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Radish: China Penguin Special
During China's collectivist era in the late 1950s, a rural work team responsible for building an important floodgate receives a strange new recruit: Hei-hai, a skinny, silent and almost feral boy. Assigned to assist the blacksmith at the worksite forge, Hei-hai proves superhumanly indifferent to pain or suffering and yet, eerily sensitive to the natural world. As the worksite becomes a backdrop to jealousy and strife, Hei-hai's eyes remain fixed on a world that only he can see, searching for wonders that only he understands. One day, he finds all that he has been seeking embodied in the most mundane and unexpected way: a radish.
'That dark-skinned boy with the superhuman ability to suffer and a superhuman degree of sensitivity represents the soul of my entire fictional output. Not one of all the fictional characters I've created since then is as close to my soul as he is.' Mo Yan, 2012 Nobel Prize Acceptance Speech
'Pungent, potent, absurd, moving, and alive, this early Mo Yan novella carries his unmistakable stamp. Survival is ignoble, and power blunt, but glimpses of the transcendent are possible: Radish captures the human condition with aching force.' Gish Jen, author of Mona in the Promised Land
65 pages, Kindle Edition
First published January 1, 2015
26 people are currently reading
582 people want to read
About the author
Mo Yan
313 books1,451 followersModern Chinese author, in the western world most known for his novel Red Sorghum (which was turned into a movie by the same title). Often described as the Chinese Franz Kafka or Joseph Heller.
Mo Yan (莫言) is a pen name and means don't speak. His real name is Guan Moye (simplified Chinese: 管谟业; traditional Chinese: 管謨業; pinyin: Guǎn Móyè).
He has been awarded the Nobel Prize in Literature 2012 for his work which "with hallucinatory realism merges folk tales, history and the contemporary". Among the works highlighted by the Nobel judges were Red Sorghum (1987) and Big Breasts & Wide Hips (2004), as well as The Garlic Ballads.
Chinese version: 莫言
Mo Yan (莫言) is a pen name and means don't speak. His real name is Guan Moye (simplified Chinese: 管谟业; traditional Chinese: 管謨業; pinyin: Guǎn Móyè).
He has been awarded the Nobel Prize in Literature 2012 for his work which "with hallucinatory realism merges folk tales, history and the contemporary". Among the works highlighted by the Nobel judges were Red Sorghum (1987) and Big Breasts & Wide Hips (2004), as well as The Garlic Ballads.
Chinese version: 莫言
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August 19, 2020
مويان أديب تأثر بنشأته الريفية, يكتب ويصف القرية الصينية بدقة وبراعة, يكتب عن الفلاحين والعمال وظروف معيشتهم وعملهم القاسية وخاصةً في فترة الستينيات بعد قيام الثورة الثقافية, هذه الفترة التي حدثت فيها تغيرات سياسية واجتماعية كبيرة.
الصبي سارق الفجل" أولى رواياته نُشرت عام 1985, وفي تقديم جميل للرواية كتب د محسن فرجاني عن حياة مويان وخصائص أعماله الأدبية وعن الأدب الصيني بوجه عام وتياراته المختلفة
الرواية تعرض الأحداث التي يمر بها صبي يعمل في الأعمال اليدوية الشاقة, يعيش في الريف حياة قاسية اعتاد فيها على المعاملة السيئة, لا شيء مبهج في حياته غير النهر وخيالاته في رؤية الفجل الذي يسرقه
استخدام المترجم للهجة العامية المصرية في الحوارات كان سيء جدا فكانت الحوارات تبدو غريبة بين اللغة الفصحى في بقية الرواية
الصبي سارق الفجل" أولى رواياته نُشرت عام 1985, وفي تقديم جميل للرواية كتب د محسن فرجاني عن حياة مويان وخصائص أعماله الأدبية وعن الأدب الصيني بوجه عام وتياراته المختلفة
الرواية تعرض الأحداث التي يمر بها صبي يعمل في الأعمال اليدوية الشاقة, يعيش في الريف حياة قاسية اعتاد فيها على المعاملة السيئة, لا شيء مبهج في حياته غير النهر وخيالاته في رؤية الفجل الذي يسرقه
استخدام المترجم للهجة العامية المصرية في الحوارات كان سيء جدا فكانت الحوارات تبدو غريبة بين اللغة الفصحى في بقية الرواية
October 20, 2016
The silken jute stalks sing, “Hei-hai!! Hei-hai!!”
The silken jute stalks sing, “Hei-hai!! Hei-hai!!”
The chorus of a bare back fills the barren land,
Dew laden leaves recite lore of a superhuman,
The blistered belly nestled near a dimly lit fire,
Bare-chested and barefooted, he was detached,
Crisp voice descending in silence, apathy his attire,
In waves of a lush reverie, a respite he seeks,
Nature’s feeble lullaby, in harshness of his life.
The auburn ducks snicker, “Hei-hai!! Hei-hai!!
The auburn ducks snicker, “Hei-hai!! Hei-hai!!
Witnesses the fertile soil, long miseries of a boy,
Bears the purple sweet potatoes, the pinch of hunger,
Crouched between tossed radishes, a fallen fingernail,
The guilt of theft, abandoned in the burning coals,
In tongues of fires, melancholic arias prevail,
The old blacksmith’s song pushing chords of joy,
Resting on the anvil, the golden radish, radiates,
Mysteries of life scattered in slivers of faith.
