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Nicky Harman wikipedia / worldcat / academia

2018 publications:

The Chilli Bean Paste Clan, by Yan Ge, Balestier Press

2017 publications:

Jia Pingwa, Happy Dreams, Amazon Crossing, 2017.

2015 publications:

2014 publications:

A Tabby-cat's Tale by Han Dong, winter 2014.

A Loud Noise, poems by Han Dong, March 2014.

Other Published Translations in date order:

Research publications:



Non-fiction (1)



Essays (1)


Excerpts (1)

Collections (2)

Novels (10)

Poems (27)

Short stories (40)



International Translation Day, British Library, 26 September 2014

By Nicky Harman, June 13, '14

Save the date.

Booking here: http://www.bl.uk/whatson/events/event162774.html


China's Banned Books

By Nicky Harman, May 23, '14

Great interview on BBC World Service "Fifth Floor"

From the Beeb: "Chan Koon Chung is a Chinese author who writes about ethnicity, sex, and other provocative issues in China. His latest novel has been banned, although like other writers who delve into taboo subjects he remains free to live and continue writing from within China. The book is called The Unbearable Dreamworld of Champa the Driver, and to talk about its themes we've bring together Vincent Ni from BBC Chinese and Juliana Liu who is based in Hong Kong."

With @nivincent, @julianaliu on @BBC5thfloor http://www.bbc.co.uk/programmes/p01z6f5z.

But please! #namethetranslator


2014 Translation Database at Three Percent's website

By Nicky Harman, May 21, '14

2014 Translation Database at Three Percent is an inspiring list in lots of languages. Any books not on the list? Contact: email@example.com and he'll add them.


"Translate in the City" Literary Translation Summer School 2014, London, UK

By Nicky Harman, April 4, '14

Monday 23rd- Friday 27th June 2014. Details here


New story by Wu Ming-yi

By Nicky Harman, March 30, '14

Beijinger Dave Haysom has uploaded a new story, ‘The Magician on the Footbridge’, by Wu Ming-yi here.


The Weird and Wonderful World of Dorothy Tse's Hong Kong - review by ARB


Asian Review of Books' Peter Gordon has just reviewed Snow and Shadow, short stories by Dorothy Tse, translated by me. Great, thought-provoking review.


Reviewing translations: Jonathan stalling, Chinese Literature Today

By Nicky Harman, January 8, '14

I (Nicky) was very struck by JS's review of a review in LA Review of Books of Mo Yan's Sandalwood Death. It appeared on the MCLC list. His words immediately reminded me of the endless debates we've had in UK among translators, about how we'd like our translations reviewed, and the struggles to remind even long-established cultural institutions like the BBC that translations of poetry and fiction should be credited when they are broadcast, not treated as if the author had originally written in English. With Jonathan's permission, I have reproduced his letter to the list here. In the event, it sparked off a lively debate, including contributions from the reviewer, Jiwei Xiao, herself. Those interested can join the list to read the whole thread.


I was quite excited to discover that at long last the LARB had published a review of Mo Yan’s Sandalwood Death. As the editor of the CLT Book Series that published Howard Goldblatt’s English translation of the novel at the beginning of 2013, I had all but given up on the LARB reviewing it. By the time I reached the end of this substantial review, however, I had to face a rather peculiar and unsettling reality: after nearly 2,400 words, the reviewer, Jiwei Xiao, never mentions the fact that the book she is reviewing is Howard Goldblatt’s English translation of Mo Yan’s novel. I may be a bit more sensitive to this omission given the fact that I, as the editor and a translator myself, am quite excited by the attention Goldlatt’s translation is getting from the translation community: the book has already been nominated for several awards, and, in fact, only a few months earlier Goldblatt had been interviewed by LARB about his translation work!

So while Xiao quotes liberally from the English text (sans citations), she never mentions even once that the book under review is not《檀香刑》, which was published well over a decade ago, but is instead its English translation. Of course, any review of translated literature will necessarily focus on the merits of the original, but at the very least professionalism requires a reviewer to acknowledge the work of the translator in some form. Most of the time readers rely on a review to find out whether a book is a good read in English, so it is important for a reviewer to offer a critical opinion on this matter so the reader can make an informed decision. In this review, however, the reader is invited to enter the original text as if it were still in Chinese, yet miraculously transparent to the English reader’s mind.

