| 中文摘要 |
Gary Tan, founder of the Garyhawk Agency and the man who has succeeded in presenting Wu Ming-Yi's Fuyan ren (The Man with the Compound Eyes) to an international readership, once proudly claimed, “This is the first time in history that an English prestige publisher purchased the copyright of a Taiwanese novel. . . . The English book market has been the most difficult market for translation all over the globe, and we can hardly believe we made it with only one attempt.”1 Tan insisted on finding someone “local” to translate The Man with the Compound Eyes into English, and Darryl Sterk, a Canadian scholar working in Taiwan at the time, appeared to be a perfect choice. The success of The Man with the Compound Eyes made a case for “exporting” Taiwanese literary works, which had long been considered marginalized on the map of world literature. Wu's novel was able to showcase what Taiwan could bring to international readers, that is, according to the prominent American writer Ursula K. Le Guin, “a new way of telling our new reality, beautiful, entertaining, frightening, preposterous, true . . .” (Le Guin).2* The rhetoric in Le Guin's statement suggests one of the reasons why The Man with the Compound Eyes appeals to an international readership—it is precisely because the novel depicts “our new reality,” namely, a global concern, an ecological catastrophe-to-come from which no one can stand aside. In this light, the citizenships as well as the languages that have been separating people in the world must be suspended if not discarded outright, since everyone has contributed to the environmental disaster—so now everyone has to suffer the consequences. |
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