The vegetable patch whisper,” Hei-hai!! Hei-hai!!”
The vegetable patch whisper,” Hei-hai!! Hei-hai!!”
Agriculture without its irrigation, a motherless child,
A mother’s breast with no milk, a deadly fright,
Hundreds of labourers toil, chisels hastens,
The allegorical mother claiming loyal lives,
In the obscure womb lie the Commune’s whims,
Opened floodgates dragging the human plight,
The cold white stones hum, “Hei-hai!! Hei-hai!!”
The cold white stones hum, “Hei-hai!! Hei-hai!!”
In glory of socialism, the man eats,
In glory of socialism, the man marches,
In glory of socialism, the man barters,
Human virtue, an imperfect bastard child,
Immorality surges, in human sacrifices,
In glory of socialism, the graves reek,
In glory of socialism, mankind gets bartered.
Ardently Mo Yan pens, " Hei-hai!! Hei-hai!!”
Ardently Mo Yan pens, " Hei-hai!! Hei-hai!!”
A mason, a woman and a blacksmith,
Lust of love indebted to the fallen irises,
Hungered the red jacket, the scent of a crimson scarf
Youthful love, caressing kisses, hearts writhe,
In a meadowlark call, the secret alarms,
Bleeding love redeemed in a sunlit radish.
The two bloody gouges scream, “Hei-hai!! Hei-hai!!”
The two bloody gouges scream, “Hei-hai!! Hei-hai!!”
Swan-like, he stretched his neck, standing,
The hem of his coat touching the wiry thighs,
Like a fat-headed catfish on feet, he strolled,
On the banks of the river, golden rainbow afloat,
Desires of a sunlit radish, sown in hazy sighs,
The falling rays of the autumn sun, verbalize,
A doleful tale of a fragile heart in a benumbed abode.
The golden radish chimes, “Hei-hai!! Hei-hai!!
The golden radish chimes, “Hei-hai !! Hei-hai!!
Only if,
He had the warmth of a mother’s breast
Love had not perished in the black earth,
Had not the radish lie hid in the river mists
Had not the hammer been his inheritance,
Had not humanity sprout callous tentacles,
Had humanity sheltered his naked fears,
Had childhood walked the a euphoric path,
The rustling leaves wiping the trickling tears
The silken jute stalks sing, “Hei-hai !! Hei-hai!!"
The silken jute stalks sing, “Hei-hai !! Hei-hai!!”
The silken jute stalks sing, “Hei-hai!! Hei-hai!!”
The chorus of a bare back fills the barren land,
Dew laden leaves recite lore of a superhuman,
The blistered belly nestled near a dimly lit fire,
Bare-chested and barefooted, he was detached,
Crisp voice descending in silence, apathy his attire,
In waves of a lush reverie, a respite he seeks,
Nature’s feeble lullaby, in harshness of his life.
The auburn ducks snicker, “Hei-hai!! Hei-hai!!
The auburn ducks snicker, “Hei-hai!! Hei-hai!!
Witnesses the fertile soil, long miseries of a boy,
Bears the purple sweet potatoes, the pinch of hunger,
Crouched between tossed radishes, a fallen fingernail,
The guilt of theft, abandoned in the burning coals,
In tongues of fires, melancholic arias prevail,
The old blacksmith’s song pushing chords of joy,
Resting on the anvil, the golden radish, radiates,
Mysteries of life scattered in slivers of faith.
The vegetable patch whisper,” Hei-hai!! Hei-hai!!”
The vegetable patch whisper,” Hei-hai!! Hei-hai!!”
Agriculture without its irrigation, a motherless child,
A mother’s breast with no milk, a deadly fright,
Hundreds of labourers toil, chisels hastens,
The allegorical mother claiming loyal lives,
In the obscure womb lie the Commune’s whims,
Opened floodgates dragging the human plight,
The cold white stones hum, “Hei-hai!! Hei-hai!!”
The cold white stones hum, “Hei-hai!! Hei-hai!!”
In glory of socialism, the man eats,
In glory of socialism, the man marches,
In glory of socialism, the man barters,
Human virtue, an imperfect bastard child,
Immorality surges, in human sacrifices,
In glory of socialism, the graves reek,
In glory of socialism, mankind gets bartered.
Ardently Mo Yan pens, " Hei-hai!! Hei-hai!!”
Ardently Mo Yan pens, " Hei-hai!! Hei-hai!!”
A mason, a woman and a blacksmith,
Lust of love indebted to the fallen irises,
Hungered the red jacket, the scent of a crimson scarf
Youthful love, caressing kisses, hearts writhe,
In a meadowlark call, the secret alarms,
Bleeding love redeemed in a sunlit radish.
The two bloody gouges scream, “Hei-hai!! Hei-hai!!”
The two bloody gouges scream, “Hei-hai!! Hei-hai!!”
Swan-like, he stretched his neck, standing,
The hem of his coat touching the wiry thighs,
Like a fat-headed catfish on feet, he strolled,
On the banks of the river, golden rainbow afloat,
Desires of a sunlit radish, sown in hazy sighs,
The falling rays of the autumn sun, verbalize,
A doleful tale of a fragile heart in a benumbed abode.
The golden radish chimes, “Hei-hai!! Hei-hai!!
The golden radish chimes, “Hei-hai !! Hei-hai!!
