From A Sip of Tea by Ye Si, translated by Audrey Heijns (6)

Tung Ping Chau Beach View_APR 2016

327, Tung Ping Chau

I read in the newspaper that Tung Ping Chau has become severely polluted, and this makes me sad. Tung Ping Chau used to be such a beautiful place, now some of the large rocks have been moved to Ocean Park and tourists have make a mess of it.

*   *   *

Is it better for a place to remain unknown? In the past, Tung Ping Chau was a quiet and clean place. Recently, we visited it again and there were mahjong tables everywhere, radios blaring, chicken bones and soft drink cans strewn all over the place, as well as scraps of paper and plastic bags . . .

*   *   *

The government has done a good job of cleaning up the beaches this year. Could it be that they have begun to pay some attention to cleaning up the outlying islands? Otherwise their beautiful scenery . . .

 

327 東平洲

閱報得悉東平洲的污染十分厲害,讀來真是傷心。東平洲原來是那麼美麗的地方,現在岩石搬了一部份去海洋公園,地方又給遊客弄糟了。

是不是一個地方不著名還好呢?過去那是清靜乾淨的地方,近年我們再去,已經是一桌桌的麻將,已經是收音機吵耳。雞骨和鐵罐扔了一地,廢紙和膠袋……

市政事務署的海灘清潔今年已做得不錯。可否開始留意一下離島的清潔?不然,那些美麗的風景……。

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Other poems from this series:

21, Cold after the rain
46, Taste
83, Winter
183, Weather
186, Hong Kong

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Ye Si, pen name of Leung Ping Kwan (1949-2013), is a celebrated Hong Kong poet, essayist, fiction writer and photographer. He has published many volumes of poetry, essays and stories, including: Paper Cuts (1982), City at the End of Time (1992), Foodscape (1997), Travelling with a Bitter Melon (2002), Postcards from Prague (2000) and Postcolonial Affairs of Food and the Heart (2009). He was Chair Professor of Comparative Literature and Director of the Centre for Humanities Research at Lingnan University in Hong Kong.

Audrey Heijns, based in Hong Kong, is working at Shenzhen University. Her translations of Chinese literature have been published in literary magazines, including Het Trage Vuur, Twee Ronde, KortVerhaal, Terras, Renditions, Exchanges and Poetry International.

 

Photograph: 香港東平洲:沙灘 Beach on Tung Ping Chau, Hong Kong (2016)

From A Sip of Tea by Ye Si, translated by Audrey Heijns (5)

Audrey HEIJNS_Hong Kong_9 APR 2020

186, Hong Kong

A German woman, who had lived in Paris for ten years, said: ‘I spent the best ten years of my life there.’ Then she came to Hong Kong and said: ‘This looks like a very lively place, so many people!’

*   *   *

There’s a foreigner who has lived in Hong Kong for more than ten years. He can order dishes in a restaurant, but the only words in Chinese he can say are: ‘I’ve got an upset stomach.’

*   *   *

A foreigner in Hong Kong once said that the existence of a colony is an absurd reality. He wants a writer from abroad to suggest a method to change that. This type of person always wants someone else to come up with a solution. Thereby forgetting that there are people who live here. And forgetting that he too exists in this absurd reality, that he’s a part of it.

 

186 香港

一個在巴黎住了十年的德國女子,她說:「我最好的十年全在那裡度過了。」來到香港,她說:「這似乎是個很有活力的地方,這麼多人!」

一個在香港住了十多年的外國人。他會點菜,他唯一懂用中文說的幾個字是:「肚子不好。」

一個住在香港的外國人說,殖民地的存在,是荒謬的事實,他要一位外來的作者提出一個方法改變它。這種人總是要求人提出答案給他。本身卻忽略了住在這兒的人,忽略了他自己也是存在於這荒謬的事實中,是其中一份子。

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Other poems from this series:

21, Cold after the rain
46, Taste
83, Winter
183, Weather

……………………………………………………………………………………………………………………………………………………..

