Tag Archives: Tony Barnstone

“The Joy of Words” by Lu Ji [w/ Audio]

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Writing is joy --
   so saints and scholars all pursue it.

A writer makes new life in the void,
   knocks on silence to make a sound,
   binds space and time on a sheet of silk
   and pours out a river from an inch-sized heart.

As words give birth to words
   and thoughts arouse deeper thoughts,
   they smell like flowers giving off scent,
   spread like green leaves in spring;
   a long wind comes, whirls into a tornado of ideas,
   and clouds rise from the writing-brush forest.

Translation by Tony Barnstone and Chou Ping in The Art of Writing (1996) Boston: Shambhala.

“A One-String Harp” by Lu Ji [w/ Audio]

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When an author composes too short a poem,
  it trails off with a lonely feeling
  like looking down at solitude with no friends
  or peering into the vast sky, disconnected.
 One string on a harp is crisp and sweet
  but sings without resonance and harmony.

Translation by Tony Barnstone and Chou Ping in: The Art of Writing (1996) Boston: Shambhala Publications.

BOOKS: “The Art of Writing” Trans. / Ed. by Tony Barnstone and Chou Ping

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The Art of Writing: Teachings of the Chinese MastersThe Art of Writing: Teachings of the Chinese Masters by Tony Barnstone
My rating: 5 of 5 stars

Publisher Website

This thin volume is packed with insights on writing — especially, but not exclusively, poetry. It consists of four chapters. The first two are the ars poetica of Lu Ji and Sikong Tu, respectively (i.e. The Art of Writing and The Twenty-Four Styles of Poetry.) The second half of the book consists of two chapters of collected sayings and poetry commentary excerpts.

I haven’t read a book so dense with quotable lines in a while. Some of the advice offered is universal and timeless (e.g. avoid cliches and read voraciously,) but some of it reflects a uniquely Chinese perspective rooted in Taoist and Zen sentiments (e.g. how to use wu wei [effortlessness] in one’s writing and so forth.)

There is a preface and each of the sections has its own editorial opening, but these never feel like padding (which often happens with books that come out to less than a hundred pages of content.) Instead, this ancillary material is concise and helps to offer historic and cultural context.

I’d highly recommend this book for writers and those interested in Eastern aesthetics and literature. That said, you don’t necessarily have to be interested in both. Any writer could pick up some beneficial tips while reading this book, and it’s compact, highly readable, and even humorous in places.

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The Anchor Book of Chinese Poetry ed. Tony Barnstone & Chou Ping

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The Anchor Book of Chinese Poetry: From Ancient to Contemporary, The Full 3000-Year TraditionThe Anchor Book of Chinese Poetry: From Ancient to Contemporary, The Full 3000-Year Tradition by Tony Barnstone
My rating: 5 of 5 stars

Amazon.in Page

This poetry translation anthology presents examples from some of the earliest known Chinese poetry to authors who are still alive and composing. It’s arranged by dynastic period (up until the modern era,) and, within dynasties, by poet. Most of the poets merit only a poem or two, but some of the major poets are allotted many pages of poems. Of course, how much poetry per poet is included isn’t just a function of how prolific or popular the poet was, but also how much extant poetry remains — i.e. how much survived. Each dynastic section begins with an overview of the time and poetic trends, and there is bio blurb for each poet.

There is quite a bit of variation in the book beyond that of the changing nature of Chinese poetry. The translations are also by varied translators, including not only the book’s editors but also individuals from the past, such as Arthur Waley. I wouldn’t say there is any bad translation in the book, but some translators capture the feel, e.g. the relative sparseness, of Chinese better, and others show their English poetic educations more obviously.

All in all, I enjoyed this selection of poems immensely, and learned a lot about Chinese history as well as of the country’s changing poetic tradition. I gained new insight to some of my favorites (e.g. Li Bai, Han Shan, etc.) and gained new favorites I’d never heard of before. I’d highly recommend this book for readers of poetry in translation.

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