6:34 | Rubbing our hands together The atmosphere is already a bubbling, excited anticipation. Judging from the crowd's demeanor, more is expected tonight than the festival has previously yielded. I note with curiosity that a staggering majority of the audience is female. Howard Goldblatt must be more than the most illustrious and revered Chinese-English translator on the planet. Howard Goldblatt must be devilishly charming.

6:49 | Arrival of the King Our keynote speaker enters the room. His casual dress--jeans, tweed sportcoat--does not disguise his rather refined aura. The beard is straight debonair.

6: 51 | Straight to business The moderator, Beijing-based freelance journalist and translator Eric Abrahamsen, follows the introduction by soliciting a short oral biography from Mr. Goldblatt. We learn of the latter's naval service and early life in Taiwan, and subsequent interest in literature. Acceptance to one of the twenty-five graduate schools to which he applied eventually lead to a Fulbright and study under the son of Chairman Mao's favorite poet. Then, a start in translation. Though he commenced focusing on classical literature, versing himself with the Yan Dramas, G. claims "the Taiwanese writers are who I cut my teeth on."

7:02 | More history G. speaks of his first experiences on the Mainland, highlighted by a fellowship in Ha'erbin during which his Taiwanese accent faded inextricably. Anecdotes teach us that he is (at least, was) a vegetarian, and provoke hearty laughter. Fuwuyuan: "Chi shenme rou?" G.:"Wo bu chi rou." Fuwuyuan: "Na ni bai lai le!" I suspect the audience conceals several sympathizers who share similar experiences in the pork-loving Middle Kingdom.

7:08 | Slander Intense dialogue revolves aroung the renowned German Sinologist Wolfgang Kubin, whose stance towards Chinese Literature is one of condescension. A poetry man, does he even understand fiction? That the two people to my left are now furiously whispering to each other confirms that the language they were speaking earlier was, in fact, German.

7:11 | No: not the same! An enlightening clarification of some differences between Western and Chinese literatures. One? The novel's opening line. Lolita and Middlesex won't let you turn back after the first page, whereas Chinese authors generally don't search out to bait the reader in this way. They have a different sense of place, and of placement.

7:14 | Let's talk about translation, baby G. uncloaks his professional world to us. He often doesn't start reading a text with the first chapter. Though he usually feels confidence over the text he translates, he never feels to be its absolute master. He never reads his translations post-publication. That because Arthur Waley got away with innumerable mistranslations, he hates the man. Brother came to Chinese via Japanese. Juicy. And lastly, he opines that "translators are any author's absolutely best readers."

7:19 | We didn't prescribe to that junk, anyway G.: translation theory, popular in the U.K., should be outlawed. It only seems to seek fault with the translator.

7:21 | Fatherly advice To aspiring translators: read more in your native tongue; find a fellow native speaker to edit your translations; don't take advice from other translators!

7:24 | And... The translator must contain himself or herself within his or her own limits and capabilities. Furthermore it must be understood that in translation the translator becomese the writer, albeit writing in his or her own language.

7:27 | Subtlety and angst Frustration towards critics. When John Updike claimed G.'s "cliches are just too flat," he didn't realize that "licking one's wounds" was borrowed word-for-word from the English, and G. had no choice but to translate it back as "licking one's wounds!" Giggles around the table.

7:31 | Hope for nobodies like me An analysis of G.'s monopoly on the English body of contemporary Chinese literature. Though professedly comfortable with having nearly the entirety in his hands, he recognizes the need for more apt translators. "There is just too much good stuff out there."

7:34 | A fellow with a few anecdotes Laughter upon hearing of despicably poor translations that are given prizes by the Mobil Oil Corporation. G.'s eternal love for the fragrant harbor, Hong Kong. Why are there so many words that--though any commoner in China will know their definition--no entries are found in any dictionary?

7:37 | Taste develops with age A glance around the room tells me that the average age of audience members here is certainly over forty. Are they still trying to make a career in the translation field? Or are they established already?

7:39 | Advance purchase order, anyone? G. announces that he is presently finishing a novel for a (deceased?) author. Mmmmm.

7:41 | First (Ah) Q? Why is baijiu translated in Red Sorghum as "wine"???? G. modestly admits failure, but asserts that there is no other way to translate the word. His opinion, stated quickly and mischievously in Chinese, tells us (or, those who caught it) that G. finds any other alcohol mei yisi. He and I have something in common.

7:43 | Who do you like to work with? Mo Yan and G. enjoy a close relationship. But note: there is no collaboration, as the work in translation is Goldblatt's.

7:47 | Hardcore seminar Brainy conversation is sparked by an audience question. How does the translator remove his or her footprints from a text? G.'s response deals more with how the translator must instead burden himself or herself with confronting literary, Marxist, and translation theories. I am distracted from my typing, in ponderous thought.

7:49 | Gripes we agree with Why are Edith Grossman and Pevear/Volohonsky winning translation prizes? Theirs is child's play; the real deal is to decipher the most alien of tongues, Chinese, for the benefit of the English-speaking world.

7:52 | And Haruki Murakami as bête noire. The Philip Gabriel translations are certainly readable, but perhaps not so faithful to the Japanese? Surely Haruki in the original boasts more bodily fluids and sexual vivacity, like true Japanese fiction. Doesn't Ryu Murakami wax a whole lot more Japanesesque in his work? Doubts raised. It is hard to read the audience's reception of the discussion's leap across the East China Sea. Nevertheless, interesting.

7:55 | Compelled to read that guy now G. praises Mo Yan as a genius. Everything he writes is first written in his head. Half-a-million words transcribed onto paper in a mere 43 days. Rad.

7:58 | How to cope with what is lost in translation? G. goes to Vegas, plays craps and drinks whiskey. After, he focuses on what is to be gained. He quasi-quotes Robert Frost (?) in stating that only via translation can certain works be given life; otherwise obscurity would abide. Semantics, syntax, etc. can be placed on the back burner.

8:02 | Bittersweet It is over. Part of the past. Yet we are so cognizant of the value of Goldblatt's words, that sincere applause bursts for at least sixty-two seconds. Until next time.