Only if,
He had the warmth of a mother’s breast
Love had not perished in the black earth,
Had not the radish lie hid in the river mists
Had not the hammer been his inheritance,
Had not humanity sprout callous tentacles,
Had humanity sheltered his naked fears,
Had childhood walked the a euphoric path,
The rustling leaves wiping the trickling tears
The silken jute stalks sing, “Hei-hai !! Hei-hai!!"
The silken jute stalks sing, “Hei-hai !! Hei-hai!!”
February 2, 2017
Bazı nobelistlerin neden bu ödüle layık görüldüklerini anlayamamışımdır. Mo Yan da bunlardan birisi, sanırım Çin'li ve rejim muhalifi olmasının etkisi çoktur. 12 seçilmiş öykü yer alıyor kitapta, en uzun olan ve kitaba adını vermiş olan "Saydam Turp" en sevimsizi. Diğerleri idare ediyor ama okumak için önceliğiniz olmayacak bir yazar diyorum.
March 16, 2021
الرواية عن حياة الفلاحين في الريف و البطل الرئيس صبي في العاشرة من عمره، تبدا جيدا، ثم تتعيك بكل تفاصيل العمل بضرب الشاكوش و المطارق و تسخين الحديد و نفخ النار في الفرن ، و السب والألفاظ البذيئة ...الخ.. و بتكرار في معظم الفقرات ..
أيضأ، لا أدري ما السبب فى إستخدام المترجم للهجة المصرية في الحوارات، بينما كان السرد بالفصحى؟
و هذا ايضا يؤخذ على دار النشر: الهيئة المصرية العامة للكتاب!
أيضأ، لا أدري ما السبب فى إستخدام المترجم للهجة المصرية في الحوارات، بينما كان السرد بالفصحى؟
و هذا ايضا يؤخذ على دار النشر: الهيئة المصرية العامة للكتاب!
February 22, 2016
خلط المترجم ما بين العامية والفصحى لم استوعبه بسهولة فما الدافع ان يكون الحوار بين الابطال بالعامية المصرية وباقى الرواية بالفصحى؟؟
April 3, 2017
A slim novella about a thin boy who takes any kind of hardship and suffering but who is also sensitive to beauty. Beautiful moving story.
January 5, 2017
A wee novella, my first Yan, about a strange boy conscripted to join a work crew building a floodgate in 50s collectivist China. Hei-hai doesn't talk, works like the dickens, keeps getting injured without seeming to feel an iota of pain, and is profoundly attuned to nature. Most of the crew fall in love with him. I did too. Yan says of all his characters Hei-hai is his true alter-ego. I don't know what else to do with that but read more Mo Yan.
June 2, 2017
الترجمة سيئة جدًا جدًا جدًا.
من أشار عليك بترجمة النص الصيني للهجة المصرية العامية؟!!
الترجمة تشبه من قام بعمل كيك من الخراء.
من أشار عليك بترجمة النص الصيني للهجة المصرية العامية؟!!
الترجمة تشبه من قام بعمل كيك من الخراء.
September 1, 2017
مو يان الأديب الصيني صاحب جائزة نوبل فى الآداب عام 2012
مو يان يعتبر الكاتب أو الأديب الذي يكتب عن الريف ببراعة شديدة، ينقلك من الواقع والحاضر نحو الريف الخاص به، أو بالأحرى ريف الصين.
مو يان يكتب فى كلاّ من الحياة الواقعية مع مزج من الواقعية السحرية التي تعلمها من ماركيز رائد هذا المجال.
أعماله يضع بها فصول أو شذرات من سيرته الذاتية، هو قال في حوار له أن يمكن إعتبار الصبي سارق الفجل والذرة الرفيعة الحمراء تتناول بشكل أو بآخر أجزاء من حياته.
كتابة مو يان صادقة، والكتابة الواقعية تحتاج لذلك، هذه رواية قصيرة (نوفيلا) استمتعت بقراءتها جداً، وإن كنت متردداً في العلامة التي أعطيتها لها، لكن لم أجد الكتابة في هذا العمل أو القصة بمعنى أصح تدعو للتوحد مع ما يكتبه، لكن بالتأكيد هو وضعني فى قريته التي لم يظهر من معالمها إلا المجرى الماي، والهويس.
الشخصيات مرسومة جيداً، السرد كان منتظم، لا يعرف الملل، لكن كنت أجد نفسي فى حاجة ماسة للشعور بالحركة أكثر.
بعد قراءة الرواية والتفكير فيها قليلاً وشخصياتها، وأجد نفسي أتذكر أجزاء كبيرة منها، هذا يدعوني لمعرفة أن الرواية أثرت بي، وتركت شئ بداخلي.
هذا مهم جداً عند الروائي، أن يكن لِما يكتبه أثر.
الترجمة ممتازة، وإدخال الحوار العامي بدلاً من الفصحة ليواءم الحوار العامي في ريف الصين هو شئ عبقري ويحسب للمترجم.
مو يان يعتبر الكاتب أو الأديب الذي يكتب عن الريف ببراعة شديدة، ينقلك من الواقع والحاضر نحو الريف الخاص به، أو بالأحرى ريف الصين.
مو يان يكتب فى كلاّ من الحياة الواقعية مع مزج من الواقعية السحرية التي تعلمها من ماركيز رائد هذا المجال.
