First Europe, then the world
This literary exchange is particularly important because Germany is at the heart of European Sinological research, and its scholars have long been fascinated by literary depictions of Taiwan’s open and diverse society.
Germany also happens to be home to Europe’s largest and the world’s third-largest publishing market, and releases some 6,500 volumes per year. The MOC therefore believes that success in the German market would provide Taiwanese writers with a foothold in the European and global markets. The key is getting their works translated and published there.
As founder of the Grayhawk Agency, Gray Tan has brought translations of many international bestsellers to Taiwan. He says that when you talk about literature in translation, the conversation always turns to Europe, where the market is far more receptive to translations than in the USA.
“Many Chinese-language writers have achieved international renown by first publishing European translations of their works.” Tan explains that releasing a translation in one of the major European languages enables editors in other nations to read a work for themselves, rather than relying on second-hand reports.
France is Europe’s leader in the publication of Chinese-language literature in translation. Early French editions of works by Taiwanese authors such as Kenneth Pai, Li Ang, Ping Lu, Wu He, and Wu Ming-yi sparked research into Taiwanese literature within the French cultural community.
In recent years, Taiwan has also sought to foster German interest in Chinese-language literature through author exchanges and the translation of works.
One such effort, the 2009 publication of German translations of Taiwan Dangdai Xiaoshuo Xuanji (“Contemporary Fiction from Taiwan”) and Taiwan Xiandai Shi Xuanji (“Modern Poetry from Taiwan”) by the Council for Cultural Affairs (now the Ministry of Culture) and the Taipei Book Fair Foundation, succeeded in catching the eye of European readers and publishers at that year’s Frankfurt Book Fair.
The German edition of Contemporary Fiction from Taiwan included works by the likes of Zhang Dachun, Chu Tien-wen, Luo Yijun, Hu Shu-wen, Hao Yu-hsiang, Egoyan Zheng, Chung Wenyin, and India Cheng. Günter Grass, the Nobel-Prize-winning author of The Tin Drum, reportedly loved the collection, having devoured it the moment it came out.
Dieter Stolz, the Berlin-based literary critic who edited the German edition of Contemporary Fiction from Taiwan, argues that reading fiction is the only option most foreign readers have for getting to know Taiwan in depth. He therefore suggests that Taiwan step up its promotion of author exchanges and literary translations.