At Length

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NOTE: “Coming Around” is a blend of memoir and fiction as author Suo Er writes from his father’s perspective in an attempt to better understand him. It’s unclear where the story diverges from reality and crosses the line into “false memory,” a motif Suo Er uses to explore family history and inherited memory spanning oceans and generations. Suo Er’s writing is heavily influenced by Jonathan Bernhardt, lending it a stream-of-conscience lyricism that sweeps the reader up in the narrator’s stream of thoughts. On the one hand, the story defies the capitalistic productivity rampant in western narrative norms, while on the other, the original’s writing style seeks to defy Chinese grammatical norms and the linguistic suppression of dialect in mainstream literature.

Keep reading after “Coming Around” for an interview with translator Grace Najmulski.

2017, that was around when my daughter went to study in California, she emailed me often—her emails were incredibly sincere, every character like a night patrol soldier standing at attention, the text interspersed with images she’d captured, both worthy of high praise—and despite knowing full well that everything in the digital age was transitory she would say: but you still write with all your heart, isn’t that also a waste? From her emails I learned that California not only had palm trees but that it also had pure white snow that didn’t melt; that it had beaches made of rocks swollen like giant bowling balls; that everything the Golden Gate Bridge gleamed upon at dusk shined a sort of melancholic orange; and that she once gazed upon that color for a long while only to find the same orange rays of evening light on the streets of Santa Monica that called forth the same feeling inside of her, a feeling that, as she said in her email, was most definitely more than nostalgia, or was perhaps an even deeper memory that had been planted before her birth—okay, let’s think back—neither me nor her mother had ever been to California and we’d never been given any special instructions when we conceived her, so it was completely unexpected when our daughter came into this world shattering the birth control measures we’d taken; amidst her grandparents’ harping over wanting a grandson and just after her mother and I had gone back to our hometown to give offerings to the ancestors, she’d snuck soundlessly into her mother’s womb like a disappointing dud; her grandfather’s face went purple when he met her in the delivery room ten lunar months later and he bought a train ticket back to our hometown that very evening, spending half the year in bed before he was willing to see us.


  1. In video games, physical armor cannot protect you from magical attacks, only magical armor can. ↩︎
  2. The accounting and farm production unit from the 50s to the 80s. ↩︎
  3. A jagged, ragged type of hairstyle in China belonging to the “smart” subculture, which consisted of young migrants from the countryside. ↩︎
  4. After WWII ended, the Chinese government encouraged people to have larger families which resulted in the rural baby boom seen during the 1950s and 60s. ↩︎

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Suo Er (索耳) is the author of the novel Night of the Felling《伐木之夜》and the story collection Noncorrelation 《非亲非故》. His works have appeared in China’s top literary magazines and received many awards, the 43rd Hong Kong Youth Literary Award and a 2021 nomination as Most Promising Newcomer of the Year by the Southern Literature Festival among them. He has also engaged in publishing, media, and exhibition work. His writing concerns itself with the dispersion of cultures, and with lives of individuals in a “Southern framework.”

Author photo credit: Dong Yidian

Translator photo credit: Grace Najmulski

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Interview with translator Grace Najmulski

Editor Anne O. Fisher: Your translation attracted my attention immediately. “Coming Around” is a gorgeous read, with a powerful tone of detachment and wonder, and deft maneuvering amongst very long periods. This stream-of-consciousness syntax is like floating down a continually branching river that sometimes eddies, or changes direction as the flow goes around a feature of the landscape, but never stops. The syntax is also a perfect fit for this piece, with its themes including the flow of time, and the branches of family, and the ebbing and flowing of relationships and memories over years.  Can you talk about the language and syntax of the original?  

Translator Grace Najmulski: You describe the voice so beautifully, especially considering the Pearl River Delta as a motif in this collection. I’m someone who always has an internal monologue playing in my mind, so this almost stream of conscious style narration made the reading experience feel very intimate. I’ve only ever encountered stream-of-conscious narration in high school when I failed to read The Sound and the Fury, and that left a bitter taste, so it was a pleasant surprise how the voice here swept me away. I knew that the translation needed to stay accessible and easy to follow along, but I also needed to preserve the flowing vibe and purpose of the style, so keeping sentences long enough to push the boundaries of what we’re comfortable reading was a must. After Suo Er told me what he was hoping his style would accomplish—a “subtle” subversion of standardized language—I knew I couldn’t change the actual sentence length. I preserved all of the period placements and tried to use the commas as a way to control the rhythm.

Chinese is much more flexible when it comes to punctuation (which actually came from the west), so I felt justified in playing with comma placement. The rhythm of Chinese stems from syllable count (since each character is 1 syllable), so even if the source text has a lot of commas that doesn’t necessarily mean the text reads choppy to a Chinese speaking audience. To preserve the flow of information seen in the Chinese and not confuse or bog English readers down with subclauses, I actually had to shuffle some information a bit. However, when the narrator was clearly interrupting himself I made sure to preserve that and keep the almost conversational feeling.

AF: How did you come to Suo Er and this piece of writing by him?

GN: 神游 (“Coming Around”) is actually the first story from Suo Er’s debut collection 非亲非故, published by CITIC press in 2023. He has titled this collection “Noncorrelation,” which I might change later since 非亲非故 is actually an idiom describing when you look around and there is nothing and no one familiar in sight: “neither relatives nor friends.” The collection was published by CITIC press in 2023. Suo Er and I met in Iowa when I was completing my masters. He was one of the writers participating in the International Writers Program (IWP) and I was taking a translation workshop that paired up graduate student translators with writers. The voice of Suo Er’s piece struck me immediately. I wanted to know more about him as a writer and see what was going on inside his head. As for how we started with this piece, I just asked him if there was anything he wanted me to translate and he sent me this! I will say, I was pretty shaken when I saw it was ~26 pages with no paragraph breaks, but the story had me so invested in the end that I continued working on it even after that class had ended.