أعماله يضع بها فصول أو شذرات من سيرته الذاتية، هو قال في حوار له أن يمكن إعتبار الصبي سارق الفجل والذرة الرفيعة الحمراء تتناول بشكل أو بآخر أجزاء من حياته.
كتابة مو يان صادقة، والكتابة الواقعية تحتاج لذلك، هذه رواية قصيرة (نوفيلا) استمتعت بقراءتها جداً، وإن كنت متردداً في العلامة التي أعطيتها لها، لكن لم أجد الكتابة في هذا العمل أو القصة بمعنى أصح تدعو للتوحد مع ما يكتبه، لكن بالتأكيد هو وضعني فى قريته التي لم يظهر من معالمها إلا المجرى الماي، والهويس.
الشخصيات مرسومة جيداً، السرد كان منتظم، لا يعرف الملل، لكن كنت أجد نفسي فى حاجة ماسة للشعور بالحركة أكثر.
بعد قراءة الرواية والتفكير فيها قليلاً وشخصياتها، وأجد نفسي أتذكر أجزاء كبيرة منها، هذا يدعوني لمعرفة أن الرواية أثرت بي، وتركت شئ بداخلي.
هذا مهم جداً عند الروائي، أن يكن لِما يكتبه أثر.
الترجمة ممتازة، وإدخال الحوار العامي بدلاً من الفصحة ليواءم الحوار العامي في ريف الصين هو شئ عبقري ويحسب للمترجم.
February 17, 2016
قصة طويلة عن الصبي الذي لم يتخذ أي قرارات، ولا يشارك بأي رأي فيما يحدث من حوله، أو له هو شخصيًا.
فهو مستسلم للعمل الموكل إليه، أيًا تكن طبيعته،
مستسلم لرب العمل مهما يكن من قسوته،
مستسلم لزوجة أبيه بكل ما يقاسيه منها،
مستسلم لكل ما يناله، تمامًا كما الشعب، الطبقات الفقيرة المهمشة على وجه التحديد، التي تتقبّل مصيرها باستسلام ودون أن تبدي أي اعتراض.
على الهامش.. الترجمة سيئة، للغاية.
فهو مستسلم للعمل الموكل إليه، أيًا تكن طبيعته،
مستسلم لرب العمل مهما يكن من قسوته،
مستسلم لزوجة أبيه بكل ما يقاسيه منها،
مستسلم لكل ما يناله، تمامًا كما الشعب، الطبقات الفقيرة المهمشة على وجه التحديد، التي تتقبّل مصيرها باستسلام ودون أن تبدي أي اعتراض.
على الهامش.. الترجمة سيئة، للغاية.
May 18, 2016
I am not often flummoxed by a book, but Nobel Prize winner Mo Yan’s Radish tested my ability to interpret a writer’s purpose. It seems to be an allegory for China’s Great Leap Forward but this was not something that sprang immediately to mind while I was reading it. Reading it, I was simply overwhelmed by the suffering of the central character, a little boy called Hei-hai, and puzzled by the behaviour of the characters in general.
Radish is one of a series of Penguin Specials, marketed as short books designed to ‘fill a gap’, and designed to be read in a single sitting. Suitable for the commute, the lunch break, or between dinner and bedtime, they say. Radish is only 86 pages long and the prose is simple and easy to read. But it manages to convey striking ideas, where the reader has enough knowledge of the subtext to recognise them. Like all writers in China, Mo Yan is writing under the constraints of heavy-handed censorship and so there are allusions to events and perhaps to people that are not immediately obvious. The reader has to be in the know, and I think it’s a safe bet to say that most westerners don’t know much about Chinese history. It’s possible that young people in China also aren’t much in the know, if their ignorance of their own history is as widespread as Linda Jaivin suggested in The Empress Lover.
Here’s an example of allusions that are not immediately obvious. These are the opening lines:
It took more than one re-reading for me to notice the first allusion. The leaves of the scholar tree turning yellow refers to the autumn of intellectual freedom and the coming Cultural Revolution (1966-1976). This year, 2016, is the fiftieth anniversary of the beginning of this disastrous period of China’s history .
But you also need to know something about Chinese history to recognise that this team leader is an emblem of corrupt leadership and greed.
To read the rest of my review please visit https://anzlitlovers.com/2016/05/19/r...
Radish is one of a series of Penguin Specials, marketed as short books designed to ‘fill a gap’, and designed to be read in a single sitting. Suitable for the commute, the lunch break, or between dinner and bedtime, they say. Radish is only 86 pages long and the prose is simple and easy to read. But it manages to convey striking ideas, where the reader has enough knowledge of the subtext to recognise them. Like all writers in China, Mo Yan is writing under the constraints of heavy-handed censorship and so there are allusions to events and perhaps to people that are not immediately obvious. The reader has to be in the know, and I think it’s a safe bet to say that most westerners don’t know much about Chinese history. It’s possible that young people in China also aren’t much in the know, if their ignorance of their own history is as widespread as Linda Jaivin suggested in The Empress Lover.
