Tuesday, 5 August 2014

Immigrant's Autumn Just 'Retired'

'Retire' News

mainly for technical reasons, our planned new poetry collection by Nancy Anne Miller has just been 'retired' from our (lulu) project list.

as a result, the author has officially been released from the publishing agreement between her and PP. 

Monday, 4 August 2014

Immigrant's Autumn to Be Released

Dear PP Friends,

This is to announce that our third solo poetry collection titled Immigrant's Autumn by Nancy Anne Miller is to be released tomorrow on 5 August 2014, the same date on which our upcoming issue of Poetry Pacific (3.2) is slated to appear at poetrypacific.blogspot.ca.

While we cannot wait to publish both the summer issue of our Magazine and Nancy Anne Miller's poetry collection, we look forward to receiving/reading/featuring your feedback as well as your poetry submission, either for our Magazine or as a manuscript! (for guidelines, please see our revised open call for subs.)

Happy reading!

with all best for a pleasant august,

--PP editorial team

PP's Open Call for Ms Submissions




By submitting to Poetry Pacific Press (PP Press), the submitter warrants that s/he alone has created the work s/he is submitting and that s/he owns all rights to it. The submitter will indemnify and hold PP Press and its staff harmless from and against any and all loss, damage, costs and other expenses arising out of claims, whatever their nature, resulting directly or indirectly from breach of this warranty. At the same time, the submitter/contributor agrees that PP Press can use part or all of his/her accepted material, including responses to PP's interview questions, on its Facebook and/or other similar social networking vehicles for promotional purposes.


* We read poetry manuscripts year round on a rolling basis;

* We charge no reading fee;

* Simultaneous submissions are welcome insofar as you give us notification when your manuscript is accepted elsewhere;

* For full-length collections, we normally print 80 - 120 pages of poetry; for short collections, 50 - 79 pages of poetry; for chapbooks, 30 - 49 pages of poetry;

*  Once accepted, it is the author's responsibility to solicit blurbs, proofread/copy-edit the manuscript, and make it print-ready, with the coverart, the 'Table of Contents,' the 'Acknowledgment,' and/or the 'Introduction,' if any, although we may try to help in the process;

* Our response-time is 3 - 6 months: since we never give anyone any 'rejection notice,' please feel free to do whatever you want to do with your submission if you do not get any response/acceptance from PP Press within 6 months after you send it over to us. In other words: only those accepted will get a reply;

* By publishing your work, we buy certain rights;

* Royalty and/or support plan will be discussed and agreed upon on an individual basis;

* Neither inquiry nor proposal is necessary - please send your manuscript together with your literary cv (or professional bionote) to this email address:: editors.pp@gmail.com

* Many thanks for your interest in and support of PP Press & Gooooodluuuuck!

Thursday, 16 January 2014

PP Release News: First Collection Published in 2014

Release News

a new poetry collection by Risto Lazarov has just been released by Poetry Pacific today! here is the link to view/buy:: 



A Seashell Anchored in the Centuries

List Price: $15.49
Price: $13.17
You Save: $2.32 ( 15% )
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The newest poetry book by Risto Lazarov, full of fresh imagery and intriguing insight.

Product Details

First Edition
Poetry Pacific
January 16, 2014
Perfect-bound Paperback
Interior Ink
Black & white
0.45 lbs.
Dimensions (inches)
6 wide x 9 tall

The poetry book  Smallstepper by Risto Lazarov is the living proof that the freshness of the poetry word can be preserved in poetry book that has been written decades after the first one.  This newest poetry book written by Lazarov is his twenty first, published forty years after his first “Night bird in the park”. With this Smallstepper he is drawing his own poetic geography, from Skopje to Prague, from Belgrade to Terezin, from Istanbul to Berlin, from the Andes to Altai, from Japan to home. And within this poetic map of the world the quest for the soul-mates is occurring, people known and unknown, from the ones which he will meet on purpose or accidentally, to those with which the meeting is only imaginary. My favorite poem from Smallstepper is “Daisy: a girl with gondolas in her eyes/look”, but here as a reference for the future readers I will quote a verse from another poem from the book named “Brecht on the beginning of the 21st century”: On the small graveyard in Berlin/ on the beginning of the twenty first century/ the reality smells biter/ like formalin leaked/ from the old jars of history/ which does not stop to repeat itself.

