Episode Summary In T.S. Eliot’s essay "Tradition and the Individual Talent," He argues that new art is deeply connected to the literary tradition before it, creating a dialogue between past and present. Writers must engage with this history, not to imitate but to reinterpret it, creating something new while honoring the past. For contemporary writers, Eliot’s ideas remain relevant. In a globalized world, writers often draw from multiple traditions—Chinese, Western, or global—to reflect a hybridized reality. Writers, especially young writers of our generation are often confronted with the question of authenticity. How do we write? In relation to ourselves and others? Eliot’s "impersonality" also resonates, encouraging writers to move beyond identity politics or personal narratives to explore broader human experiences, particularly for those who grapple with writing in more than one language, while struggling with bilingual writing, we often look away from the power of ambiguity. Writing and the ambiguity within it, channeling us to a hidden realm where wisdom is no cruelty, serenity is the synonym of benevolence. In this episode, we will be having a long awaited conversation with our friends: multidisciplinary artist Sharon Zhang, literary critic Hengzhi Yang, and poet Cecilia Hua as young immigrants in today’s America to talk about what it means to be a writer, our future as writers, what writing has done for us and what can we do in return for writing. You can find them on Instagram: Sharon Xinran Zhang: @hardboiled.chicago Hengzhi Yang: @househousemagazine Cecilia Ling Hua: @poetry_cecilia Everything we mentioned in this episode: Right to Opacity - Édouard Glissant The Task of the Translator - Walter Benjamin Tradition and Individual Talent - T.S. Elliot How to be Alone - Jonathan Franzen Disability Theory - Tobin Siebers The Book of Solitude - Paul Auster Background Music: Simulation Swarm - Big Thief *** 内容简介 在T.S. 艾略特的《传统与个人天赋》一文中，他论述了新艺术与前人文学传统的深刻联系，创造了一种过去与现在之间的对话。作家必须与这段历史对话，不是为了模仿，而是为了重新诠释，从而创造出新的东西，同时尊重过去。 对于当代作家来说，艾略特的观点依然具有现实意义。在全球化的今天，作家们常常从多种传统中汲取灵感——无论是中国的、是西方的，还是全球性的——以反映一种混合的现实。尤其是我们这一代年轻作家，常常面临着关于真实性的问题。我们该如何写作？我们与自己和他人之间的关系如何书写？艾略特的“无个人化”观念也依然具有共鸣，鼓励作家超越身份政治或个人叙事，探索更广泛的人类经验。特别是对于那些在双语写作中挣扎的作家而言，我们常常忽视了模糊性的力量。写作与其中的模糊性引导我们进入一个隐秘的领域，在那里，智慧不等于残酷，宁静是仁爱的同义词。 在这一集节目中，我们将与我们的朋友们进行一场期待已久的对话：青年跨学科艺术家Sharon Zhang、青年文学批评Hengzhi Yang，以及青年诗人Cecilia Hua。作为身处当代美国的年轻移民，我们将一起讨论作为作家的意义、我们的未来、写作对我们的影响以及我们能为写作做些什么。 你可以在Instagram上找到他们：Sharon Zhang：@hardboiled.chicagoHengzhi Yang：@househousemagazineCecilia Hua：@poetry_cecilia 本集提到的作品： 《晦涩的权利》——爱德华·格里桑《译者的任务》——瓦尔特·本雅明《传统与个人天赋》——T.S. 艾略特《如何独处》——乔纳森·弗兰岑《残疾理论》——托宾·西伯斯《孤独之书》——保罗·奥斯特 背景音乐：Simulation Swarm——Big Thief