● Ye Si, pen name of Leung Ping Kwan (1949-2013), is a celebrated Hong Kong poet, essayist, fiction writer and photographer. He has published many volumes of poetry, essays and stories, including: Paper Cuts (1982), City at the End of Time (1992), Foodscape (1997), Travelling with a Bitter Melon (2002), Postcards from Prague (2000) and Postcolonial Affairs of Food and the Heart (2009). He was Chair Professor of Comparative Literature and Director of the Centre for Humanities Research at Lingnan University in Hong Kong.

Audrey Heijns, based in Hong Kong, is working at Shenzhen University. Her translations of Chinese literature have been published in literary magazines, including Het Trage Vuur, Twee Ronde, KortVerhaal, Terras, Renditions, Exchanges and Poetry International.

Photograph: Hong Kong in Darkness and Light (Audrey Heijns)

“When I Walk up the Footbridge” by Woo Sai Nga, translated by Audrey Heijns

Woo Moon & Footbridge Image

Please scroll down for the Chinese version!

“When I Walk up the Footbridge”

Sometimes I am inclined to
acceptance that vehicles driving along the road naturally
tend to get stuck in one direction
and refuelling is never a solution
susceptibility in extreme weather can only accelerate expansion or shrinkage
roads that are cracked open
people smashed to pieces
the world is supposed to be like this, full of defects
and we are fragile throughout

At other times, for example
in the face of headwinds, when my fringe is ruffled
it is easy to believe that
what I once accepted has already aged, and will eventually
be like the cracks in the road,
the people who repair the road,
will have to be us

……………………………………………………………………………………………………………………………………………………..

〈當我走上天橋〉/ 胡世雅

有時我傾向接受
路上的車當然會向同一方向堵塞
加油永遠不能成為辦法
過份易感只會在極端天氣下加速膨脹或收縮
裂開的是路面
破碎是人
世界本應如此,充滿缺陷
而我們始終脆弱

也有一些時候,例如
逆風的日子,當瀏海翻動
便又輕易相信
曾經接受過的已經老去,終會
像路面斷裂
而修路的人
會是我們

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● Woo Sai Nga, born in Hong Kong, is a member of Fannou Poetry Society. She graduated from the Chinese Department, Baptist University of Hong Kong in 2017 and is now teaching at a secondary school. She publishes poems in literary magazines in Hong Kong and Taiwan, and has won the Youth Literary Award (青年文學獎) and the Award for Creative Writing in Chinese (中文文學創作獎) in Hong Kong.

● Audrey Heijns, based in Hong Kong, is working at Shenzhen University. Her translations of Chinese literature have been published in literary magazines, including Het Trage Vuur, Twee Ronde, KortVerhaal, Terras, Renditions, Exchanges and Poetry International.

“Cycle” by Woo Sai Nga, translated by Audrey Heijns

Woo Sai Nga_Cycle Image TWO_25 APR 2019

Please scroll down for the Chinese version!

When only a few lamps are left on a winter night
he is left with the bitter cold,
with only a very small piece of cardboard
Why doesn’t he pull in his frozen ankles and curl up
to keep warm, amid the heart beats and
moist breath, or groom a dream
back to the time when
the bed was large, his parents still young and him
longing for tomorrow

How could he not have thought
of the risk of death as
possibly the only door left ajar
that could be fully opened
to escape the old body, just like
all the broken bowls and cups
that will eventually return with new contours

But only summer nights return, while he
unexpectedly starts to feel affection
for his cardboard, his groomed dream and when
the wind blows, and carries away sweat stains, unexpectedly
he happens to find
some leaps in rain-like drops dripping, spraying
as well as vague palpitations of existence, like
streets after the rain, wet old newspapers, a gleam of light
on the back of a cockroach, reflecting in his eyes
until the next winter night

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〈週期〉/胡世雅

當冬夜只剩幾盞燈
他剩下寒冷,
和一張過細的紙皮
就收進凍僵的腳踝吧,蜷縮
在心跳和微濕的呼吸下
取暖,或豢養一個夢
回到那個時候
床很大,父母未老而他
嚮往明天

