Interviews & Videos

Své romány chci věnovat lidem, kteří se pohybují na okraji společnosti, říká čínská spisovatelka Šeng Kche-i

květen 2021

Holky ze severu, román jedné z nejvýraznějších současných čínských autorek Šeng Kche-i vykresluje proměnu Číny na přelomu milénia a zabývá se tématem sexuálního obtěžování a násilí páchaného na ženách. Jaké je postavení žen v čínské společnosti dnes? O jakých tématech se dnes v čínské literatuře mluví otevřeně a do jaké míry ovlivňuje výsledné dílo cenzura? Na otázky Veroniky Štefanové odpovídá spisovatelka Šeng Kche-i a její překladatelka Kamila Hladíková.

Připravila: Veronika Štefanová
Editorka: Petra Kultová


Q&A With Lauded “Northern Girls” Author Sheng Keyi Ahead of Apr 5 Great Outdoors Talk.

Despite all the lofty praise Sheng Keyi has received for writing novels like Northern Girls and Death Fugue, the author is by no means above a bit of crude humor. Indeed, a pile of excrement that appears in a town square serves as a major catalyst in the latter novel, and from there its characters are galvanized in a variety of page-turning ways. Ahead of her book talk at The Great Outdoors (which is part of Spittoon’s book club) on Apr 5, Keyi tells us more about attaining that balance in her prose, writing about the hardships of tenacious women, and what is inspiring her next project.

Sheng Keyi likes metaphors. In the increasingly controlled Chinese state, metaphors have the power to circumvent censorship. But they’re not infallible, and it’s their demise that Sheng explores in her new novel. The Metaphor Detox Centre, published today in Taiwan, imagines a world in which people who use metaphors are sent for re-education.

October 1, 2018Jemimah Steinfeld and Sheng Keyi

Jemimah Steinfeld talks to Sheng Keyi about her new novel
the Los Angeles Review of Books.

Publishers under pressure as China’s censors reach for red pen

 (Xi Jinping may boast of reading Tolstoy and Flaubert, but authors are finding their artistic freedom increasingly curtailed)

Tom Phillips in Beijing

Fri 13 Nov 2015 06.39 EST

Interview with Sheng Keyi

by Anna Georgia Mackay

SHENG KEYI IS a Chinese writer who grew up in Huaihua Di, a poor and isolated village of the Hunan province, on the banks of the Lanxi River. Sheng was sixteen years old in 1989, when student protests were violently suppressed at Tiananmen Square; like most Chinese citizens, she was introduced to the events through the government’s opaque re-telling on televised news media. Almost twenty-five years later, Sheng is a successful, translated novelist writing about Chinese society in a way that complicates that patriotic gloss.

A denizen of Beijing’s literary circles, Sheng is reputed for her socially engaged writing and bold experimentation with form. Following her highly acclaimed Northern Girls (Penguin, 2012), which won a host of literary prizes and was shortlisted for the Man Asia Literary Prize, Sheng has recently had a second novel published in English, Death Fugue­, which looks critically at the continuing impact of the government’s response to Tiananmen Square on the Chinese psyche and spirit – particularly people’s capacity for poetry and creativity.

Though the manuscript was barred from publication in China, Death Fugue found a publisher in Australia last year with Giramondo. In it, Sheng uses both allegory and fantasy to contrast what China has become with what she imagines China could be. Her speculative projections for an alternative China also characterise her most recent short story, ‘A Little Life’, published in this issue of Griffith Review. For Sheng, it is this capacity to re-imagine contemporary reality that makes fiction writing a meaningful pursuit.

More interviews & videos come soon…