The reviewer spends a fair amount of time discussing the “dissonant sounds” upon which “the novel was inspired,” and while Mo Yan’s aural ingenuity naturally rests at the heart of the reviewer’s commentary, it is important to note that these aural textures were delicately and boldly translated into English by Goldblatt. In fact, I would argue that these challenging moments constitute some of the most formally experimental—and successful—moments in Goldblatt’s esteemed career. When I first read the translated manuscript, I marveled at his ability to imbue the English with a parallel set of aural textures (rhyme, meters, vocables, etc.), producing often uncanny results.

Yet this is not really what left me feeling so uneasy. Instead, I fear that there remains a deep and stubborn refusal to take translation (and translation studies) seriously enough within both Chinese Studies and our broader public literary culture (after all, the LARB editors must have first read this piece before publishing it). I am not going to speculate on the latent ideological (or epistemological) conditions that undergird moments like these, but I do feel we must take such opportunities to refocus attention on the collaborative nature of world literature translated into English. As most people know, literary translators are incredibly important cultural producers and yet most of them struggle to make a living wage from their work. In fact, a recent report by the Conseil Européen des Associations de Traducteurs Littéraires concludes with the following observation: This survey clearly shows that literary translators cannot survive in the conditions imposed on them by "the market". This is a serious social problem on a continent that is meant to be developed, multilingual and multicultural, but it is also and most importantly a very serious artistic and cultural problem. Indeed, what does it say about the quality of literary exchange between our societies if literary translators are forced to dash off their work just to be able to earn a basic living?

The objectives outlined by UNESCO in its 1976 Nairobi Recommendation are far from being realised, that is the least one can say. It’s time to act! (www.ceatl.eu)

What is true in the European context is even worse in the US (and for Chinese-English-Chinese translation, the pay scale of which is often calculated in RMB as a way of lowering the cost). Translators work for many of the same mysterious reasons writers do—not because it pays well (though I hope this can be remedied soon), but to contribute to the cultural work of our time, to participate in the global conversation of literature itself. If our work as translators is not discussed in reviews of our work (or even simply acknowledged), when, pray tell, will it be?

It is important for me to note, however, that I believe Professor Xiao would have gladly incorporated her thoughts on the translated nature of the text had it been brought up in the editing/review process, or if it had been listed as a prerequisite on the LARB contributor information page, or if there existed broader university support of and academic/prestige capital invested into translation inside the realm of Chinese Studies. So I do not wish for the instructive moment of this review to be reduced to a critique of this review alone (for clearly Professor Xiao has many interesting things to say about this novel), but as a general reminder to all reviewers (and to those of us who publish them) to spend a moment engaging with (or better yet, exploring) the translative nature of world literature, for this is our responsibility, not to mention one of the great joys of our work.

Jonathan Stalling Chinese Literature Today


2013 - roll call of Chinese-to-English fiction and poetry translations

By Nicky Harman, December 13, '13

Here's this year's list, compiled by Nicky Harman and Helen Wang. Feel free to add any we've missed out:

Ten Loves by Zhang Yueran , translated by Jeremy Tiang , pub. Math Paper Press, Singapore

Island of Silence by Su Wei-chen , translated by Jeremy Tiang , pub. Ethos Books, Singapore

Durians Are Not The Only Fruit by Wong Yoon Wah , translated by Jeremy Tiang , pub. Epigram Books, Singapore

Tongwan City by Gao Jianqun, translated by Eric Mu, pub. CN times Books.

I can almost see the clouds of dust, poems by Yu Xiang, translated by Fiona Sze-Lorrain, pub. Zephyr Press and Chinese University Press of Hong Kong (bilingual)

Canyon in the body, poems by Lan Lan, translated by Fiona Sze-Lorrain, pub. Zephyr Press and Chinese University Press of Hong Kong (bilingual)

Wind says, poems by Bai Hua, translated by Fiona Sze-Lorrain, pub. Zephyr Press and Chinese University Press of Hong Kong (bilingual)

Other Cities, Other Lives by Chew Kok Chang , translated by Shelly Bryant , pub. Epigram Books, Singapore

Mr Ma and Son by Lao She , translated by William Dolby , pub. Penguin Modern Classics

Cat Country by Lao She , translated by William A Lyell , pub. Penguin Modern Classics

