Before going to bed, he presses the news clippings
under the glass sheet on the chest of drawers
next to the family portrait flaking at the edges,
as if putting little anchors into turbulent night waves.
Silently, he places his body on the coir bed, sensing
a ticking clock inside winding down.
1.
The boiled water cools in the travel mug.
A buzzing fly crawls on a peeled honey pomelo.
The train slows down. She smooths out the blanket
and then rests her white hair laced with soot
on his shoulder. Oh, how impossible! Too frivolous.
No mirror would approve of this outlandish intimacy.
In the dappled photo album, they sit upright
until forced smiles freeze around parched mouths.
Yep, yep. I see him dryly nodding his head and going
on with the paper. Her serge coat with frayed elbows
is buttoned up to the neck. The small station, desolate,
is shrouded in gleaming twilight. A few chickens
forage on the damp railway tracks, occasionally fluttering
their wings. In the distance, the dyed mountains remain
monotonous like a country school’s blackboard with peeling
paint. She coughs quietly, peeking out the window—
A crowd of muddy children run by, baskets of goods
on their heads, tanned thin legs stirring up a cloud of dust.
Oh, not interested. But saliva and scruples bob up:
Here, the people are so poor and the fruits so sweet…
He pushes his reading glasses to his forehead
and shoos the flies with the paper, pretending not to notice
his neighbor’s sweaty bare feet dangling by his legs.
She turns around and sees him fishing out two coins
to press, at ease, the stubble on his cheeks.
Gaunt and old, now he is a stranger, whom destiny returns
to her—The wagon suddenly hits a bump.
2.
The train rocks gently through the endless dusk.
The gnats after the rain drive the entrance
of a small hotel into chaos. She rubs her knees,
sitting emptily among her luggage,
like squatting once in a terminal full of chicken shit
and missing the ferry for a holiday family visit.
Oh, there were the occasional dysentery-like bouts
of petit-bourgeois nostalgia, the compost, the globe,
and frosty gravity walls for Agriculture Fundamentals.
As rain dripped from the leaking roof
on the broken harmonica, she trimmed the wick
of the oil lamp and clumsily knitted a sweater.
She escaped in the eighth month of her pregnancy,
climbed into a boxcar, unwrapped her bandana
and curled up in the aisle. Another small station
slides behind, and the shadow of the mango trees
softens her complexion. “Sadly, I wouldn’t
be able to become Madame Curie
because I was too enamored of embroidery…”
The wheels rub out sparks on the rusty tracks.
Her honeymoon was made up of stations
and mourning gowns. The small round mirror
on the nightstand, cracked into four pieces,
pieced together a gloomy family portrait. The moon
hung high, like an extinguished crucible, or the cold
stare of Grandfather in the black frame, who had drowned
himself. On that hot evening, it was not some Nadja
with her curly braids, who stumbled into the garden,
but the eldest daughter in grief, who wore white flowers
and came to bid farewell to the young party member.
Oh, don’t be ridiculous! For the first time,
her proud neck bent toward him, like an arc
of a sounding rocket on parchment paper.
The colors of the mandarin ducks she embroidered
on the pillowcase faded, turning them to brown shelducks.
Like a leech, the gel pen she used for writing letters sucked
desperately, until the vast expanse, like an open umbrella,
suddenly closed in. After she cut off her braids and shredded
her dress into a diaper, I saw her running from the back
of the house and waving a kitchen knife in exasperation.
“Geez! I cannot even kill a chicken properly.” And the chicken
hopped back to the wet bed corner with dripping blood.
Thirty years were gone. She still stood there,
staring at a yielding light by her feet, her eyes fierce
and reticent like a thimble worn out.
The wind blew its last gust and scattered a stack
of lecture notes, whose corners were left with dents and rust
from the paper clips. She did not bother to pick them up.
With her elbows raised, she’s hit with a migraine.
A palm tree appears from the dusk, wearing
a tattered conical hat, to brush the dirt on her legs.
3.
Oh, Vietnam. The narrow-gauge train roars and crawls
all the way into the jungle, like a Vietnam veteran
with a broken leg. A cumbersome camera in his hands,
he stands sullen before a colonial style station house.
In the viewfinder, an image of his youngster years
flashes all of a sudden— the spiky palm leaves
and his curvy moustache. When he slumped over
his workstation, fiddling with a hand-cranked calculator,
did he ever think about the trailing light of a rocket
that quickly dissipated into the thin atmosphere?
What happened to our generation of intellectuals…
At least, someone broke the sound barrier of the age.