Here’s an example of allusions that are not immediately obvious. These are the opening lines:
An autumn morning, the air hung humid, a layer of transparent dewdrops clung to blades of grass and roof tiles. Leaves on the scholar tree had begun to turn yellow; a rusty iron bell hanging from a branch was also dew laden. The production team leader, a padded jacket draped over his shoulders, ambled towards the bell, carrying a sorghum flatbread in one hand and clutching a thick-peeled leek in the other. By the time he reached the bell, his hands were empty, but his cheeks were puffed out like a field mouse scurrying away with autumn provisions. He yanked the clapper against the side of the bell, which rang out loudly, – clang, clang, clang. People young and old streamed out of the lanes to converge beneath the bell, eyes fixed on the team leader, like a crowd of marionettes. He swallowed hard, and wiped his stubble-ringed mouth on his sleeve. (p.1)
It took more than one re-reading for me to notice the first allusion. The leaves of the scholar tree turning yellow refers to the autumn of intellectual freedom and the coming Cultural Revolution (1966-1976). This year, 2016, is the fiftieth anniversary of the beginning of this disastrous period of China’s history .
But you also need to know something about Chinese history to recognise that this team leader is an emblem of corrupt leadership and greed.
To read the rest of my review please visit https://anzlitlovers.com/2016/05/19/r...
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February 6, 2017Derlemeye adını veren öykü başta olmak üzere bu derlemedeki öykülerin birçoğunda Mo Yan, çocukların bakış açısına yerleşerek anlatıyor hikayesini. Seçilen çocuk karakterler ve anlatıcılar, Mo Yan’in öykülerinde tercih ettiği iki farklı yönelime müsait olması bakımından önemli. Birincisi, öykülerinde yoğun tarihsel ve siyasi göndermelerde bulunuyor, Çin’in yakın geçmişini bir öykü platosu olarak kullanıyor. Genel yapısı itibariyle insanı ezen, özerklik tanımayan baskıcı bir sistemi anlatırken fiziksel olarak da zayıf, güçsüz, iktidarsız ve hep büyükler tarafından yönetilen çocukları merkeze alıyor. Çin halkının temsili olarak da okuyabileceğimiz bu çocuk, örneğin “Saydam Turp”ta asla sesi çıkmayan, repliği olmayan, sevgi ve merhamete de zalimlik kadar duyarsızlaşmış, kendisi merkezde olsa bile etrafında gelişen ve onu aşan olaylar nedeniyle silikleşmiş bir tip. Çevresindeki insanlara ve gelişen olaylara karşı kayıtsızlığını koruyan bu çocuğu yeniden heyecanlandıran şeyse, o maddi dünyanın içinden büyülü bir şekilde fırlayan, doğaüstü parlak bir saydam turp.
http://sabitfikir.com/elestiri/cocuk-...
March 1, 2019
Büyük Proleter Kültür Devrimi,Büyük Atılım’ın büyük kıtlığa dönüşmesi,doğum kontrolleri,halkın sınıflandırılması..Büyük Çin’in bugüne kadar karşılaştıklarından sadece bir kısımı..Geri planda kalanlar ise Mo Yan’ın kaleminde..
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Saydam Turp on iki öyküden oluşuyor (aslında kitaba adını veren öykü bir novella sayılabilir) ve Saydam Turp’un kara çocuğu hakkında yazar şöyle diyor: ‘İnsanüstübir yetenekle acıya katlanabilen ve insanüstü bir duyarlılığa sahip olan o kara tenli çocuk,bütün yazdıklarımın ruhunu simgeliyor.’ O kara çocuk insanın sayısız yerden kırıyor..Onarılması mümkün olmayan yerlerden, çünkü bir çocuğun gözlerindeki ışıltıyı söndürmenin telafisi ne yazık ki yok..
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Bazı öykülerde doğan çocukların öldürülmesi anlatılıyor,bazı öykülerde doğaüstü güçler..Ama hepsinde ortak bir acı var. Bu acıların çoğu insan elinden..Yoksulluk,çaresizlik, pişmanlık, inanç ile varlığını sürdürmeye devam eden insanlar.. Unutulması bir yana hazmedilmesi zor hikayeler..
June 26, 2025
لماذا الترجمة العامية يا حسانين؟ نحرت سارق الفجل قبل لا يسرق الفجلة.
May 23, 2022
İlk öykü olan Saydam Turp'u çok sevmediğim için aralara kitap koyarak 1 aydan uzun bir sürede sindire sindire okudum bu kitabı. En sevdiğim 2 öykü Demir Çocuk ve Terk Edilmiş Bebek oldu. Ayrıca Her Derde Deva isimli öyküden de etkilendim.
June 14, 2020
في الحقيقة الرواية بتبين كم الظلم و العنصرية اللي كانت بتتمارس في القرى الفقيرة، فكرة جعل الحوار بين الفلاحين نفسه بالعامية، لكن راوي القصة بالفصحى كانت واقعية ومنطقية بالنسبة لي، الترجمة طبعاً لا غبار عليها، لم ترق لي بالشكل الكافي.
August 8, 2017
Curiosity level: A book about a boy with beautiful curiosity!
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“He wanted to sleep, but sleep eluded him. He could not stop thinking about the radish. What kind was it? Golden yet transparent.” - p.74
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Hei-Hai, a scrawny little boy, is forced to work as a rock-breaker, and then as a blacksmith in a forge. Everyone thinks Hei-Hai is a pathetic little mute, but they’re dead wrong - he just chooses not to talk.
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From the jute fields, to the river, or the moon, Hei-Hai’s obsession with his surroundings seems to fuel him, even in the midst of cruelty. There’s something about the beauty of nature that can never quite snuff out the light of life within this boy… who also falls in love with a radish.
