CONTENTS

 
  THE SOUND OF A SHELL 螺音
   By Hsia Ching 夏菁
   Translated by C. W. WANG 王季文
 
  1001 NIGHTS 一千零一夜
   By Fei Ma (William MARR) 非馬
   Translated by John J. S. BALCOM 陶忘機
 
  HOMECOMING 歸來
   By CHEN I-chih 陳義芝
   Translated by Chris Wen-Chao LI 李文肇
 
  I LOST A POEM 我遺失了一首詩
   By CHOU Ying-Hsiu 周盈秀
   Translated by John J. S. BALCOM 陶忘機
 
  PASSION 激情
   By Hsiang Ming 向明
   Translated by John J. S. BALCOM 陶忘機
 
  WINTER IN BEIJING 北京冬日
   By Hsiang Ming 向明
   Translated by John J. S. BALCOM 陶忘機
 
  LISTENING TO THE SUNNY SIDE OF SICKNESS
聆聽病的晴朗

   By HSU Shui-fu 許水富
   Translated by John J. S. BALCOM 陶忘機
 
  OLD-STYLE FRIENDSHIP— in memory of Chiao Chiao 老式的友情──為橋橋逝世三周年
   By YAO Yni Ying 姚宜瑛
   Translated by Linda WONG 黃瑩達
 
  ENVY 愛慕
   By HAO Yu-hsiang 郝譽翔
   Translated by David and Ellen DETERDING
   戴德巍與陳艷玲
 
  FINGERTIPS ON ICE 指尖滑過冰塊
   By Yu-wen Cheng 宇文正
   Translated by Carlos G. TEE 鄭永康
 
 

A BLOW TO THE FACE 耳光
   By YUAN Chiung-chiung 袁瓊瓊
   Translated by Daniel J. BAUER 鮑端磊

 
  WENG MING-CHUAN’S BAMBOO CARVED TEA UTENSILS: A Marriage of Aesthetic Form and Intrinsic Poise
翁明川的竹雕茶具:外顯美形內蘊敬意

   By FU Chen 傅珍
   Translated by David van der Peet 范德培
 
  TEA UTENSILS AS TIMELESS ART— Weng Ming-chuan’s Groundbreaking Bamboo Carving 茶器小品變身傳世藝術:前無古人的翁明川竹雕創作
   By WU Te-liang 吳德亮
   Ttranslated by David van der Peet 范德培
 
  CHARACTERISTICS OF WENG MING-CHUAN’S BAMBOO-CARVING ART 翁明川竹雕藝術的特色
   By SU Chi-ming 蘇啟明
   Ttranslated by David van der Peet 范德培
 
  THE ART OF WENG MING-CHUAN’S BAMBOO CARVING 翁明川竹藝雅雕
   By WU Chian-hwa 吳千華
   Translated by David van der Peet 范德培
 
  NEWS & EVENTS 文化活動
   Compiled by Sarah Jen-hui HSIANG 項人慧
 
  NEW BOOKS BY OUR MEMBERS 會員新書
 
  NOTES ON AUTHORS AND TRANSLATORS
作者與譯者簡介
 
  APPENDIX : CHINESE ORIGINALS 附錄 :中文原著
 
  2008 INDEX
 
  CLEAR RADIANCE 清輝, 2005............................Cover
 
 

A DRUNKEN ODE TO LOVE 醉吟風月, 2005 OUTSHONE BY THE MOON 月明星淡, 2005
........................................................................Back Cover
   By WENG Ming-chuan 翁明川

 

YUAN Chiung-chiung 袁瓊瓊

A BLOW TO THE FACE
耳光*

translated by Daniel J. BAUER 鮑端磊


    He spent two days at the motel and then went home. It was in the afternoon, probably three or four o’clock when he came back. The sky above was nearly as transparent as water, as if there was no temperature.
    It happened in the month of August, every day a hot one. The sun had blazed down from above, making the ground below sizzle and steam. His head hurt because of the incredible heat. The inside of his brain was a flaming coil of heat, and he felt his brain must be cooking. That must be it. Otherwise, he never would have struck her like that.
    All of a sudden he had smacked her in the face. Then he walked out. He could hardly remember anything else. Just the way his hand had made contact with a face, and had felt it slide away under the pressure of his touch.

    He had left in a hurry. It was only later at the motel where he came to his senses again.