- 本期节目为普通话录制。This episode is recorded in Mandarin Chinese - 【主持】 金雪妮，学者，科幻文学译者 【嘉宾】「在场 · 非虚构翻译奖学金」第一季得主： Yo-Ling Chen（翻譯《她們的AI戀人——真實或虛妄的愛》） Diego Ge（翻譯 《國境之間：「春天革命」與泰緬邊界上的緬甸流亡》） Hongyan Wei（翻譯《夜班老師：在現代中國的社會夾縫中做巫師》） 【节目介绍】 - 本期节目由重音社与「在场 · 非虚构翻译奖学金」联合出品 - 长期以来，中译英的译者往往是英语母语者，也正是通过他们，华语文学作品得以走向英语世界。近年来，一代新的译者开始崭露头角。他们的母语并非英语，或不仅仅是英语。在进行中译英翻译时，他们感受到来自英语世界的种种挑战：需要自证英语水平的负担，源语言与目标语言之间的权力差，本地受众对口音的偏见…… 本期节目，借「在场 · 非虚构翻译奖学金」第二季招募之际，重音社邀请译者金雪妮和参与「在场 · 非虚构翻译奖学金」第一季的三位译者，进行了一场酣畅淋漓的对话。译者的选择始于何处？具身的体验如何帮助译者切入文本？如何体现语言的历时性和共时性？当我们说一个人的英语水平是native level（母语者级别），我们究竟在说什么？ 在场 · 非虚构翻译奖学金： 「在場 · 非虛構翻譯獎學金」由成舍我紀念基金會、杜克大學故事實驗室與在場 · 獎學金，於2024年聯合成立，旨在培養非虛構翻譯的新人，華語英譯「在場・非虛構寫作獎學金」得獎作品，不只翻譯語言，更將細微語境轉譯——在不同文化之間搭起溝通與理解的橋樑。「在場 · 非虛構翻譯獎學金」來到第二季，邀請譯者與作者共同工作，提供獎金、一對一導師協助、正式出版發表作品等支援。獎學金不限國籍、職業與年齡，面向所有翻譯人開放。详情请见：https://www.frontlinefellowship.io/translationfellowship2 *** This episode is co-produced by Accent Society and the Frontline Nonfiction Translation Fellowship. For a long time, Chinese-to-English translators have typically been native English speakers. Through their work, Chinese literature has found its way into the English-speaking world. In recent years, however, a new generation of translators has emerged — translators whose first language is not, or not exclusively, English. In translating from Chinese to English, they encounter various challenges from the English-speaking world: the burden of proving their English proficiency, the power imbalance between the source and target languages, and biases against non-native accents, among others. In this episode, coinciding with the launch of the second season of the Frontline Nonfiction Translation Fellowship, Accent Society brings together translator Emily Jin and fellows from the program’s first season for an in-depth conversation. Where does a translator’s agency begin? How does embodied experience shape their approach to a text? How can translation capture both the diachronic and synchronic aspects of language? And when we say someone’s English is "native level," what do we really mean? *** 【内容提要】 8：45 译者的能动性始于选择翻译什么和译入哪门语言 9：23 陌生化还是本地化？源语言和目标语言之间的权力差 12：30 来自英语读者的差评：这个翻译小说读上去很像翻译小说！ 15：20 译者如何反抗被英语统治的多元性别叙事？ 17：07 如何译介文体？译者的策略：放弃对客观叙述的追求 19：55 “缅甸中心大陆”如何翻译？多语种间的转译 21：18 翻译本身也是我们审视和母语的关系的镜子 21：55 来自译者的敲打：中国男作家小说的厌女成分有多少来自母语的语言惯性？ 23：28 如何翻译口音：质疑英汉二元论 24：46 在译文中保留作者在壮语和普通话间的转译经历 26：38 语言的不仅是历时的，也是共时的 27：34 关注边境写作：活跃的多语种共生状态 29：11 写作教授的愤怒：英语实在太平了！ 30：30 学术语言也需要翻译，才能触及更多读者 31：55 如何译介多元性别中的专有名词：寻找对应意涵，还是保留原生语境？ 32：56 如何翻译queer platonic：“酷儿柏拉图式的关系”还是“知音”？ 35：03 从fictosexuality到纸性恋：一个词的跨国演变 38：25 在路上的译者：具身体验如何激活翻译 41：50 英语多好才叫好？英语非母语者的自证需求来自哪里？ 42：40 英语水平是advanced还是native：你是否把自己成功改造成了美国人？ 43：55 native（母语的）就一定是最好的吗？ 47:00 追求一种strange and beautiful的写作语言 48：37 英语非母语者从事翻译也是在反向拓宽英语的边界 49：06 观众的偏见：将口音与智力混淆 52：55 美国驾照签名为什么不能用汉字？签名是证明我身份的一部分 55：22 Bilingual（双语者）还是bye-lingual（失语者）？ 58：25 无国界的国际口音：不是残次品，而是拼贴画 59：50 语言本身也存在时差 63：08 作为双语译者，会有意在译本中注入更多文化性 64：07 多语者可以戳破各种意识形态 67：30 翻译是背叛，也是先驱，更是灵媒 【嘉宾推荐作品】 Not Like A Native Speaker: On Language as a Post-colonial Experience by Rey Chow 【本期音乐】 中国佬的华尔兹 Vals de los chinos by Chung Yufeng and David Chen *** 重音社是一个联结多语创作者的社群，致力于发现、助力、推广破除边界的真诚写作。线上平台提供最前沿的中英双语创意写作课程，在纽约有一家书店·文化空间（重音姐妹）。 网站：https://www.accentaccent.com Instagram: @accentsisters 微信/WeChat: @Accentsociety 小红书/RedNote: Accent Sisters 重音社