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I think it’s hard not to love Hei-Hai, despite him not letting out a single syllable in the book. His silence and dogged devotion to nature will make us wonder: why the need to talk so much? Beauty is all ablaze around you. Stay quiet and listen.
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Mo Yan’s style is breathtakingly spare and fluid. His ability to write clear, deep and bold about the simplest of nature shines through in this book. Also, Howard Goldblatt did a beautiful job in translating the story from the original Chinese!
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Suitable for: Everyone, nature lovers, fans of Chinese poetry (translated to english, though)
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“He wanted to sleep, but sleep eluded him. He could not stop thinking about the radish. What kind was it? Golden yet transparent.” - p.74
•
Hei-Hai, a scrawny little boy, is forced to work as a rock-breaker, and then as a blacksmith in a forge. Everyone thinks Hei-Hai is a pathetic little mute, but they’re dead wrong - he just chooses not to talk.
•
From the jute fields, to the river, or the moon, Hei-Hai’s obsession with his surroundings seems to fuel him, even in the midst of cruelty. There’s something about the beauty of nature that can never quite snuff out the light of life within this boy… who also falls in love with a radish.
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I think it’s hard not to love Hei-Hai, despite him not letting out a single syllable in the book. His silence and dogged devotion to nature will make us wonder: why the need to talk so much? Beauty is all ablaze around you. Stay quiet and listen.
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Mo Yan’s style is breathtakingly spare and fluid. His ability to write clear, deep and bold about the simplest of nature shines through in this book. Also, Howard Goldblatt did a beautiful job in translating the story from the original Chinese!
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Suitable for: Everyone, nature lovers, fans of Chinese poetry (translated to english, though)
July 23, 2019
Nobel ödülünün siyaseten verildiğini kabullendim lakin yine de her nobelli yazara şans vermeden duramıyorum. Bazen umudum boşa çıkmıyor bazen çıkıyor, mukadderat!
Belki Mo Yan ile yanlış kitapla tanıştım bilemiyorum fakat beklentilerimi karşılayan bir okuma olmadı. Elimde bir Mo Yan eseri daha mevcut artık ona nasip. Bir de bir yazarın hem öykücülüğü hem romancılığı eşit derecede iyi olmuyor, tabii bence, belki de öykücü yönünü sevemedim.
Bunca satırdan sonra tek tek öyküleri değerlendirmeyeceğim, sadece esere adını veren Saydam Turp öyküsü fark yaratıyordu benim için.
Herkese keyifli okumalar!
Belki Mo Yan ile yanlış kitapla tanıştım bilemiyorum fakat beklentilerimi karşılayan bir okuma olmadı. Elimde bir Mo Yan eseri daha mevcut artık ona nasip. Bir de bir yazarın hem öykücülüğü hem romancılığı eşit derecede iyi olmuyor, tabii bence, belki de öykücü yönünü sevemedim.
Bunca satırdan sonra tek tek öyküleri değerlendirmeyeceğim, sadece esere adını veren Saydam Turp öyküsü fark yaratıyordu benim için.
Herkese keyifli okumalar!
November 5, 2016
ترجمة الحوارات الداخلية للرواية باللهجة العامية المصرية شوّه العمل تشويهاً تاماً، وأفقدني كقارئ المقدرة على التخيل الزماني والمكاني.
أتمنى أن لا تكون رواية "الذرة الرفيعة الحمراء" العمل الضخم والكبير لمو يان قد ترجم بذات الطريقة. خاصة وأن المترجم هو نفسه.
أتمنى أن لا تكون رواية "الذرة الرفيعة الحمراء" العمل الضخم والكبير لمو يان قد ترجم بذات الطريقة. خاصة وأن المترجم هو نفسه.
July 28, 2018
الصبي سارق الفجل رواية قصيرة جميلة .. لأول مره اقرأ ل مويان ولكنها لن تكون الاخيرة فيتميز مويان بسرد التفاصيل البسيطة ولكن بطريقة جميلة تجعلك تتخيل الاشياء البسيطة وتنظر لها بعيني الكاتب .. ولكن هناك بعض الاسترسال في المشاهد البسيطة ولكنه وللحق لا يجعلك تشرد او تمل
July 26, 2016
ثالث رواية أقرأها للروائي العظيم مويان ، والحقيقة انها دون المستوي وبجدارة !!! الترجمة أيضا غاية في السوء والحوارات مترجمة للغة العامية ولا أعرف سببا لذلك .
November 4, 2017
على الرغم أنى لم أجد فيها متعة ولكنه أستطاع أن يجعلنى أقرائها حتى أخر سطر فيها
May 5, 2020
الترجمة في غاية البشاعة.. لا أعلم لماذا أقع دائما في قراءة الأعمال الصينية السيئة 🤦♀️
February 20, 2017
"insanım ya," dedi.
"Nasıl insan oluyorsun ki? Senin gibi temiz, senin gibi hoş kokan, senin gibi yetenekli bir insan var mı ki yeryüzünde?" dedim (Gece Avı adlı hikayeden, s. 254)
Mo Yan'ın toplumsal gerçeçiliğin kavruk köylülerinin gerçeküstü bir dünyayla buluştuğu, insan olma hallerine dair 12 adet hikayenin toplandığı bir kitap. Hikaylerin hepsinin aynı kalibrede, hatta uzunlukta, olduğunu söylemek zor. Ama hepsinin paylaştığı birden fazla ortak nokta var: Birincisi, Mo Yan'ın insanları, "insanlıktan çıkmış" insancıklar; bu insancıkların hepsi gerçeküstü bir dünyanın da içine girip çıkıyorlar, hatta yan yana, iç içe bir hayaller, masallar ve "acımasız", yoksunlukla belirlenmiş bir kırsal yaşamın kahramanları. Bu insancıkların hepsi "aç." (hikayelerin bir ortak noktası daha: hepsi yemek üzerine, ya da yemeğin yokluğu; "demir bile yenir") Hepsi insandan daha fazla birşey olabilir; dönüşebilir.