-Goce Smilevski, Winner of the European Prize for Literature 2011.

The last poetry book by Risto Lazarov is “freshly bathed/perfumed/and prepared/ … angelic beauty” which one can meet through one of the streets of Skopje, and as “real smallstepper/ she knows that as smaller steps it makes/ as farther it will gets”, and we (the book and me) have really met changing a few cities: Skopje – Leipzig- Ljubljana- Graz- Ljubljana.  In this book there are as many anthological poems as there are not so many in the real anthologies. It is nicely (but not carefree and with no danger) one to go deep in the truths, known to us from our everyday life, that are exposed by Lazarov in a poetic manner: “Flared, than sweaty rock – that’s history”, he says, and this acclamation hurts and heals at the same time, same as the  welfare of the reverses, or of the Andes which have always been higher than life itself, or the reality that smells bitter like formalin on the small graveyard in Berlin, or the Macedonian  fires on Kolede (the fires that are burned before Christmas ) like non-conscious of the newly-composed   roisterers, or the ballade for the return from Japan… Singing and thinking are perfectly inwrought together, synthesis of the time in which we are all contemporary to each other. This is a book to be read in a train, plain or on the footway; poetry not for the soul but for the heart, for the mind and for the soul.
-Lidija Dimkovska, Winner of the European Prize for Literature, 2013

His poetry is characterized by a lively and life-giving poetic memory. It reawakens the great enigmas of spirit in which we recognize human suffering and longing. There is in his poems a certain dialectic, a Heraclitic tension which reveals that every truth has its own opposite, i.e. that suffering gives rise to hope, that everything in this world and this century is as it is in Borges's well-known Book of  Sand.  There is not a poem by this poet which is not in its own way also cryptoethical. (Georgi Stardelov)

Risto Lazarov’s poetry leaves an impression of readability, which is referential, colloquial and communicative. It is a fine example illustrating the fact that poetry does not have to be strictly hermetic, radically ambiguous and difficult of access, as is sometimes thought. It is that principle of relaxed narration, combined with the principle of internal poetic rhythm, freedom in playing with words, jesting with petrified clichés and idioms, a poetics of impertinent pointing out, a rhetoric of apparently childlike speech, a tension between the reader and the poem and the conventional notions of lyrical forms, that give Lazarov’s poems their essential poetic charm. (Katica Kulavkova)

Risto Lazarov’s poetry has never lagged behind the development of global poetic thought. Lazarov is a modern and postmodern poet, and today it could be argued that he is primarily an urban poet in search of man "lost" amidst the urban jungle, symbolically as well as literally, in the midst of a void brimming with paradoxes, alienation, superpowers and small nations, the crucial events and everyday politics which push the life of the common man to the borders of despair and a "hideous giggle." The poetry of Risto Lazarov is a poetry about us and our time, now, always and forever. (Lidija Dimkovska)

We can freely say that Risto Lazarov’s poetry is written in accord with Rilke’s poetic theory as revealed in the novel The Notebooks of Malte Laurids Brigge: “Verses are not, as people think, feelings… they are experiences. For the sake of a verse one must see many cities, men, and things, one must know the animals…” The poet patiently collects impressions and sensations, and putting them into order turns them into art. His expression is full, the lines are united into a vivid picture, and the language is perfectly simple, striking and symbolic. (M. Bojanic)

Risto Lazarov’s poems arise from his own lived experience. They are an explicit response to the sensations of reality, to the temptations of memories and privileged figures of one life experience. The poem is born simply because it must be, it is the fruit of a challenge shaped by reality and now requires as terrible and energetic a response as possible. In the place where events and oblivion clash, the poem begins. (Gojko Bozovic)

