Afterword to the Translation of One Fine Day

   
* Coin­ci­den­tal­ly, I just saw this a month agoSnowIn the eventRec­om­mend the Eng­lish ver­sion of this book, and also talked about the trans­la­tion of this book. I didn’t expect that this book was print­ed last week. Now I will share some of my thoughts after trans­lat­ing it.Posts in the book dis­cus­sion forumIf you are inter­est­ed, you can take a look. There is about a quar­ter of the Chi­nese and Eng­lish trans­la­tion. Haha, I can only post this much ^_^
 
http://www.hongniba.com.cn/bookclub/images/books/book_20004765_b.jpgFine Day)” />
 
   
A few years ago, while col­lect­ing Calde­cott Medal-win­ning pic­ture books, I col­lect­ed “A Clear Day.” At the time, I sim­ply thought this folk­tale illus­trat­ed with oil paint­ings was love­ly, but I could­n’t say I was par­tic­u­lar­ly fond of it. Fur­ther­more, the book and its cre­ator, Noni Hoggen, were rarely men­tioned in the ref­er­ence books I had on pic­ture book appre­ci­a­tion and research, so I put it aside after read­ing it. Thanks to the invi­ta­tion from the pub­lish­er’s edi­tor, I had the oppor­tu­ni­ty to reread it care­ful­ly while trans­lat­ing it. Reread­ing it again and again from a dif­fer­ent per­spec­tive, and shar­ing it with my chil­dren, I grad­u­al­ly began to appre­ci­ate its unique charm.

   
This is a pic­ture book that’s per­fect for read­ing aloud, or rather, it’s one that needs to be read aloud to appre­ci­ate its charm. And the more you read it with your child, the more enjoy­able it becomes. Why? The sto­ry­line is sim­ple: A fox drinks milk and has his tail chopped off by an angry old woman. To get his tail back, the fox is forced to engage in a series of trades, each requir­ing a new con­di­tion, a chain of events that builds up into a long sequence. The most vivid lan­guage in the book is the fox’s descrip­tion of this long sequence with each request, which grows longer and more com­i­cal as it goes on. The more you repeat this kind of lan­guage game, the more pro­fi­cient the read­er becomes, and the more enjoy­able it becomes. There­fore, sim­ply read­ing silent­ly or aloud once or twice will make it dif­fi­cult to appre­ci­ate its essence.
 
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The orig­i­nal Eng­lish text of this book can indeed achieve such an effect, espe­cial­ly because it suc­cess­ful­ly chal­lenges the lim­its of gram­mar, stick­ing a series of phras­es togeth­er, using very eco­nom­i­cal words, but the mean­ing is very clear, and even three or five-year-old chil­dren can under­stand it imme­di­ate­ly. For exam­ple, when the fox asked the hen for eggs, he said that he want­ed to exchange eggs for beads — “to
get the jug to fetch the water to give the field to get some grass
to feed the cow to get the
milk”—and then you can use the milk to get your tail back. At the begin­ning of the trans­la­tion, I was fas­ci­nat­ed by this string of phras­es and want­ed to try a method to pre­serve its struc­ture as much as pos­si­ble. I final­ly tried trans­lat­ing it and read­ing it to peo­ple around me, but all I got was con­fused expres­sions. A friend remind­ed me that the lan­guage of folk tales should be both under­stand­able and inter­est­ing. This real­ly woke me up, and I decid­ed to aban­don the orig­i­nal struc­ture and start over.