I came across Sienna’s profile on Douban during the pandemic. After reading a few of her publications—writings that rest uneasily between poetry and fiction—I became a fan. Sienna’s writing resists categorization. Ghostly, lyrical, precise, it carries an unearthly charm only to be found in experimental titles from indie publishers. Fittingly, Sienna is a devoted fan of independent literature, beginning with Fitzcarraldo. Last year, Sienna published her first novel, Food Porn, with Game Over, a Boston-based literary publisher. Her first book-length essay, Specimen, is set to be released by Split Lip Press. Here’s my conversation with Sienna about Food Porn, the campus novel, ghostly romantic relationships, and autofiction. I hope you’ll enjoy it. Sienna Liu is a writer and literary translator living in New York City. She is the author of Specimen (Split/Lip Press, forthcoming in 2025) and Square (Black Sunflowers Poetry Press, 2022). Her English-to-Chinese translations include Rachel Cusk's Second Place (Guangxi Normal University Press, 2023), Claire-Louise Bennett's Checkout 19 (forthcoming), Ali Smith's Companion Piece (forthcoming), and a new translation of Virginia Woolf's Mrs. Dalloway (forthcoming). Host: Na Zhong Music: Fade Into You 我是在疫情期间偶然发现了苏凉的豆瓣主页。我读了几篇她的作品，它们介乎诗歌与虚构之间，读完后我便喜欢上她的文字。苏凉的作品难以归类：幽灵般若即若离，有音乐性，精准，这种魅力通常见于独立出版社的先锋作品。苏凉恰好也是独立文学的忠实拥趸，尤其是英国出版社Fitzcarraldo。 去年，位于波士顿的出版社 Game Over 出版了苏凉的首部小说《Food Porn》。她的第一本长篇随笔《Specimen》将于今年由 Split Lip Press 出版。以下是我与苏凉的对谈，关于《Food Porn》、校园小说、幽灵般的亲密关系与自传体小说。希望你喜欢。 主持人：Na Zhong 音乐：Fade Into You

