CUP Web site

RSS Feed

New Books

Author Interviews

Author Events

Keep track of new CUP book releases:

For media inquiries, please contact our
publicity department

CUP Authors Blogs and Sites

American Society of Magazine Editors

Roy Harris / Pulitzer's Gold

Natalie Berkowitz / Winealicious

Leonard Cassuto

Mike Chasar / Poetry and Popular Culture

Erica Chenoweth / "Rational Insurgent"

Juan Cole

Jenny Davidson / "Light Reading"

Faisal Devji

William Duggan

James Fleming / Atmosphere: Air, Weather, and Climate History Blog

David Harvey

Paul Harvey / "Religion in American History"

Bruce Hoffman

Alexander Huang

David K. Hurst / The New Ecology of Leadership

Jameel Jaffer and Amrit Singh

Geoffrey Kabat / "Hyping Health Risks"

Grzegorz W. Kolodko / "Truth, Errors, and Lies"

Jerelle Kraus

Julia Kristeva

Michael LaSala / Gay and Lesbian Well-Being (Psychology Today)

David Leibow / The College Shrink

Marc Lynch / "Abu Aardvark"

S. J. Marshall

Michael Mauboussin

Noelle McAfee

The Measure of America

Philip Napoli / Audience Evolution

Paul Offit

Frederick Douglass Opie / Food as a Lens

Jeffrey Perry

Mari Ruti / The Juicy Bits

Marian Ronan

Michael Sledge

Jacqueline Stevens / States without Nations

Ted Striphas / The Late Age of Print

Charles Strozier / 9/11 after Ten Years

Hervé This

Alan Wallace

James Igoe Walsh / Back Channels

Xiaoming Wang

Santiago Zabala

Press Blogs


University of Akron

University of Alberta

American Management Association

Baylor University

Beacon Broadside

University of California

Cambridge University Press

University of Chicago

Cork University

Duke University

University of Florida

Fordham University Press

Georgetown University

University of Georgia

Harvard University

Harvard Educational Publishing Group

University of Hawaii

Hyperbole Books

University of Illinois

Island Press

Indiana University

Johns Hopkins University

University of Kentucky

Louisiana State University

McGill-Queens University Press

Mercer University

University of Michigan

University of Minnesota

Minnesota Historical Society

University of Mississippi

University of Missouri


University of Nebraska

University Press of New England

University of North Carolina

University Press of North Georgia

NYU / From the Square

University of Oklahoma

Oregon State University

University of Ottawa

Oxford University

Penn State University

University of Pennsylvania

Princeton University

Stanford University

University of Sydney

University of Syracuse

Temple University

University of Texas

Texas A&M University

University of Toronto

University of Virginia

Wilfrid Laurier University

Yale University

September 11th, 2013 at 11:00 am

An Interview with Translator Julia Lovell

The Matchmaker, the Apprentice, and the Football Fan: More Stories of China, by Zhu Wen

In keeping with our featured book this week, Zhu Wen’s The Matchmaker, the Apprentice, and the Football Fan, we cover today an interview with the book’s translator Julia Lovell, conducted by the Los Angeles Review of Books.

In the interview, Lovell discusses the compelling points of translating The Matchmaker, the Apprentice, and the Football Fan, especially as the book compares to both Zhu Wen’s previous collection of short fiction, I Love Dollars, and other prominent contemporary Chinese writers.

Don’t forget to enter our book giveaway for a chance to win a FREE copy of The Matchmaker, the Apprentice, and the Football Fan!

On Zhu Wen’s Stories and Other Works of Chinese Fiction: A Q & A with Julia Lovell

Jeffrey Wasserstrom: In an endorsement of the new collection, Jonathan Spence, who praised I Love Dollars in the London Review of Books, says that this “second volume of short stories” is “both darker and denser than the first.” Does that fit with your feeling about the new book or would you characterize the contrast differently?

Julia Lovell: I think that’s a perceptive comment by Jonathan Spence. There was plenty that was shocking and dark about the first collection – in particular, the kind of careless amorality that some of the stories diagnosed in 1990s China. But there was also, I think, a strand of humor, a strong appreciation of the farcical, running through some of the pieces. That’s less dominant in the new collection. Two of the stories that take a more conversational, absurdist take on life in the People’s Republic – “Da Ma’s Way of Talking” and “The Apprentice” – are also overtly tinged with sadness. The relaxed, humorous narration of the first story contrasts with its ending; in the second piece, the lightly sardonic tone blurs into the narrator’s sense of despairing melancholy as he feels increasingly trapped by his future in the socialist economy. At the same time though, I think that the new volume offers more thoughtful insights into human relationships, and into the impact of political pressures on day-to-day life.

But I’m still very drawn to work that showcases the more relaxed side of Chinese culture. At the moment, I’m working on a new abridgement of Journey to the West, a book from the imperial Chinese canon that fizzes with humorous irreverence. Stodgy Neo-Confucians, covetous Buddhists and libidinous Taoists – all are mocked in the novel; at one point, the book’s hero, the Monkey King, even urinates on the hand of the Buddha.

JW: When I first encountered Zhu Wen, while struck by the originality of his voice and approach, I did think of parallels to the “hooligan fiction” of Wang Shuo that I was initially introduced to by reading Geremie Barme’s take on him. Does Zhu Wen acknowledge being influenced at all by Wang Shuo’s early work? Does he place himself in a different sort of lineage, either an international or distinctively Chinese one?

JL: He’s never mentioned that to me as an overt influence, but at the same time I think that Wang Shuo’s broader, more diffuse influence on Chinese culture in general at the end of the 1980s and early 1990s is hard to escape –his role in dissipating some of the intellectual earnestness of the 1980s in particular, and in establishing irreverence towards the state and towards society as a keynote in contemporary Chinese fiction in general. Wittingly or no, Zhu Wen has assuredly extended that project.

When I first got to know them around 2000, some of the Chinese writers of Zhu Wen’s particular literary grouping – termed the xin shengdai, or “New Generation,” of writers (a rather loose classification that referred to authors born in the late 1960s to early 1970s and who started publishing in the 1990s) – publicly, and perhaps a little brattishly, liked to reject influences from other Chinese writers, both past and present. Lu Xun, for example, was dismissed as “an old stone”. But this generation of writers are readier to admit foreign influences. Kafka and Borges, for example, are two of Zhu Wen’s acknowledged inspirations. Visiting Zhu Wen in his apartment in 1995, an interviewer noticed a portrait of Kafka hung on one of the walls.

Be sure to read the rest of the Los Angeles Review of Books interview here!

1 Comment

  1. Neil Davis says:

    Hey very nice and helpfull article.The translation service is really very helpful to me. keep posting…

Post a comment