對於死亡,他怎會
沒有過危險的想法
那可能是唯一的
裂縫像半掩的門可以徹底打開
可以逃離舊的軀體,就像
所有曾經破掉的碗和杯
終會以新的外形歸來

但歸來的只是夏夜,而他
竟然開始貪戀
他的紙皮,養出的夢以及
風過,帶走汗漬黏膩,他竟然
還可以找出
一些躍動,類似雨點滴落,濺開
以及一些有關生存的
微微的脈搏,例如
雨後的路,沾過水的舊報紙,蟑螂的背部
帶光,映在眼眸
直到下個冬夜

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● Woo Sai Nga, born in Hong Kong, is a member of Fannou Poetry Society. She graduated from the Chinese Department, Baptist University of Hong Kong in 2017 and is now teaching at a secondary school. She publishes poems in literary magazines in Hong Kong and Taiwan, and has won the Youth Literary Award (青年文學獎) and the Award for Creative Writing in Chinese (中文文學創作獎) in Hong Kong.

● Audrey Heijns, based in Hong Kong, is working at Shenzhen University. Her translations of Chinese literature have been published in literary magazines, including Het Trage Vuur, Twee Ronde, KortVerhaal, Terras, Renditions, Exchanges and Poetry International.

以鉛筆寫作:杜杜嘅《晚霞》/ Written in Pencil: Toto’s “Sunset Glow”

Evette KWOK_Sunset Three

I first came across the work of Hong Kong writer 杜杜 Toto in 2002, when I bought his collection of mainly short texts entitled 《住家風景》or Domestic Scenery. His touch is very light, almost sketchy, as if he wrote everything in pencil, but there are unexpected depths in his work, inspired to a large degree by his religious orientation. If you can read Chinese, try and find a copy of 《住家風景》. If you don’t, then here’s a brief sample of his writing just to give you some idea of his quiet powers.

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《晚霞》

望出去是海。麻雀在晚霞的金黃裏飛着吱喳着。碼頭前是匆忙的行人。有巴士聲,有電視機聲。妻子和兒子臥在床上。 妻子說着故事哄兒子睡覺。我一下子就感應到一切都和我毫無相干。我只是活在這世界上,無端地在看晚霞消失。

寂寞是唯一永遠存在的事物。我原以為寂寞遠離我去,隨著我逝去的青春歲月。那些枯燥苦悶而無可如何的日子,我以為都成為過去了。我已經忘了。結婚多年,只試過有一次夢見自己走在幽暗的長走廊,碰不着一個朋友,然後一身冷汗地醒來。

如今我望着晚霞消失。我只是活在這世界上。人生不過如此。誰得意了?

我原也是個傷感多情的人。自少如此,到如今。人是不會改變的。人只是裝了個面具,嘻哈地過日子。

寂寞是我最好的朋友。我不在害怕。

寂寞,你好?

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“Sunset Glow”

Looking out, I have a view of the sea. In the gold of the sunset glow, sparrows fly about twittering. People scurry around at the entrance to the ferry pier. The noise of buses, and the noise of television sets. My wife is lying on the bed with our son, telling him a story to make him fall asleep. All of a sudden, my response to all this is that it has nothing whatever to do with me. I live on this Earth and nowhere else, watching for no reason the glow of sunset fade away.

Loneliness is the only thing that lasts forever. I was under the impression that, once the years of my youth were over, loneliness had left me for good. Those dreary, depressing days that I could do nothing to change were now, I thought, behind me. I had already forgotten them. In many years of marriage, only once have I had the experience of dreaming that I was walking down a long, gloomy corridor without bumping into a single friend — after the dream, I woke up in a cold sweat.

And now here I am, watching the sunset glow fade. I live on this Earth and nowhere else. That’s just the way it is. No one’s special!

I used to be someone who lived mainly through their feelings. I was like this when I was young, and I still am. People can’t change. We all just wear masks, fake-laughing our way through our lives.

Loneliness is our best friend. I no longer have anything to fear.

So, how are you, Loneliness?

Photograph by Evette Kwok, 2019