Irina’s Hat: New Short Stories From China by Authors and translators various , translated by ed. Josh Stenberg , pub. Merwin Asia

Last Quarter of the Moon by Chi Zijian , translated by Bruce Humes , pub. Harvill Secker

The Song of King Gesar by Alai , translated by Howard Goldblatt , pub. Canongate Books Ltd

Black Flame by Gerelchimeg Blackcrane , translated by Anna Holmwood , pub. Groundwood Books of Toronto, Canada (in association with Anansi Books)

For a Song and a Hundred Songs: A Poet’s Journey Through a Chinese Prison by Liao Yiwu , translated by Wenguang Huang , pub. New Harvest Books

The Matchmaker, The Apprentice and The Football Fan by Zhu Wen , translated by Julia Lovell , pub. Columbia University Press

The Earnest Mask by Xi Ni Er , translated by Howard Goldblatt & Sylvia Li-chun Lin , pub. Epigram Books, Singapore

The Man With The Compound Eyes, by Wu Ming-Yi, tr Darryl Sterk, pub. Harvill Secker

Every Rock a Universe: The Yellow Mountains and Chinese Travel Writing, writings by 17th century poet and artist Wang Hongdu, translated by Jonathan Chaves (Floating World Editions). Review forthcoming in Chinese Literature: Essays, Articles, Reviews.

Search for the Buried Bomber, by Xu Lei, tr. Gabriel Ascher, pub. AmazonCrossing


Translator Residencies, London 2014

By Nicky Harman, August 1, '13

Free Word London ("a global meeting place for literature, argument and free thinking") are offering two places on its Translators in Residence programme for 2014. Any languages can be offered by interested applicants. More information, including deadline for application, available here: http://www.freewordonline.com/info/work-for-us/


A subtitler's eye view on translating from Chinese

By Nicky Harman, April 23, '13

Here is a fascinating podcast on translating and subtitling and working with Chinese directors from That's Beijing. With Brendan O'Kane and Linda Jaivin.


Thought-provoking: Translator as the maker of originals?

By Nicky Harman, April 6, '13

Karen Emmerich on Words Without Borders. This link is to part 2 of her essay, follow WWB link for part 1. http://wordswithoutborders.org/dispatches/article/the-making-of-originals-the-translator-as-editor-part-2


Translation thrives on Twitter

By Nicky Harman, March 22, '13

Some of you will have noticed that the London–based China Fiction Book Club, has a thriving twitter account, @cfbcuk. Launched, serendipitously, the day of the announcement that Mo Yan had won the Nobel Prize for Literature, it's going strong and has nearly 200 followers…(198 today and counting. Several new followers arrived between yesterday and today as a result of the Dorothy Tse story which appeared in the Guardian). PLUS Helen Wang has launched 3 more Twitter accounts, all worth browsing: Story of the Stone @caoxueqin1760; Lin Yutang @lytwords; and – together with the Emerging Translators Network - Translated World, @translatedworld. These have daily posts - have a look. If you don't yet have a Twitter account, then google the @names and you can reads the tweets...


Chinese writer features in new Guardian newspaper series of water-themed stories

By Nicky Harman, March 15, '13

"Writers have long been fascinated by the wet stuff, and now we're opening the floodgates on a series of aquatic-themed short stories" says Richard Lea in the Guardian today. The Guardian has featured Chinese fiction before - five short stories translated from Chinese marked last year's London Book Fair. The current collection of "water" stories are from all around the world, some written in English, others translated. Dorothy Tse (谢晓红）wrote one in Chinese especially for this series, and it's translated by me.


Birkbeck (London) Translation Summer School 22-26 July 2013

By Nicky Harman, February 16, '13

This year, the Birkbeck (London) Translation Summer School offers Chinese to English as an option again. There will be a mixture of texts to study - from literary to technical via reportage. Dates: 22-26 July 2013. For more details see here. The workshop leader will be Nicky Harman.


The Times Stephen Spender Prize is open for entries.

By Nicky Harman, February 7, '13

Translate a poem from any language, classical or modern, into English. Three categories – Open, 18-and-under and 14-and-under – and cash prizes. Details, entry forms and free booklets of past winning entries available from the Stephen Spender Trust. Closing date Friday 24 May 2013.