Müthiş görsel tasvirlere eşlik eden düz, yalınkat ve amaca hizmet eden (gözünde canlansın yeter) insan portreleri: Sanki büyülü bir dünyada, büyüden bî-haber yaşayanların büyülü dünya tarafından yutulmasının hikayeleri. Büyülü gerçekçiliğin Çin versiyonu: Bolca halk meselleri, popüler hikayeler, doğaüstü anlatılar, efsaneler, mitoslarla yoğrulmuş, gerçek yaşamın yoksulluğu (her anlamda: açız ve sevgisisiz. Bilhassa çocuklar, hikayelerinin yarısından fazlasının ana karakteri çocuklar. Doğanın içerisindeler ve aynı zamanda değiller; iki dünyayı bir araya getiren bir varla-yok arası. Ve tabii ki yaşlılar, beli bükükler, gözü görmezler velakin ordalar; bir sonraki dünyaya geçmek üzere olan hayatın acımasızlığının şekillendirdiği abideler gibiler.
"Nasıl insan oluyorsun ki? Senin gibi temiz, senin gibi hoş kokan, senin gibi yetenekli bir insan var mı ki yeryüzünde?" dedim (Gece Avı adlı hikayeden, s. 254)
Mo Yan'ın toplumsal gerçeçiliğin kavruk köylülerinin gerçeküstü bir dünyayla buluştuğu, insan olma hallerine dair 12 adet hikayenin toplandığı bir kitap. Hikaylerin hepsinin aynı kalibrede, hatta uzunlukta, olduğunu söylemek zor. Ama hepsinin paylaştığı birden fazla ortak nokta var: Birincisi, Mo Yan'ın insanları, "insanlıktan çıkmış" insancıklar; bu insancıkların hepsi gerçeküstü bir dünyanın da içine girip çıkıyorlar, hatta yan yana, iç içe bir hayaller, masallar ve "acımasız", yoksunlukla belirlenmiş bir kırsal yaşamın kahramanları. Bu insancıkların hepsi "aç." (hikayelerin bir ortak noktası daha: hepsi yemek üzerine, ya da yemeğin yokluğu; "demir bile yenir") Hepsi insandan daha fazla birşey olabilir; dönüşebilir.
Müthiş görsel tasvirlere eşlik eden düz, yalınkat ve amaca hizmet eden (gözünde canlansın yeter) insan portreleri: Sanki büyülü bir dünyada, büyüden bî-haber yaşayanların büyülü dünya tarafından yutulmasının hikayeleri. Büyülü gerçekçiliğin Çin versiyonu: Bolca halk meselleri, popüler hikayeler, doğaüstü anlatılar, efsaneler, mitoslarla yoğrulmuş, gerçek yaşamın yoksulluğu (her anlamda: açız ve sevgisisiz. Bilhassa çocuklar, hikayelerinin yarısından fazlasının ana karakteri çocuklar. Doğanın içerisindeler ve aynı zamanda değiller; iki dünyayı bir araya getiren bir varla-yok arası. Ve tabii ki yaşlılar, beli bükükler, gözü görmezler velakin ordalar; bir sonraki dünyaya geçmek üzere olan hayatın acımasızlığının şekillendirdiği abideler gibiler.
February 5, 2018
Galėtų būti mokyklinėje programoje šalia literatūros apie piemenėlius.
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Neblogas, bet trumpokas pasakojimas - kadangi prieš tai skaičiau Mo Yan "Respublic of Wine", šitas kontekste nublanko. Tiesiog nebuvo vietos atsiskleisti fantastikai ir groteskui, kuris buvo anoje knygoje (ten, pavyzdžiui, buvo apie valgomus vaikus, turtuolius neūžaugas raukšlėta oda, besaikį alkoholio vartojimą ir patį autorių kaip nevykusį gėriką).
Šios knygos pagrindinis veikėjas - nekalbantis vargšas berniukas, visai nejautrus skausmui, bet užburiamas tokių kasdieninių dalykų, kaip ridikas, grožio. Fone vyksta suaugusiųjų drama, kolektyvizacija, vargas, statoma užtvanka, meilės trikampis.
Šiaip tikrai būtų įdomu palyginti su lietuviška "vargo" literatūra - kontekstas panašus, bet visuomenės - skirtingos, Mo Yan - šiuolaikinis rašytojas, taigi visai kitokias alegorijas savo kūriniuose daro.
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Neblogas, bet trumpokas pasakojimas - kadangi prieš tai skaičiau Mo Yan "Respublic of Wine", šitas kontekste nublanko. Tiesiog nebuvo vietos atsiskleisti fantastikai ir groteskui, kuris buvo anoje knygoje (ten, pavyzdžiui, buvo apie valgomus vaikus, turtuolius neūžaugas raukšlėta oda, besaikį alkoholio vartojimą ir patį autorių kaip nevykusį gėriką).
