本輯以鄭清文的小說與兒童文學為主題，承鄭清文女兒谷苑的協助，推薦具有代表性的小說暨兒童文學作品多篇，並請她寫一篇關於父親作品的文章〈A Storyteller—In Memory of Tzeng Ching-wen〉。散文方面，Taipei, City of Displacements（《錯置，臺北城》）的作者周文龍教授（Joseph R. Allen），對臺北的地理變遷和文化空間的歷史演變具有深入的研究，特地請他幫忙翻譯〈大水河畔的童年〉，相得益彰。其餘幾篇鄭清文之原著則分別由由長期耕耘台灣文學英譯的黃瑛姿、葛浩文（Howard Goldblatt）、林麗君、陶忘機（John Balcom）與羅德仁（Terence Russell）擔綱譯出。 The latest special issue of Taiwan Literature: English Translation Series focuses on the fictions and children's stories written by Tzeng Ching-wen. For this special issue, we are thankful to Angela Ku-yuan Tzeng for her assistance in recommending representative stories for translation and for her essay, “A Storyteller—In Memory of Tzeng Ching-wen,” in memory of her father. For the essay, “Boyhood on the Banks of the Grand River,” we appreciate expert assistance from Joseph R. Allen, the author of Taipei: City of Displacements, a comprehensive study of Taipei with regard to its geographical changes and historical development in terms of cultural space.

這一專輯，譯介本叢刊的創辦者和主要編者杜國清一生的業績。在推展台灣文學上的重要角色之外，杜國清是一位著名的詩人和研究對象，也是台灣六○年代開始推動現代詩運動的重要詩人之一。然而，關於他的作品，英語讀者知道的很少，可惜這是由於歷史和審美趣味的原因。因此這一專輯，我們的用意在於提供杜國清作品的代表作以及一些研究論文的英文翻譯。如此，我們希望華文以外的讀者能夠有機會欣賞他的創作成就，以及瞭解他對華文現代詩發展的貢獻。 This very special issue of Taiwan Literature: English Translation Series is dedicated to the life work of the journal's founder and main editor, Tu Kuo-ch'ing. Apart from his important role in the promotion of Taiwan literature, Professor Tu is a celebrated and much-studied poet who has been one of the most significant poets in the Modernist poetry movement in Taiwan since the 1960s. However, very little of his work is available to English language readers. This is unfortunate for both historic and aesthetic reasons. Therefore, it is our intention with this special issue to provide a representative selection of Tu's poetic oeuvre, as well as a number of studies of his verse in English translation. Our hope is that in this way readers outside of the Chinese-speaking world will be afforded the opportunity both to enjoy Tu's outstanding accomplishment as a poet and to gain an understanding of his contribution to the development of Modernist verse in the Chinese language.

Apart from “new poetry” composed in the vernacular language, the tradition of classical poetry originating in China has also been maintained in Taiwan. We cannot ignore the fact that those poets who continued to compose classical verse, as well as the activities of their poetry societies, are yet another aspect of the diversity of Chinese-language poetic development in Taiwan which at the same time has unique local characteristics. Professor Huang's organization of the issue includes an introductory essay, entitled “Poems that Speak of Taiwan—Speaking of Taiwan Poetry” in which she gives a brief summary of the historical background and special character of the development of classical poetry in Taiwan. According to her careful plan, Professor Huang divided the poems translated for this special edition into six thematic sections: 1) Taiwan and Taiwanese in the Interstices of History (6 poems) 2) Crossing the Ocean to Taiwan, Putting Down Roots that Grow Along with Chinese Culture (5 poems) 3) Poems on the Aesthetics of Natural Landscape Scenery (6 poems) 4) Climate, Natural Resources, and Food (6 poems) 5) Folk Customs, Festivals, and Sacrificial Ceremony (4 poems) 6) Poems Expressing Emotions, Sentiments and Criticisms (7 poems) In the poetry selected for this issue we see the rich, expansive content of classical Chinese verse from Taiwan. That verse manifests the responses of Taiwanese poets to their times, to nature, to places and to people. It also reflects the many faces of Taiwan's specific temporal and geographical background through depictions of local experiences and the local spirit. 台灣詩歌的發展，除了以白話文創作的新詩之外，還有繼承中國古典詩歌傳統、延續不絕的古典詩歌創作者及其詩社活動，呈現出台灣漢詩發展的多樣性，同時又有其在地特色。 在黃美娥教授的策劃下，這一專輯的內容，除了詩選以外，本輯還有特地請黃教授撰寫一篇導論〈詩說台灣．說台灣詩〉，簡述台灣古典詩發展的歷史背景和主要特色。另一篇是黃教授撰寫的學術論文，〈實踐與轉化：日治時代臺灣傳統詩社的現代性體驗〉（摘譯）。關於詩選，共選31家，34首，根據題材，分成6個主題，以呈現台灣古典漢詩的特色。在題材上，反映社會和生活的開闊性和呼應歷史和時代的現代性。