But he fell from grace, gazing down the dislodged
oxygen mask, and went to work in an arms factory
as a fitter; and with calloused hands,
screwed bolts into his own brain. Finally,
the higher-ups relaxed their decrees, he was allowed
to return home with hard candies and a model jet.
Lonely, irritable, strict as a program booklet,
bitter and tedious as a ration coupon,
I saw him coming back from work, carrying a bicycle
like a target drone, hanging his tea mug
and faux leather briefcase on a hook behind the door.
His inexplicable rage sounded like a cicada,
and after the clamor, brought a deeper silence,
like the model jet under the glass top
on the upper shelf of a locked bookcase.
By the window, he sat without any movement
and listened to a twitter or two
from the garden at the blue hour.
It is almost dawn, and a rooster crows by the fence.
He finally falls asleep, his white hair thinning, and
the drool around his mouth drips into a shining pool.
4.
After a brief shower, the bay shimmers
in the window, bright as melted solder.
He flips the local paper he cannot read
with a loud flutter. On the news bulletin,
Obama sits on a street in Hanoi eating rice noodles.
These bland, tasteless noodles seem
as if they are rolled out of a paper shredder.
And she sniffles, as her hand reaches under the blanket
to quietly take hold of his. The farther away from home,
the closer their shoulders fall together.
I see a narrow-gauge train passing through rain and fog,
as if through the mystery of existence
that remains inaccessible: the maiden years
of her curled braids and his shaking loyalty.
How did they survive these repressing nights
on the scorching bed? How to
chart the arrow of youth off the bow
with aerodynamics or molecular chemistry?
When he stood in front of the thick
concrete walls of a test site or when she fetched water
by cracking thin ice on the river with a mallet
despite her vertigo, how did resentment
spread like ripples and disappear among waterweeds?
And her father, facedown, floated
soundlessly up there. The life that they had
and that they speed up to drive further forward
is nothing but a terrible choral rehearsal
or a dried-up ink bottle with lines of admonitions
on the bottom, short and snappy like slogans:
“Don’t ever touch politics!”
“Don’t take up the brutal work of literature!”
Oh, how do printed curtains of literature,
now shredded to pieces, console the heart?
Their disappointment in me is exactly like
that of my own in myself, the same fold cut off
of fate that is sewn and then sewn again.
I see them leaning against each other,
like a pair of old hinges just oiled,
the deeper their wrinkles, the more cheerful
their faces, talking and laughing, always
seated across from me. And the delayed train
accelerates nonstop. Now he continues to read
the paper with a sign of doubt or vigilance.
And her dentureless mouth slurps a mango
like a sob. The shifting light through the window
glitters in their eyes, a kind of love
that shows itself in motion, a quotidian bit
of abyss, which begs no understanding
but mends something patiently
on the tracks. With a tremor of the wagon,
the mountains drop violently—then rise again.
Acknowledgements
Image credits: Ma Yuan. Solitary Angler on a Wintry River. 1195 AD. Height: 26.7 cm (10.5 in); width: 50.6 cm (19.9 in). Wiki Images.
In Ma Yuan’s painting, the fisherman is as much the world’s anchor as it is the other way around. Were the fisherman absent, what would signify the world as present? Figure/ground: anchor/freedom: emotion/motion. This profound pipe tobacco aside, the painting also has what may be the earliest depiction of a fishing rod.
Translator | Dong Li
Dong Li (李栋) is a multilingual author who translates from Chinese, English, French, and German. His full-length English translations from Chinese include the PEN/Heim-winning The Gleaner Song (Giramondo / Deep Vellum, 2021) by SONG Lin, The Wild Great Wall (Deep Vellum, 2018) by ZHU Zhu, and his PEN/Heim-winning The Ruins by YE Hui is forthcoming from Deep Vellum. His debut poetry collection, The Orange Tree (University of Chicago Press, 2023), was the inaugural winner of the Phoenix Emerging Poet Book Prize and a finalist for Poetry Society of America’s Four Quartets Prize.
Author | Liu Ligan
Liu Ligan (刘立杆)is a Chinese poet, novelist, critic, editor, and the author of poetry collections The Dust Museum《尘埃博物馆》(Beijing United Publishing, 2022)and Flying Low 《低飞》(Hebei Education Press,1999) as well as a novel Every Morning, Every Evening 《每个夜晚,每天早晨》(Henan University Press, 2018). He was also the former key member of the influential literary group THEY“他们”. His works have been awarded numerous prizes, translated into English, French, German, and their translations into English appeared recently in 128 Lit and Lana Turner.