Welcome to a journey with Accentricity. In this episode, Accent's Spring Fellow Winifred (Winnie) Dongyi Wang is in conversation with fiction writer Jiaming Tang, as they return to the motherland—both physically and metaphorically, through the lens of literature. In Tsai Ming-liang’s mesmerizing film "Goodbye, Dragon Inn," the Taiwanese queer auteur sets his camera in a fading Taipei movie theater, where a valedictory screening of the 1967 wuxia epic "Dragon Inn" unfolds. With minimal movement and sparse dialogue, the film paints an ethereal yet deeply poignant portrait of nostalgia and longing. People come to the cinema to witness how others live, but what else transpires in those shadowy aisles? What unspoken connections and emotions emerge in the dark? Born in Fujian and raised in New York City, Jiaming Tang weaves together the threads of his experiences from two vastly different worlds. Inspired by "Goodbye, Dragon Inn," Jiaming envisions a realm where a special kind of love—one that remains unspoken in the heteronormative confines of China—blossoms in the sanctuary of a movie theater. In his debut novel, "Cinema Love," Jiaming invites readers into the lives of rural queer Chinese men, navigating the chaos of displacement and self-discovery in a foreign land. In this episode of Accentricity, Winnie sits down with Jiaming to unpack his upbringing as a Chinese immigrant in the U.S., particularly in the vibrant yet complex enclave of NYC’s Chinatown. Together, they explore iconic sinophone queer media, from the Taiwanese reality show "Kangsi Coming" to Bai Xianyong’s seminal work "The Crystal Boys." They also delve into the merits of bilingual and bicultural writing, examining how Jiaming’s kaleidoscopic world-building in "Cinema Love" bridges the gap between East and West, past and present. 欢迎加入这一集的Accentricity，一同走进作家唐家铭和Accent Fellow王东怡（Winnie）的对话。我们将通过文学的镜头，回归我们的母国——无论是身体上还是隐喻上。 在蔡明亮迷人的电影《不散》中，这位台湾酷儿导演将镜头对准了台北一家日渐衰落的电影院，那里正放映着1967年的武侠经典《龙门客栈》。通过极少的动作和稀疏的对白，电影描绘了一幅既超脱又深刻怀旧与渴望的画卷。人们来到电影院，观看他人的生活，但在那些昏暗的过道中，还会发生什么？那些未曾言说的联系与情感如何在黑暗中浮现？ 出生于福建，成长于纽约市的移民作家唐家铭，将他来自地球两端的经历编织在一起。受《不散》启发，家铭构想了一个秘境，在那里，一种特殊的爱——一种在中国异性恋规范中无法言说的爱——在放映机的庇护下悄然绽放。在他的处女作《Cinema Love》中，家铭邀请读者走进中国农村酷儿男性的生活，他们在异乡的混乱中迷失与寻找自我。 在本期Accentricity中，Winnie邀请家铭深入探讨他作为中国移民在美国，尤其是纽约市中国城的成长经历。他们一起探索了标志性的华语酷儿文化，从台湾真人秀《康熙来了》到白先勇的开创性作品《孽子》。他们还探讨了双语和双文化写作的价值，细读家铭在《Cinema Love》中如何通过万花筒般的世界构建，架起东西方、过去与现在之间的桥梁。

你在开头听到的是作家张悦然朗读新作《天鹅旅馆》的片段。 《天鹅旅馆》始于一次春游，保姆于玲在男友的鼓动下，两人以春游为借口绑架了雇主的儿子。然而在春游途中他们得知男孩一家因贪腐而受审的消息，绑架顿时失去意义。这是一个关于善与恶、爱与罪、友谊与成长的当代故事，用文字建造一座收留无家可归之人的“天鹅旅馆”。 ​1月，Accent和朋友们在微信群共读了《天鹅旅馆》，并请来作者本人，与我们进行了一次深入的交流。你即将听到的是对话的节选。更多信息，可以关注我们的公众号重音社accentsociety。

创作，可能是人类最独特的活动之一。文字、影像、声音 … … 不同形式的作品里，承载着创作者对世界的理解与回应。它记录个体情感与思想，也捕捉时代激流与暗涌。在一个飞速变化的时代里，创作更加弥足珍贵：它带来联结，让我们这些散落在世界不同角落的个体，得以在创作中相遇。来自不同领域的创作者——王磬、钟娜、何雨、李骄阳将与大家一起漫谈创作。漫谈将由这几位创作者开启话题，再过渡到社群互动。 我们回顾了各自在过去一年的创作经历，探讨挑战与收获；分享新一年的创作计划，展望未来可能的创意方向；复盘2024年我们各自认同的优秀作品，挖掘值得铭记的灵感与突破，发生的大事，认识的新朋友，去过的远方，听过的最好笑的笑话， 以及印象最深的时刻等等。 Creation may be one of the most unique human activities. Through words, images, and sounds, works in various forms carry the creator's understanding and response to the world. They record individual emotions and thoughts while capturing the tides and undercurrents of the times. In an era of rapid change, creation becomes even more valuable—it fosters connection, allowing us, scattered across different corners of the world, to meet through creative work. Creators from different fields—Wang Qing, Zhong Na, He Yu, and Li Jiaoyang—will join everyone for a casual conversation about creation. The discussion will begin with these creators introducing topics, followed by community interaction. We reflected on our creative experiences over the past year, exploring challenges and rewards; share plans for the new year and envision potential creative directions for the future; review outstanding works we admired in 2024, uncovering memorable inspirations and breakthroughs, significant events, new friends we've made, distant places we've visited, the funniest jokes we've heard, and the most unforgettable moments.

