Professor Kubin challenged Sinologists, scholars and writers by saying: “Present Chinese literature does not qualify to be called literature; traditional Chinese literature up to 1949 was world-class. That is how the Sinology professors judge Chinese literature today.”
His critique led to heated discussions in China.
In spite of that, the Chinese regime recognized his scholarship, his translation skills and knowledge of culture and honored him with the Chinese Literature Prize. It is sponsored by the Zhongkun Investment Group and carries an honorarium of 8,000 Euro. This "Pamir International Poetry Prize" is the brainchild of entrepreneur and writer Huang Nubo who wants to rescue Chinese writing (script) from the brink of extinction. Wolfgang Kubin commented during an interview with The Epoch Times, "Chinese tradition has been destroyed; it is high time to resurrect it."
Epoch Times (ET): What was it in your critique that led to heated discussions?
Wolfgang (W): Several things needed addressing: not merely the abysmally poor writing skills of the authors, essayists and dramatists, but their utter lack of competency in the Chinese language, or their poor competency in this basic skill; the other—they completely lack moral courage and further, lack a commitment and are not serious about devoting themselves to the task of writing/creating genuine literature, as befits any serious writer. Many of these dilettantes look upon writing as a kind of game, and if another, more enticing game comes along, i.e. stock market gambling, then the writing is put aside and one speculates in the market. Such behavior among serious writers is unimaginable. Either one is dedicated to writing and writes all the time, or never—there cannot be a compromise!
Several of the Chinese story-tellers, not the serious writers, they are different, devote some time to writing as a pastime and then go on to something else. It does not matter to them whether or not they build a following [among readers], or if they could make a name for themselves—they simply disappear.
ET: How did this come about?
W: This development might go back to 1989, the era of capitalism in China, but surely since 1992. Prior to 1992 Chinese society scoffed at earning money and making a profit, or at least it was kept quiet. Making money has now become society's major focus. Writers will have to examine themselves how to eke out a living as a writer, or should they get their piece of the materialistic "cake."
Unfortunately, many of them decide in favor of the latter, desiring to live the good life and make lots of money.
ET: Not possible by writing?
W: Sure, if you want to become a trivial writer—some have done so. Some were prolific in the 1980s and recognized as "great writers," which they were not. Today they merely manage to write drivel, what we in Germany call "Sex and Crime" diatribes, or other infamous topics, or political scandal, and are internationally successful and make a lot of money.
ET: How do these writers influence others?
W: To my surprise I discovered that an Internet poll listed 90% of all readers as concurring with my opinion, that current Chinese literature is garbage. That means that the readers still have high expectations of Chinese authors and would appreciate hints how one can live a decent live in the ever more complex human society. The present Chinese writers do not provide such guidance, because they themselves lack the answers.
ET: Where do you see this might lead?
W: I foresee a reversal to traditions, the very ones that were once considered obsolete and were heavily criticized. They have more to offer than commonly realized, and it is necessary to revitalize them.
ET: Such as?
W: Philosophy—Confucianism, Taoism, Buddhism, painting, classical esthetics and classical literature.
ET: How do you view traditional/classical Chinese literature?
W: It is magnificent, world-class! Until 1949, China was in the literary forefront. Even the writings during the Republic—between 1912 and 1949—belong to the world's great literary achievements. Let us not forget that the Chinese people were privileged to a modern era in the 1930s and 1940s, something the Germans could not during the Third Reich. We Germans had to tie in with this development after 1945 when it had already passed, while the Chinese had the full benefit of that time. That is why works written in China during that time are much more interesting than things written in Germany during the same time.
ET: You mentioned that Chinese writers are acutely aware of societal and political aims; how could this present a problem—to voice one's opinion?
W: It is all right to verbalize this - writers speak openly among themselves, free of fear. But they cannot openly write about these opinions—that creates problems still.
ET: You commented that certain topics be avoided, i.e. answers to life's problems—such as?
W: Traditions were destroyed—oftentimes storytellers no longer have an inkling about Chinese tradition. They are unable to read classical Chinese literature when it is written in classical Chinese characters because they have not been taught to read this script style. To read and actually comprehend classical Chinese writing one has to be properly schooled in the backbones of a good, liberal education. Unless one has such background, the modern reader attempting to work his way through classical Chinese literature needs a dictionary by his side….
ET: What did traditional writers speak of?
W: The reality of life! How do we deal with fate; with ordeals and hardships - how do we view death, how ought we to live our lives, how do we overcome. And another thing: traditional writers were morally correct, whether you like it or not! They had proper ethics, which played a huge role; compared with modern literature, which often puts moral values in the background, if they are touched on at all.
ET: Which time period in Chinese literature is your favorite?
W: The Chinese medieval era, […] the Tang Dynasty, between 618 and 907. The writers from that era had influenced Europe tremendously, particularly 20th Century European writing.
ET: In what way?
W: Through translations into German and primarily English—prior to and after World War I.
ET: I have heard that you are a sport-oriented individual. Have you tried Chinese Qigong?
W: I learned Chinese for one year during the Cultural Revolution and tried qigong, but that is not my style of movements. I am a soccer player and have a fighter's mentality. Qigong is much more quiet than soccer - less motion, actually the opposite of soccer. I don't like Qigong as exercise - not enough action. I like to move swiftly, must sense my opponent. That is impossible with Qigong.
ET: Is soccer a balance to your work?
W: You could say that. It is the German or European in me - each one to his own devices.
ET: Thank you for the interview.
Read this article in German.