   
But how can I make this kind of sen­tence both clear and enter­tain­ing in Chi­nese? Sud­den­ly, I remem­bered a tongue twister from a Chi­nese crosstalk show. The fun­ni­est part of the tongue twister is “A lama came from the south.” The most excit­ing part is a long string of sen­tences: “The lama car­ry­ing a sole wants to trade his sole for the trum­pet with a mute wear­ing a trum­pet, but the mute wear­ing a trum­pet refus­es to trade his trum­pet for the sole of the lama car­ry­ing the sole.” So, I imi­tat­ed this way of say­ing it and trans­lat­ed it again. For exam­ple, the Eng­lish trans­la­tion above could be “Give the pearl to the girl in exchange for a pitch­er, use the pitch­er to fetch water for the fields in exchange for some grass, use the grass to feed the cows in exchange for some milk.” Although there are many repeat­ed words in the orig­i­nal text, and some sub­ject, object, and mod­i­fi­er had to be added to make the mean­ing com­plete, the mean­ing is final­ly clear, and it reads smooth­ly and is quite inter­est­ing.
 
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Anoth­er tip for read­ing this pic­ture book aloud is to pay atten­tion to the expres­sions and body lan­guage of the speak­ers when read­ing the dia­logue, espe­cial­ly the pro­tag­o­nist, the fox—this isn’t men­tioned in the text (per­haps this is a delib­er­ate effect cre­at­ed by the author). For exam­ple, when the fox makes requests, he some­times seems hum­ble and sin­cere, some­times rather piti­ful, yet some­times he smiles coquet­tish­ly (in front of the girl) and some­times he can’t hide his unique clev­er­ness (in front of the ped­dler). There­fore, when speak­ing, he always adopts dif­fer­ent tones, some­times calm, some­times plead­ing, some­times flat­ter­ing, and some­times per­suad­ing, and uses his wit­ty tongue to deliv­er a long string of tongue twisters that are absolute­ly hilar­i­ous.
 
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This folk­tale comes from Arme­nia. I’ve longed to find the orig­i­nal ver­sion, but haven’t been able to find it. How­ev­er, some Russ­ian folk­tales also fea­ture sto­ries about fox­es steal­ing a peas­ant wom­an’s milk, and sto­ries about play­ing tricks on a fox’s tail. It seems these kinds of sto­ries were com­mon among the peo­ple liv­ing in the moun­tains and forests of that region.
 
   
Noni Hog­jan report­ed­ly heard this sto­ry from her par­ents as a child. She was born in the Unit­ed States, but her fam­i­ly immi­grat­ed from Arme­nia. Arme­nia is a unique peo­ple, orig­i­nat­ing in the moun­tains and plains of Tran­scau­ca­sia. While their his­to­ry was once glo­ri­ous, it was plagued by hard­ships, ulti­mate­ly achiev­ing inde­pen­dence as a sov­er­eign nation. Arme­ni­a’s total pop­u­la­tion is small, esti­mat­ed at around three mil­lion, but it has a large dias­po­ra world­wide, with approx­i­mate­ly half a mil­lion in the Unit­ed States alone. Despite their small pop­u­la­tion, Arme­ni­ans pos­sess a strong sense of nation­al cohe­sion, a strong appre­ci­a­tion for cul­ture, and a respect for knowl­edge. Through­out their gen­er­a­tions, they have pro­duced numer­ous tal­ent­ed indi­vid­u­als who have had a sig­nif­i­cant impact on the glob­al econ­o­my and cul­ture. This phe­nom­e­non is worth under­stand­ing and learn­ing from.
 
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Non­ny Hogro­gian and David Kher­dian
 
   
Noni is a prime exam­ple. Born into an immi­grant fam­i­ly, her par­ents and sis­ters were artis­ti­cal­ly edu­cat­ed, and her fam­i­ly often heard oral sto­ries from her eth­nic group. As she grew old­er and became an artist, she adapt­ed these sto­ries into pic­ture books, earn­ing her a sec­ond Calde­cott Medal. That same year (1971), she mar­ried David Kot­ian, anoth­er Armen­ian poet. Both hus­band and wife share a deep sense of nation­al iden­ti­ty, and over a hun­dred of their col­lab­o­ra­tive and inde­pen­dent works bear a strong Armen­ian stamp.

   
This is how a nation’s excel­lent cul­ture is passed on and grad­u­al­ly becomes the cul­tur­al wealth of all mankind.