    He could not recall a single detail of her reaction, or of his own, either. Just couldn’t remember. All he knew then was he couldn’t just turn around and go back to her side. This was the very first time he’d slapped her. Now that he’d thrown the first fist, it’d look bad to make it easy for her. He had to teach her a lesson. That’s all he was thinking.
    After two days he went home. During those two days she had not called him on the phone, and he hadn’t dialed home, either. Some thoughts of his daughter had come to him, but he supposed he could wait two days. He and his little girl could wait two days alright.
    And when he finally did go home, he saw the entrance to his building cordoned off by yellow crime scene tape, and the police had put a seal on his apartment door. The doorman stopped him at the entrance and informed him that something had gone wrong.
    She and the child were both gone. Everything inside was in utter and abject disorder. The place was totally trashed. The rumor was that a thief had entered. At that time the mother and daughter had probably been asleep. No one was sure why a thief had killed two females, surely no threat to him, after all.
    He went inside the house, but couldn’t tell what had happened inside. The bodies had already been carried away.
    The house had been turned upside down, and looked like a war zone. Not a trace of a clue anywhere. He stood in the midst of a mass of debris, the rooms filled by clothes littered all over the place, book cases toppled, newspapers, toilet paper, candy wrappers, snack wrappings, garbage, the child’s toys all about him. . . . And yet it felt extraordinarily empty and desolate.
    It wasn’t that she was a fuss body who wanted every last thing in its proper place. What he was looking at here, however, was not at all her sort of “lived in” style of house-keeping. So much was on the floor that there was no where to put your feet. What had once been on tables or beds had been hurled to the ground. His eyes fell on his little girl’s dress, color pink. It was torn and lay spread on the floor like a discarded dish cloth, now with dark smudges of foot prints on its surface.

    Afterwards it seemed to him that he had never left the room.

    He could not clearly recall the last moment of their contact, how his hand felt as it brushed against her cheek. That’s what he’d tried so hard for two days at the motel to push out of his mind forever. He had not known at that moment, that this was all that was left, between him and her.
    This was all that was left. Whatever the expression on her face, he couldn’t picture it now. How she reacted, he couldn’t picture it now. After he hit her, he just turned and left the place. He remembered a feeling of excitement and pride about his resoluteness. Walking out on her just like that, with firm steps. It had to be cold and without emotion, resolute. Then when the time came for him to return, well, then the whole situation would change.
    He did not understand her. They had been married for four years, but still he didn’t understand her. But four years of patience had finally come to a head, and he had to teach her a lesson, to make her begin to listen to him. Make her realize there were a lot of things that couldn’t just depend on her whim.
    But after the breakdown, he would say he was sorry and reconcile with her. And only when he was away did she reflect on their relationship.
    He really loved her. Of course he loved her. But, hey, people did have limits.
    Afterwards, it seemed as if he had never left that room.
    Later he moved.
    Regardless of where he was, however, it was as if he was always looking at the bedroom, the bedroom from which the bodies of his wife and daughter had been removed. And when he stood there, everything had already happened, and earlier when he’d just spun around and left, he’d made certain things happen.
    Did it have to be all connected like this? If a person uses a knife to slice into a piece of meat, the meat splits apart. If you put flowers with broken stems into a vase, the flowers wither. It’s the same thing: If you turn in the direction of the door and walk away, then you leave the room. But there was this blow to the face. A certain palm of a hand meets the side of a certain cheek, and then someone winds up dead, and a little girl’s pink dress lies on the floor, stepped upon by a certain foot. Maybe the footprint belongs to the murderer. It is a murky smudge, like a birthmark on skin, on the wrinkled fabric of a dress that once glistened and shimmered; an artificial birthmark, declaring that whatever has to do with the dress, dead or alive, belongs to the footprint.
    That blow to the face triggered a certain whole series of events.
    In the city, early morning. A man and a woman quarreled in bed. The woman said, “You’ll wake up the child.” She got up and held the little one. She was naked, because they had just been making love and then began to argue, and immediately he went limp. Exchanges of more embarrassing, more desperate words followed.
    The child made no noise, was sleeping soundly. It was only an excuse for her to turn away from him.
    He began to get into his clothes. Not a word did he utter. That was the moment he decided to walk out and, more, to hit her.
    He began to get into his clothes. Not a word did he utter. That was the moment he decided to walk out and, more,...

From In-Ke wen-hsueh sheng-huo-chih 《印刻文學生活誌》 (INK Literary Monthly), No. 51, November 2007: 140-143.


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