AF: These long sentences are so hard to knit together with the tools at English’s disposal, mostly punctuation and verb forms, but you did it. One inset phrase that struck me as especially richly textured was this: “–extending privileges for later generations to enjoy, becoming their determination to climb their way up, this constitutes a sort of closed circle of causality, memory’s remnants and reminiscence—” There’s so much in there, but that itself is just one piece of a much longer sentence. Talk about layers upon layers!

GN: The original of that phrase is: 泽被后人,荫及子孙,成为他们向上爬的信条,这就构成了一种因果的闭环,记忆的下游和上溯,The part that I found challenging to translate was the “记忆的下游和上溯” which I translated as “memory’s remants and reminiscence” but which if translated literally would be something like “memory’s lower reaches/downstream and going upstream/tracing back to a source.” The original is much more metaphorical since 下游 and 上溯 can both carry strong river associations. What’s interesting is they can function as gerunds too, so 下游 can be to actually go downstream or “going downstream” and same for 上溯. I like the idea of memory being personified, but wanted to try and keep an open interpretation since it could go either way. It also very much plays with the concept of memory and time as being fluid and everchanging, maintaining a water theme that we see “running” throughout the piece. Sadly, keeping the water without the actual meaning of the 下游 and 上溯 getting “lost in the sauce” felt like too big a hurdle for me to leap. While I was playing around with ways to try and keep that river feel I considered using “sediments” as opposed to remnants, but it was hard to find a good pair word to go with it that meant “remembering”. My good friend, thesaurus.com, also had no satisfactory suggestions. However, a big part of poetry is also sound, and saying “sediments” made me think of “remnants” and that in turn quickly led me to “reminiscence,” both of which are audibly similar to sediments. It didn’t address my issue of preserving the water theme, but I felt that this chain of thought really embodied the spirit and style of the piece. Translation is almost always talked about as loss, but here I wanted to think of it as a simple transfer. The poetry of the water theme was simply transferred into the poetry of embodiment + sound. I know this sounds like a convenient way to explain away my “deficiencies” as a translator (and it is), but I think it can simultaneously exist as one of the beautiful things about the art of translation. Translation isn’t one final act, it’s a conversation meant to spark deeper interaction, so I like to think of my English translation here as a seed that needs to be watered and fed.

AF: That’s a productive and generative (germinative?) way to think about translation, and thank you for walking with us through just one of the many “decision trees” in the forest. Another facet of translation that is always a challenge is whether and how much to explicitate—like with the word “indispersable” in the line where the father is thinking about a lost child: “a practiced drawn-out and indispersable groan.” We had a whole conversation about that, with me suggesting expanding the translation to spell out, or explicitate, some of the layers of meaning here.

GN: The original Chinese is kind of like “to erase via scattering.” The image in my head is that when you sigh you exhale all the negative feelings you have, but here he can’t seem to get rid of those negative feelings because he’s kind of suppressing his feelings, not letting himself sob anymore. But I ended up keeping the word “indispersable” because I liked keeping it a little murky there. The word stands out in the fact that (at least microsoft word thinks) it’s not an actual word. And then it can draw attention and let readers go on their own mental journey of what this word means to them, what this piece means to them, and kind of experience it for themselves.

AF: Another word choice that we talked about was “tapioca flour,” which comes up when the narrator’s mother “remembers” being held in detention on Angel Island during her attempted emigration to the US. I suggested that maybe it was “powdered tapioca,” as in a water-soluble powder meant to be mixed with hot water to create a food of sorts, rather than “tapioca flour” which is an ingredient, not a food?

GN: I was also kind of astounded by the idea that it was just flour and asked Suo Er about it. His reply was a picture of the flour along with the explanation that it is commonly used in baking. It’s also what comes up when you google the original text. I think it’s meant to emphasize how inhumane the conditions were because while flour is consumable (technically), it can’t (or really shouldn’t) actually be eaten in its raw form, but that’s all they were given.

AF: Just goes to show how much meaning rides on word choice, even a choice as seemingly small as “flour” vs “powder.” On a lighter note, I love the word nonsensicles. Did you invent it?

GN: Hee hee I did!

AF: How did you come up with it? What led you to that, rather than just “nonsense” or some extant word?

GN:  I feel like the concept of particles, cells, small units of measure, pop up a lot throughout the piece in subtle ways: “indispersable” to imply a scattering of emotions, the neurons in the brain, particles filled with kinetic energy striking each other with their entropic chaos. I think “nonsensicles” was born from a subconscious parallel that my brain found between the father’s indispersable grief and the mother’s “nonsense utterings.” A combination of “nonsense” and “particles,” I envisioned the grief/nonsense as invisible particles radiating outwards in a sort of emotional entropy. Another reason behind my choice was because the original Chinese uses one word, so I wanted one word in English that would imply a plurality that “nonsense” just doesn’t have. The creative aspect of nonsensicles was a happy coincidence, as it also stretches our understanding of the English language, an act of resistance from the source text that refuses to be completely subjugated by English norms. It’s something I try to work into most of my translation projects when I see an opportunity.

AF: And I’m glad you do. It’s inspiring to hear how many thematic threads come together to inform every choice. And now, echoing the end of Suo Er’s narrative—carrying us along “until suddenly, it stops”—our interview ends, too. Thank you so much, Grace Najmulski, for the interview, and fingers crossed that you find a publisher for Noncorrelation—whatever its eventual title!