This issue contains the verse of twenty-four poets. From 1924, when Hsieh Chun-mu first published four “Poems in Imitation,” the development of new poetry in Taiwan has a history of almost one hundred years. The roots of new poetry in Taiwan with its “twin flower bulbs,” to use the phrase coined by Chen Chien-wu, has now bloomed and borne fruit. It manifests diversified themes, and places great stress on both artistic expression and social concern. It recognizes globalization as the major trend of the times, and maintains a dynamic balance between nativist consciousness and the ensibilities of the Chinese cultural diaspora. Taiwan literature and its new poetry written in Chinese should have a place in the Chinese world community,as well as in the history of world literature. Limited by the space allowed for the journal, we could only select works related to “local” and “quotidian” writing. Yet we hope to observe through these works the manner in which the unique charm and gracefulness of contemporary poetry from Taiwan has blossomed in the garden of world literature. 這一專輯精選具有代表性的詩人二十四家。 從1924年謝春木發表「詩的模仿」四首算起，台灣新詩的發展也有將近一百年的歷史。新詩「兩個球根」在台灣已經開花結果，呈現出主題多元，創作藝術與關懷現實並重，面對全球化的時代趨勢，保持本土意識與文化離散互相呼應和抗衡。台灣文學和以華文創作的新詩，不僅在華人世界，甚至在世界文學的大花園裡，都應該占有一席之地。我們出版這一專輯，收到篇幅的限制，只能以「地方與日常」選錄相關詩作，藉以展現台灣當代詩在世界花園裡一枝獨秀的風姿。

This book has been specially planned to both commemorate and celebrate this milestone, and we have invited University of California, Irvine, professor Bert Scruggs to serve as guest editor to assist with its preparation and realization. The issue is divided into two parts: the first part is dedicated to a review of the publication history of the journal, its manner of selecting works to publish, as well as its contributions to the scholarly field. There are also research essays that consider the works chosen for translation themselves. The second part of the issue commemorates my retirement after more than forty years of teaching at the University of California, Santa Barbara. The main objectives of my work have been the English translation and introduction of Taiwan Literature. We have, therefore, included articles that consider my poetry, English translation, and scholarly research. 創刊於1996年的《台灣文學英譯叢刊》持續了二十五年，共出版48集。我們特地策劃這一紀念專輯，以示慶祝。我們特地邀請爾灣加州大學台灣文學教授古芃擔任策劃和執行的客座編輯。這一專輯包括兩個部分：第一部分是關於《叢刊》出版史的回顧、選譯作品的特色、對學術界的貢獻和評價、以及針對譯介作品的研究論文。另一部分是關於以英文翻譯和介紹台灣文學為宗旨的創刊者杜國清的詩作英譯和研究論文。 文學翻譯只是文化研究的基礎。《叢刊》的出版，只是為台灣文學走向世界鋪路的奠基工程。二十多年來的努力，多少已完成階段性的任務。希望這份學術刊物，今後能有更多台灣文學的年輕學者和譯者參與，大家同心協力，朝向台灣文學走向世界的共同目標，以新的面貌接棒持續下去。

For this special issue on “New Generation Women's Fiction from Taiwan,” we have specially invited Professor Lee Kuei Yun of the Graduate Institute of Taiwan Literature at Taiwan's Tsing Hua University to be guest editor and take responsibility for the selections. Because of space limitations it has been possible only to select twelve short stories by eleven woman writers. These writers were all born in the 1970s or later and their works were published in the year 2000 or later. Thus, they represent a period of social change in twenty-first century Taiwan and the spirit of the new generation. The introduction that we asked Professor Lee to provide is entitled “Trauma, esire, Contemporary Women's Voices.” Aside from giving a brief account of the eleven writers and their works, Professor Lee sketches “a number of writerly qualities that become perceptible… [that] represent the internal trauma, female consciousness, physical lust, cat-uman metaphors, and everyday life, etc.” In her introduction, what she particularly stresses is that the sexual desire depicted in these works exposes the internal wounds derived from private individual experience hidden away in the deepest levels of the female consciousness that are exposed for direct observation, and “… [from this] we can tease out a clear semblance of a feminine texture that reverberates with the unique sound of contemporary women's voices.” This then is one of the most important qualities of the new generation of aiwanese women's fiction. In the final analysis, trauma and writing about desire are two major themes of Taiwanese women's literature. 《台灣新世代女性小説》這一專輯，我們特地請台灣清華大學台灣文學研究所李癸雲教授擔任客座編輯，負責選稿。因受篇幅的限制，只選11位女性小説家的短篇小説12篇，作者都是1970年以後出生、其作品發表於2000年以後，反映出二十一世紀台灣社會的變動現象和新世代的精神樣貌。同時我們請李教授撰寫一篇導輪，題爲〈創傷．情慾．時代女聲〉，除了簡述11位作家及其作品之外，還勾勒出其中「隱隱浮現某些書寫特徵，關於內在創傷、女性意識、身體情慾、人與貓的互喻、日常生活等」。本輯導論〈創傷．情慾．時代女聲〉中所特別强調的是，這些作品所書寫的情慾、流露出女性意識底層所隱含的個人私密經驗的内在創傷，而正視創傷，「藉此梳理出形貌清晰的女性肌理，迴盪出『時代女聲』的特殊音色」，成爲新世代台灣女性小説的一大特徵。

