🏳️🌈台灣文學的酷兒化外譯——在時差與語境中現身🏳️🌈
𝚃𝚛𝚊𝚗𝚜𝚕𝚊𝚝𝚒𝚗𝚐 𝚀𝚞𝚎𝚎𝚛𝚗𝚎𝚜𝚜 𝚒𝚗 𝚃𝚊𝚒𝚠𝚊𝚗𝚎𝚜𝚎 𝙻𝚒𝚝𝚎𝚛𝚊𝚝𝚞𝚛𝚎—𝙰𝚗 𝙴𝚖𝚎𝚛𝚐𝚎𝚗𝚌𝚎 𝙱𝚎𝚝𝚠𝚎𝚎𝚗 𝙻𝚊𝚗𝚐𝚞𝚊𝚐𝚎 𝚊𝚗𝚍 𝚃𝚒𝚖𝚎
▌時間 Time：9/6 Sat. 14:00-16:30
▌地點 Venue：女書店、Google Meet
👾關於本場講座 Event Description
本次活動邀請到《零觸碰親密》及《瑕疵人型》的作者林新惠與《房思琪的初戀樂園》譯者Jenna Tang 同台分享在海外宣傳台灣酷兒及性別相關文學的經驗、外譯和宣傳歷程、以及外國讀者在作家與譯者巡迴時所帶來的回饋與迴響。身為台灣出身的作家、學者、譯者，分別用中文與英文創作，在台灣與海外，有什麼不一樣的經驗？新惠和Jenna將分享她們在義大利、美國，以及其他國家的巡迴歷程，以及在這些經歷如何重塑她們的寫作與身份定位。兩人首次的交集是在2021美國亞裔工作坊(Asian American Writers’ Workshop) 的酷兒時間（Queer Time）合輯，其中收錄《瑕疵人型》中的〈剝落〉以及楊隸亞《女子漢》中的〈大雄的身體〉的英譯版。由此而後，兩人各自的國際參與經驗，如何讓她們從創作者和翻譯者的角色，去重新思考台灣與海外的性別主題連結，以及探討酷兒化台灣文學外譯的可能？台灣文學中的科幻、未來、以及科技相關主題與元素，將能如何與國外文學、藝術等各式領域對話？
On Saturday, September 6th at 2pm-4:30pm, FemBooks in Taipei is inviting Lin Hsin-Hui, the author of Contactless Intimacy and Human Glitches, as well as Jenna Tang, the translator of Lin Yi-Han’s novel, Fang Si-Chi’s First Love Paradise, to share their experiences bringing Taiwanese literature on queerness and gender topics out to the world.
This session will invite both Hsin-Hui and Jenna to talk about the process of translation, what it means to share Taiwanese stories overseas, and feedback they received in their separate journeys. What does it mean to share literary works internationally, as a Taiwanese writer, scholar, or translator, especially when they work in two separate languages—Mandarin Chinese and English? Both Hsin-Hui and Jenna will share their journeys touring in Italy, the United States, and other countries, and speak to how touring as artists reshape their own works and identities.
The first time Hsin-Hui and Jenna crossed paths with each other was at the 2021 Transpacific Literary Project: Queer Time, a Special Notebook of Taiwanese Tongzhi Literature, gathering over 10 short pieces in translation from Taiwanese queer writers, organized by writers Chi Ta-wei and Ariel Chu. This collaborative project includes Lin Hsin-Hui’s short story, “Peeling Off” translated by Ye Odelia Lu, as well as writer Leah Yang’s “Nobi Nobita’s Body” translated by Jenna Tang.
In the years after the publication of Queer Time, both Hsin-Hui and Jenna had been invited to share their works in translation overseas—what does it mean for the both of them, as a Taiwanese writer or translator, to build connections between Taiwanese queer stories and international audiences? What does the process of bringing queer literature out to a bigger world look like? How do elements of sci-fi, futuristic visions, technologies, and more, play into the possibility of creating conversations between world literature and art?