Last Thursday (December 19) at Accent Sisters, we had the pleasure of celebrating the launch of The Agritopianists: Thinking and Practice in Rural Japan with its author Ou Ning and translators Matt Turner and Weng Haiying. As a part of his research and writing series on the historical practices of communitarian utopia in different countries since the 19th century, Ou Ning’s new book The Agritopianists: Thinking and Practice in Rural Japan focuses on the labor and life experiments of a group of intellectuals in rural areas of this Asian country in the 20th century. From the collective Atarashiki-mura (New Village) Movement initiated by Mushakoji Saneatsu, through many other individual semi-agricultural life practices of Japanese writers and artists, the book traces the emergence of a shared agricultural fundamentalism that informed and evolved into active political interventions in response to the social crisis caused by the Great Depression. This recording serves as an archive of the winter night with insightful conversations and good company. 上周四（12月19日），在Accent Sisters的新家，我们很高兴与作者欧宁及译者Matt Turner和Weng Haiying一起庆祝《农本主义者：日本乡村的思想与实践》一书的发布。 作为他关于19世纪以来各国共有主义乌托邦历史实践研究与写作系列的一部分，欧宁的新书《农本主义者：日本乡村的思想与实践》聚焦于20世纪日本乡村地区一批知识分子的劳动与生活实验。从武者小路实笃发起的新村运动，到日本作家和艺术家的众多个人半农生活实践，该书追溯了一种共享的农业基本主义的兴起。这种基本主义在应对大萧条引发的社会危机过程中逐渐演化为积极的政治介入。 这段录音特为那个愉快的冬夜存档。 Music：風をあつめて by Happy End

第一次遇见艺术家常羽辰是在Rehearsal的书展上，她穿着淡蓝的旗袍，法式短发，带着淡淡的微笑站在她自出版的书籍背后。今年7月，我们很高兴请羽辰来重音社分享她创作并出版自己的艺术书作品的经历和体会。用羽辰的话来说，艺术家书是“一个非常珍贵的身心灵合一的经济行为”，书印出来后，她喜欢去书展，以“人传人”的方式卖书。讲座前半段，她提起自己喜欢的艺术家David Hammons在80年代的一个作品：他把雪捏成不同尺寸的雪球，带到纽约中国城贩卖。羽辰说，在书展卖书时，她也常觉得自己在卖一种不切实际的理想。但是在面对面的交易中，她感觉到自己拿到的现金，像是一张选票，可以让她继续做自己想做的雪球。 The first time I met artist Chang Yuchen was at the Rehearsal book fair. Sporting a chic bob haircut, she stood behind her self-published books in a light blue qipao, a faint smile on her face. This July, we are delighted to invite her to Accent Society to share her experiences creating and publishing her own art books. For her, making artist books is "a very precious economic act allowing for the unity of one’s body, mind, and spirit." After the books are published, she likes to go to book fairs and meet her readers in person. In the first half of the lecture, she mentioned her favorite artist, David Hammons, and one of his works from the 1980s: he molded snow into snowballs of different sizes and sold them in New York's Chinatown. When selling books at book fairs, Yuchen often feels that she, too, is selling an unrealistic ideal. But in face-to-face transactions, the cash she receives feels like a vote, allowing her to continue making the snowballs she wants to make.

