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Zero Chan

Name: Kenneth Pai Hsien-yung

Birthday: July 11, 1937

Birthplace: Guangxi, China

Occupation: Writer

Most secondary school students would have heard of novelist Pai Hsien- yung through his essays in a widely used Chinese language textbook. But  aside from knowing he is from Taiwan, many do not know he was born in  China and once studied in Hong Kong before attending National Taiwan  University and the University of Iowa in the United States.

Pai's popularity and reputation grew from works which address matters of deep concern to young people. He has written extensively on  problems across the generation gap and the pursuit of love in Taipei Jen   and in  Lonely Seventeen.

His publications include the novel The Sin  and more than 30 books of  short fiction. Many of his works are translated into different languages.

His short story, We Live in Taipei,  has been translated into English and  Korean. Several of his stories have been made into films or performed on  the stage.

He is now retired from his teaching of Chinese language and literature  at the University of California, Santa Barbara, but his influence on Chinese literature remains strong.

You were born in Guangxi.  Could you tell us about your  childhood?

The town I was born in is Nanning. Before I was a year old, my family moved back to our hometown, Guilin, in 1937.

I entered primary school in Guilin but later escaped to Chongqing and dropped out of school in 1944 due to a lung disease. After the war, we moved to Shanghai and I studied in primary school again.

It was 1950 when I arrived in Hong Kong and entered La Salle College. Two years later, I went to Taipei to join my parents and began to contribute to a literature magazine.

Why did you embark on  creative writing and what does  it mean to you?

Creative writing is a way to express my thoughts - a reflection on my culture and a process of self-discovery. I want to use words to depict the unspeakable torture deep inside people's hearts.

That's why most of my works are character-driven. I hope to explore how individuals preserve their dignity in the face of unpredictable changes in their lives.

What is your definition of a  classic story?

The only standard of a classic is time. After one, or two centuries, if there are still people who read the work and are moved by it, it's a classic. It has overcome the challenge of time. My work is too young to be called classic.

In my mind, the classic of classics of Chinese novels is Dream of the Red Chamber  by Tsao Hsueh-ching. If you want to understand the ethics of the Chinese, you have to read it. The novel is worth reading because it teaches you how to cope with people in your everyday life.

What is the role of the novel  and literature to you?

I believe good novels do not lecture readers but empathise with them and echo their feelings. Literature cannot promise improvement of industry and prosperity of commerce, but it is still valuable because it nurtures the  appreciation of beauty and the cultivation of empathy.

A good writer is capable of sensing others' bitterness. A good writer feels the pain of a community and is able to put it into words. They are not writing about themselves only, but the community. Therefore, their writing can evoke resonance from readers.

What is the relationship  between literature and politics?

I never think of saving a country by my writing, perhaps because of the nature of my work. A writer is different from a statesman or reformer who can affect society by their actions.

But I deeply believe any topics a writer selects cannot be separated from the influence of an age. Many ancient poets seldom wrote about politics, but their opinions can always be found in their works, describing the pain of the people.

You have studied in Hong  Kong, so what is your  impression of the city?

I retain a special affection for Hong Kong. I had very good Chinese language teachers at Kowloon Tong School and La Salle College who helped me to build a sound foundation in by teaching me to recite Tang  dynasty poetry.

I still remember vividly a poem about a woman singer. That poem has inspired me to write a lot about Chinese opera.

How did you feel when you  left your homeland and studied  in the US?

It was 1963 when I was 25 that I was awarded a scholarship to do my a master's at the University of Iowa. Sadly, my mother passed away just before I  left Taiwan, and I took a grief- stricken heart when I left a familiar place for a strange one.

I could hardly pick up my pen at that time because I was unable to cope with so many moods simultaneously. It was like growing a decade older within one year in the United States.

How did you cope with the crisis and what was its impact  on your creative writing?

I took these sentiments into my short stories and into Taipei Jen  and New York Traveller.

Protagonists of stories such as Wandering in the Garden, Walking from a Dream  indulge themselves in recollection and yearning for past glories. Stories in New York Traveller  are more concerned about the sorrow of Chinese alone overseas.

Your novel The Sins  is  controversial. How do you see  this work?

The novel portrays a gay's existence in Taipei, which also reveals aspects of Taiwan society. It touches on the issue of homosexuality, but I also wanted to explore sentiments between relatives and aspects of human nature.

If literature is to write about humans and human sentiment, it should be written without taboo. This story broke new ground for me.

Do you think the freedom of  creative work is important?

I think there should be freedom for creative work and the US is a place you feel free to work. I have settled spiritually in America.

Hong Kong is rich in creative elements because there are six million residents in the SAR. Where there are people, there is unlimited possibility - the resources of creative work.

Which type of Chinese  literature affects you most?

I would say poetry. It is the most noble form of literary expression. Reciting poems can also help you master the rhythm of a language.

What is your advice for  young people who want to  write?

Try to express your creativity without restraint and be true to your feelings. You won't be able to move others if you are not first moved yourself.

If you really want to write, don't give up. Some people just treat creative writing as a hobby, and that can hardly lead them to real writing.

Although there may not be enough media in Hong Kong for young people to write for, they should not be dejected. They can at least write a diary every day.

Students also have to prepare for a tough life if they are keen on creative writing. Do not waste time thinking about money if you're determined to be a writer.



Writing keeps Pai in touch with the times