Author: Chee-Hann Wu

Written by Jenna Tang. Literature from Taiwan is considerably underrepresented in the English-speaking world. Several literary themes are specific to the place, its languages, cultures, and history that haven’t been fully explored over time. As a Taiwanese writer and translator myself, I am often questioned: “How do these books from Taiwan travel across borders?” 

Written by Jessica Ssu-Chieh Fan. The past year, from 2022 to 2023, has witnessed some exciting achievements in Taiwanese literature. Malaysian-Chinese Taiwan-based novelist Chang Kuei-hsing won the Newman Prize for Chinese Literature, one of the most prestigious literary prizes for contemporary prose and poetry written in Chinese. From the discourses surrounding this literary event, including Chang’s acceptance speech and the remarks by Chang’s nominator E.K. Tan, some evolving trends related to broader paradigm shifts in Taiwanese literary studies can be discerned. Both Chang and Tan referenced the hybrid transcultural aesthetic influences epitomised by Chang’s literary style, which Tan described as “a unique branch of Chinese literature as world literature.” Another Taiwanese writer who has garnered significant international attention is Kevin Chen. His novel Ghost Town, translated into English by Darryl Sterk, was featured on the Best Books of World Literature of 2022 by Library Journal and on the longlist of the PEN Translation Prize 2023.

Written by Pei-yin Lin and Wen-chi Li. World literature, a term for which Goethe is usually credited as the first proponent, has generated discussions in the West since the second half of the 20th century, particularly since the late 1990s. Casanova’s sociological studies of the “world republic of letter,” Moretti’s call for a “distant reading” and attention to variations in the genre, and Damrosch’s shying away from the literary canon to the circulation of texts are oft-quoted examples. These discussions have left noticeable impacts on the discipline of comparative literature, encouraged us to step out of the usual aesthetics confined by “great tradition”, as Leavis notes, and expanded our understanding of a literary canon beyond Shakespeare and Flaubert to include Mahfouz and Cao Xueqin. Nevertheless, these narratives cannot escape their European and North American backgrounds. Examples proposed by scholars or readers, such as The Guardian’s “The 100 Greatest Novels of All Time,” are often coloured by the Euro-American centrism in which Western works emerge, receive canonisation, circulate within Europe and North America, and subsequently are distributed to the rest of the world.