如何书写一只苹果，让它比肉眼所见的更为诱人？如何在诗歌中巧妙运镜，让意象在流动中获得张力？本周，我们分享的是2022年东京法政大学任教的日本诗人田中裕希带来的诗歌大师课的精选内容。 本集播客中提到的诗： “Hope” is the thing with feathers by Emily Dickinson “Hope” is the thing with feathers - That perches in the soul - And sings the tune without the words - And never stops - at all - And sweetest - in the Gale - is heard - And sore must be the storm - That could abash the little Bird That kept so many warm - I’ve heard it in the chillest land - And on the strangest Sea - Yet - never - in Extremity, It asked a crumb - of me. 如果你喜欢我们的节目，可以在微信号accentsociety或Instagram @accent sisters找到我们。夏天愉快。

【内容简介】 你或许是上班族，每天被钉钉、企业微信、slack、email围堵；你或许是内容创作者，为b站、小红书、tiktok、youtube生产内容；你或许只是消费者，让各类app将你和餐馆、咖啡店、医院、演唱会联结在一起。承认吧，科技早已改变了我们的生活太久，只是我们的故事却慢了半拍。为什么要把科技融入故事，又该怎么融入？是什么让创作者对书写科技望而却步？ 本周，我们带来的是2023年小说创作者Nicole Zhu在重音社的分享，“将科技融入故事”。 【两个随堂写作练习】 Prompt 1: Write down what are the technologies that you use or have used the most or the longest. Examples: Sims, CDs, Google Drive, Photoshop, TikTok, spelling bee. Prompt 2: Write down a list of all the intersections of technology and whatever subject that comes to mind. Examples: food & technology (delivery, ecology, health, restaurants, etc.) 【提及的作品】 Help Me Follow My Sister into the Land of the Dead by Carmen Maria Machado https://www.lightspeedmagazine.com/fiction/help-follow-sister-land-dead/ The Blue Room by Lena Valencia https://electricliterature.com/the-blue-room-lena-valencia/ Keeping Tabs by Nicole Zhu https://jellyfishreview.wordpress.com/2020/05/15/keeping-tabs-by-nicole-zhu/ From the Comfort of Your Own Home by Lincoln Michelle https://one-story.com/product/from-the-comfort-of-your-own-home/ Frequently Asked Questions about Your Craniotomy by Mary South https://www.thewhitereview.org/fiction/frequently-asked-questions-craniotomy/ Writing Social Media into Fiction by Isle McElroy https://magazine.catapult.co/dont-write-alone/stories/writing-social-media-into-fiction-craft-essay-isle-mcelroy *** Welcome to Accentricity, a bilingual podcast hosted by Accent Society, a platform and bookstore serving multilingual writers and artists around the world. Each month, we offer 2 craftclasses where some of the most interesting writers and artists we know talk about their works, craft, and visions. Today we bring to you a clip from a 2023 craftclass with Nicole Zhu, a fiction writer whose writing is inspired by technology and how it’s shaping our contemporary life. If you like our show, please consider subscribing and reviewing us wherever you listen to podcast. You can find us on Wechat @accentsociety or Instagram @accentsisters.

本周，我们带来的是今年6月，艺术家、诗人徐今今带来的大师课：见证诗学的跨媒介性。在这堂课上，我们的朋友今今讨论了“突破的边界”，跨媒介提供的自由、流动的空间，以及记录作为一种本能行为的诗学。 今今提到的两首诗： Report from a Besieged City Zbigniew Herbert, translated by Czesław Miłosz https://www.nybooks.com/articles/1983/08/18/report-from-a-besieged-city/ Requiem Anna Akhmatova https://www.ronnowpoetry.com/contents/akhmatova/Requiem.html

本周分享的是今年6月China Books Review主编Alec Ash教授的nonfiction writing大师课的精选内容。祝收听愉快！ This week, we bring to you a snippet of our June nonfiction writing craftclass with Alec Ash. Alec Ash is editor of China Books Review, a partnership between The Wire China and the Asia Society Center on U.S.-China Relations. He is the author of Wish Lanterns (Picador, 2016), literary nonfiction about the lives of young Chinese people which was a BBC Book of the Week, and The Mountains Are High (Scribe, 2024) about city escapees moving to rural southwest China. He has written for The New York Review of Books, The Atlantic and elsewhere, and was a stringer for The Economist and The Sunday Times. He was editor of the China Channel at the Los Angeles Review of Books, contributing author to the book of reportage Chinese Characters, and co-editor of the anthology While We’re Here. He lived in China from 2008-2022, and is currently based in New York.