Šios knygos pagrindinis veikėjas - nekalbantis vargšas berniukas, visai nejautrus skausmui, bet užburiamas tokių kasdieninių dalykų, kaip ridikas, grožio. Fone vyksta suaugusiųjų drama, kolektyvizacija, vargas, statoma užtvanka, meilės trikampis.
Šiaip tikrai būtų įdomu palyginti su lietuviška "vargo" literatūra - kontekstas panašus, bet visuomenės - skirtingos, Mo Yan - šiuolaikinis rašytojas, taigi visai kitokias alegorijas savo kūriniuose daro.
December 24, 2019
Terk Edilmiş Bebek öyküsünden tadımlık bir bölüm.
Halam işaretparmağıyla bebeğin karnını dürterek
şöyle dedi: "Seni tembel şey, neden biraz daha kilo almadın ki! Etli butlu olsaydın ya biraz, fena mı olurdu ha, o zaman sana gözü gibi bakardı ananla baban, bu halinle kurumuş kalmış köpek boku kadar değerin yok."
Uçan Gemi öyküsünden.
"Yere düşmüş olan çocuk ölmüştü çoktan, böyle küçük bir kafaya böyle büyük bir çelik parçası fazlaydı zaten. Fang Nine yere diz çöküp çelik parçasını çocuğun kafasından çıkardı, ardından çocuğun ikiye bölünmüş kafatasını bir araya getirmeyi denedi, bunu başarsa bile içi boş bir kabuktan başka bir şey olmayacaktı artık kafatası, hem ne kadar uğraşılsa da öyle yapışık kalamazdı
uzun süre. Yine de o kadar üzülmüş görünmüyordu Fang Nine. Kafatasını bir arada tutmaya çalışırken uçan gemiye sövüp saymaya devam etti."
Halam işaretparmağıyla bebeğin karnını dürterek
şöyle dedi: "Seni tembel şey, neden biraz daha kilo almadın ki! Etli butlu olsaydın ya biraz, fena mı olurdu ha, o zaman sana gözü gibi bakardı ananla baban, bu halinle kurumuş kalmış köpek boku kadar değerin yok."
Uçan Gemi öyküsünden.
"Yere düşmüş olan çocuk ölmüştü çoktan, böyle küçük bir kafaya böyle büyük bir çelik parçası fazlaydı zaten. Fang Nine yere diz çöküp çelik parçasını çocuğun kafasından çıkardı, ardından çocuğun ikiye bölünmüş kafatasını bir araya getirmeyi denedi, bunu başarsa bile içi boş bir kabuktan başka bir şey olmayacaktı artık kafatası, hem ne kadar uğraşılsa da öyle yapışık kalamazdı
uzun süre. Yine de o kadar üzülmüş görünmüyordu Fang Nine. Kafatasını bir arada tutmaya çalışırken uçan gemiye sövüp saymaya devam etti."
April 14, 2017
اول رواية اقرأها لكاتب صيني من الممكن انها كانت ستصبح افضل لولا الترجمة السيئة التي مزج فيها المترجم بين العامية المصرية في الحوار والفصحي في باقي الراوية بلا داع ع الاطلاق ولكن في المجمل راوية جيدة عن ذلك الصبي الراضي والصامت والقابل بلا تذمر رغم صعوبة عمله وصغر سنة وقسوة رب العمل اللاجئ للحلم والتخيل عبر النهر وحقول الفجل
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October 14, 2016كان مفترضاً بها أن تكون المقبلات إلى حين اقتناء الذرة الرفيعة الحمراء ، لكنها آلت إلى غير ما يرام ..
واحدة من أسوأ الترجمات الممكن مقابلتها ،ولو أني استطعت التركيز على العمل بقدر ما نقمت على الترجمة والمترجم لربما كنت فهمتها ..
فإلى نسخة أخرى ..
واحدة من أسوأ الترجمات الممكن مقابلتها ،ولو أني استطعت التركيز على العمل بقدر ما نقمت على الترجمة والمترجم لربما كنت فهمتها ..
فإلى نسخة أخرى ..
December 18, 2016
مع إعجابي بأسلوب مو يان الذي يهتم بتسجيل أصغر وأدق التفاصيل التي تعكس حياة الريف وسكانه، إلا أني لم أنسجم مع هذه الرواية
كما أنه قد أزعجني أن المترجم جعل الحوارات بالعامية المصرية !!!
ولَم أفهم سبب ذلك ولا هو أوضح سبب لجوئه لهذا الأسلوب
كما أنه قد أزعجني أن المترجم جعل الحوارات بالعامية المصرية !!!
ولَم أفهم سبب ذلك ولا هو أوضح سبب لجوئه لهذا الأسلوب
February 7, 2021
كنت اتسائل لماذا نال من خلالها كل هذه الجوائز ولكن عندما قرائتها فشعرت وان تلك الجوائز اقل كثير مما يستحق ! أبدع ف تصوير حقبة الستينيات وتاثيرها ع الشعب ومستقبل اليابان ..
وفي حقيقة الأمر جعلني لا اريد الخروج منها لذلك قرأتها حتي الآن أكثر من ٤ مرات
وفي حقيقة الأمر جعلني لا اريد الخروج منها لذلك قرأتها حتي الآن أكثر من ٤ مرات
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