Friday, 27 December 2013

Flawless with Flaw Just Released

English-Chinese Poetry Collection Flawless with Flaw by Yang Lin has just been released by PP Press


由我社Poetry Pacific Press隆重出版


A Brief Introduction to Flawless with Flaw

Yang Lin’s poems in this collection convey emancipation and the eternal spirit of freedom. Setting the tone, the first presented, Not, addresses an entity that “Like a night that comes and goes, /You bloom rocks.” These poems inspire on a profound level, uplifting the heart and delighting with frequent, insightful surprises, such as “Your shadow conceals lightening / My eyes are full of thorny flowers blooming” (from Raindrops) and “The mountains are the draperies that draw open one by one / The world hiding in the bamboo groves and hills” (from The Village of Dong Folks).

Yang Lin is an accomplished poet, unbound by self-conscious constraints, at the same time discerning, sophisticated, educated. I have been enchanted by his range and brilliance.

        -- Joneve McCormick, Editor of World’s Strand & Editor/Publisher of Poetry International (USA)

       杨林这本诗集中的诗,传递了一种解放与自由的永恒精神。第一首诗《非》给“像一个去了又来的夜/盛开石头”的存在言说,从而确定了整部诗集的基调。这些诗 不仅从深层次上激发灵感,升华灵魂,而且还频频运用一个个颇具洞察力的惊奇而愉悦读者,比如:“你的影子藏着闪电”/“我的眼睛盛开带刺的花朵”(《雨 滴》)以及“群山是帷幔,一层层拉开来”/“世界藏于峻岭竹林之间”(《侗寨》)。


        -- 约尼夫·麦考密克,《世界之滨》编辑,《诗歌国际》编辑、发行人(美国)

Taking the spirit of classical forms and themes, Yang Lin transports us to a place where our modern spirits behold the beauty of universal themes. The poetic space creates a haunting emptiness. Even in this space he gives us a light to the path. These honest lines comfort and challenge. Take this journey with him. You’ll be glad you did.

        -- Doug Johnson, PhD, Editor/Publisher of Cave Moon Press (USA)


         -- 道格·约翰逊,博士,洞月出版社发行人、编辑(美国)

Inspired and inspiring, Yang Lin’s The Flawless with Flaw offers rich imagery and deep insight, which are readily perceivable to the reader even well beyond the language barrier. A highly worthy read.

        -- Changming Yuan, PhD, Author of Chansons of a Chinaman,& Editor-in-Chief/Publisher of Poetry Pacific (Canada)


        -- 袁昌明,博士,《华人之歌》作者, 《太平洋诗刊》主编、发行人(加拿大)

        Yang Lin is an exceptional poet who “deny those unreal cloud and mist, and keep dreams deeply concealed” (From Not). His poems steadily seek linguistic symmetry and balance between reality and fantasy, as well as dark and dawn. The lightning of soul lights up “the strange faces”, and the whole world in the meantime.

        -- Diablo, Litt.D., President of the International Poetry Translation and Research Centre & Executive editor of multilingual of the World Poets Quarterly (China)


         -- 野鬼,文学博士,国际诗歌翻译研究中心主席, 混语版《世界诗人》季刊执行总编(中国)http://blog.sina.com.cn/s/blog_a1aa338e0101hp8w.html

Friday, 22 November 2013

First Bi-Lingual Collection to Be Released

In December, we plan to release our first bi-lingual (English and Chinese) poetry collection, titled The Flawless with Flaw (《天衣有缝》 ), by a well recognized contemporary Chinese poet based in Human Province, whose name is Yang Lin ( 杨林 ).

Please stay tuned...

Friday, 15 November 2013

First Poetry Anthology Released

In September, Poetry Pacific Press published with our Chinese partner IPTRC ( 国际诗歌翻译研究中心)our very first bi-lingual (English and Chinese) anthology of contemporary Chinese poetry 300 NEW CHINESE POEMS (1917—2012)  ( 汉英读本《中国新诗300首》), which has just become available in print in Canada.