In Women’s Performative Writing and Identity Construction in the Japanese Empire, the author examines how writers captured various experiences of living under imperialism in their fiction and nonfiction works. Through an examination of texts by writers producing in different parts of the empire (including the Japanese metropole and the colonies and territories of Taiwan, Korea, and Manchukuo), the book explores how women negotiated the social and personal changes brought about by modernization of the social institutions of education, marriage, family, and labor. Looking at works by writers including young students in Manchukuo, Japanese writer Hani Motoko, Korean writer Chang Tŏk-cho, and Taiwanese writer Yang Ch’ien-Ho, the book sheds light upon how the act and product of writing became a site for women to articulate their hopes and desires while also processing sociopolitical expectations. The author argues that women used their practice of writing to construct their sense of self. The book ultimately shows us how the words we write make us who we are.

Taiwan Literature: English Translation Series, No. 50 (Special Issue on Taiwan Fiction and ‘Realism’) During the early stages of its development, Taiwan’s New Literature was intimately connected with realism. The year 2022 is the one-hundredth anniversary of fiction writing in Taiwan, and also the one-hundredth anniversary of modernist literature in the English-speaking world. For the former, this is the one-hundredth anniversary of the publication of Chui Feng’s “Where Will She Go?” For the latter, it is the one-hundredth anniversary of the publication of James Joyce’s (1882–1941) novel Ulysses, and Anglo-American writer T. S. Eliot’s (1888–1965) poem The Waste Land. When the Alphabet Lab was first established, it also paid tribute to the contribution of modernism in the development of post-war Taiwan literature. In this special fiftieth issue on “Taiwan Fiction and ‘Realism,’” we once again identify and trace out the pathways and objectives of Taiwan’s writer apostles over the past one-hundred years. 台灣新文學的發展，以追風的〈她要往何處去〉為濫觴，發表於1922年，至今剛好一百年。台灣新文學發軔時，歐美現代主義發展已達到高峰，台灣必然受到影響，可見現代主義與現實主義，在台灣的演變是與時並進的。在這一專輯的〈導言〉中，張教授將九篇小説平均分成三個階段：日治時期（1922–1945）、戰後（1945–1991）和當代（1992–），且對作品的創作背景和選錄的考量，一一加以説明。要而言之，所選譯的九篇「寫實主義」小説，題材涵蓋面廣，各以不同的歷史背景，寫實地反映出社會現實。

Owing to Taiwan's multi-ethnic nature and palimpsestic colonial past, Taiwanese literature is naturally multilingual. Although it can be analyzed through frameworks of Japanophone literature and Chinese literature, and the more provocative Sinophone literature, only through viewing Taiwanese literature as world literature can we redress the limits of national identity and fully examine writers' transculturation practice, globally minded vision, and the politics of its circulation. Throughout the colonial era, Taiwanese writers gained inspiration from global literary trends mainly but not exclusively through the medium of Japanese and Chinese. Modernism was the mainstream literary style in 1960s Taiwan, and since the 1980s Taiwanese literature has demonstrated a unique trajectory shaped jointly by postmodernism and postcolonialism. These movements exhibit Taiwanese writers' creative adaptations of world literary thought as a response to their local and trans-national reality. During the postwar years Taiwanese literature began to be more systematically introduced to world readers through translation. Over the past few decades, Taiwanese authors and their translated works have participated in global conversations, such as those on climate change, the "post-truth" era, and ethnic and gender equality. Bringing together scholars and translators from Europe, North America, and East Asia, the volume focuses on three interrelated themes – the framing and worlding ploys of Taiwanese literature, Taiwanese writers' experience of transculturation, and politics behind translating Taiwanese literature. The volume stimulates new ways of conceptualizing Taiwanese literature, demonstrates remarkable cases of Taiwanese authors' co-option of world trends in their Taiwan-concerned writing, and explores its readership and dissemination.