Any one interested in getting a copy, please feel more than welcome to contact us::
Email Adrresses:: yuans@shaw.ca or editors.pp@gmail.com
Phone Numbers:: (778) 371-0952 or (604) 445-1598
Contact in China:: Dr Zhang Zhi, http://blog.sina.com.cn/s/blog_5f9f84d80102e3sm.html

List Price: $50.00 CAD / $40.00 USD

Introdution by Diablo

The Chinese New Poetry: The Brilliance of 100 Yeas                              
— Preface to 300 New Chinese Poems (1917—2012)
Since the year of 1917, the new Chinese poetry has a history of 100 years, during which the Chinese nation has witnessed a series of drastic and important events such as the May Fourth Movement, Confused Fighting between the Warlords, Anti-Japanese War, KMT-CPC Civil War, “Anti-Rightist Movement”, “Movement of Cleaning Politics, Economics, Organization, and Ideology”, the Cultural Revolution, April Fifth Movement, Black 1989, and Reform and Opening up to the Outside World. So much so that it can be said that the 100 years, whether from the angles of history and culture or politics and art, are unexceptionally filled with briers, distress, chaos caused by war, struggles, famine, slaughter, hue and cry, as well as tribulations.
In such a dark and bloody historical context, the new Chinese poetry has undergone stages from its creation to its experiment to its construction: the process shows its utmost fortitude in being undaunted by repeated setbacks. In the past 100 years, there have emerged a host of excellent or great poets who have produced many important and immortal pieces, which have been given attention to the international poetry circle. Unquestionably, it is time to exhibit the whole process and the artistic features of the new Chinese poetry by translating and introducing classic new Chinese poems to overseas countries. Based on this point, through discussions with renowned poetry critics, translators and scholars from 8 universities respectively located in Tianjin, Beijing, Chongqing, Shaanxi, Zhejiang, Hunan, Anhui, and Fujian, etc., we have reached a broad consensus at the end of 2010, namely, to compile a Chinese-English textbook of selected new Chinese poetry, which is tantamount both to the brilliant achievement of 100 years of the new Chinese poetry and to the great tradition of Chinese poetry. Our target is: “with a copy of Chinese-English 300 New Chinese Poems (1917—2012) in your hand, you can get an overview of the history of 100 years of the new Chinese poetry and the representative pieces. Meanwhile, Chinese-English textbook of 300 New Chinese Poems (1917—2012) provides a new view point and breakthrough point for those who are engaged in the research of new Chinese literature, while providing text reference for the future development and construction of Chinese poetry. What is of particular importance is that the Chinese-English textbook of 300 New Chinese Poems (1917—2012), by dint of the extensive and effective international communication system established by IPTRC (The International Poetry Translation and Research Centre) through 18 years, the new Chinese poetry is brought into the whole process of world humanistic order, while providing a true, vivid, and profound landscape of language and mind for the 100 years of course of thought of the Chinese nation.”
We all know that since its birth in 1917, the new Chinese poetry is closely connected with the poetic art of foreign countries during its development. In the information age of globalization, the new Chinese poetry is to be more communicative and interactive with the international poetry circles in a more direct and extensive manner, and one of the most effective ways is to compile large-scale Chinese-English bilingual poetry readers. Which bespeaks our original intention to compile this Chinese-English textbook of 300 New Chinese Poems (1917—2012).
In my opinion, poetry writing is writing of the mind. In other words, we shall regard the Chinese-English textbook of 300 New Chinese Poems (1917—2012) as the miniature of 100 years of the spirit or the mind of the Chinese nation. Leafing through the Chinese-English textbook of 300 New Chinese Poems (1917—2012), we can feel the beat and rhythm of each heart: the powerful poetic force, like surging waves in the Yangtze River charging eastward, is exhibited in each poetic line …
Compared with other selections of the new Chinese poetry, this Chinese-English textbook of 300 New Chinese Poems (1917—2012) is found to have the following features:

 (1) In selecting poems, consideration is first given to their artistry and the construction of linguistic text form. While paying attention to the chosen works’ significance in literary history, the modern sense and artistic value (or aesthetic value) of the poems are highlighted.
 (2) In addition to poets from Mainland China, Taiwan, Hong Kong and Macao, overseas Chinese poets are also included. The book is a thorough examination of the new Chinese poetry since 1917, which exhibits the free and independent human spirit. The book is a selection of the new Chinese poetry with the longest time span and the most extensive areas.
 (3) The included poets are in the order of their dates of birth and, after their poems, included is an introduction to the author.
 (4) In the context of global economy and information integration, the book endeavors, in bilingual form of Chinese and English, to exhibit the development and artistic achievement of the new Chinese poetry in the past 100 years objectively, thoroughly, and comprehensively.
 (5) The English translation of this book composes of two types: poetic translation and academic translation, in which poetic translation is dominant.

It is known that there are more common points than different points between two languages; therefore, interlingual translation is possible. The translatability between languages becomes the theoretical basis for translation. However, this does not exclude the differences between languages. Generally speaking, the translation of poetry, among all literary translations, is the most challenging. And if the translator happens to be a poet himself, his translation is usually superior to that done by a non-poet.
Translation, in a real sense, is for a poem or a life to be reborn in another context of words, like Phoenix Nirvana. It is my belief that this Chinese-English textbook of 300 New Chinese Poems (1917—2012), under the collaboration of Chinese and overseas poetry translators and sinologists, is to regain life in the world of English, sparkling with charming artistic rays.
Here, I would like to list the names included in the Chinese-English textbook of 300 New Chinese Poems (1917—2012)(The included poets are in the order of their dates of birth):

Lu Xun, Shen Yinmo, Liu Bannong, Hu Shi, Guo Moruo, Lai He, Xu Zhimo, Wang Duqing, Wen Yiduo, Li Jinfa, Bing Xin, Zhang Wojun, A Long, Wang Jingzhi, Liang Zongdai, Zhu Xiang, Luo Niansheng, Dai Wangshu, Sun Dayu, Feng Zhi, Zang Kejia, Li Guangtian, Su Jinsan, Yin Fu, Ai Qing, Bian Zhilin, Qin Zihao, He Qifang, Xin Di, Ji Xian, Zhong Dingwen, Tian Jian, Chen Jingrong, Hang Yuehe, Mu Dan, Du Yunxie, Cai Qijiao, Tang Shi, Peng Yanjiao, Tang Qi, Zheng Min, Zhou Mengdie, Hu Pinqing, Chen Xiuxi, Yuan Kejia, Huan Fu, Zeng Zhuo, Liang Zhihua, Lü Yuan, Yang Lingye, Tu An, Niu Han, Shi Tianhe, Lin Hengtai, Kong Fu, Xia Jing, Gong Liu, Yu Guangzhong, Luo Fu, Li Qing, Luo Men, Xiang Ming, Wen Xiaocun, Rong Zi, Yang Huan, Bai Hua, Shang Qin, Chiu Pin, Zheng Ling, Shu Lan, Chan Sirisuwat, Loiushahe, Zhang Mo, Ya Xian, Ma Boliang, Shao Yanxiang, Zheng Chouyu, Han Han, William Marr, Chang Yao, Lee Kuei-shien, Dai Tian, Wai-lim Yip, Wu An, Bai Qiu, Zhang Shijian, Lin Ling, Han Mu, Hsu Chicheng, Lin Huanzhang, Yang Mu, Shi Ying, Huang Xiang, Du Guoqing, Gao Ge, Ya Mo, Hua Wanli, Lan Haiwen, Yun He, Zhang Cuo, Xi Murong, Fu Tianlin, Zhou Tao, Fu Tianhong, Li Minyong, Shi Zhi, Zhang Ye, Leung Ping-kwan, Luo Qing, Mo Yu, Bei Dao, Jiang He, Mang Ke, Shen Qi, Duo Duo, Li Gang, Li Xiaoyu, Zhou Lunyou, Li Yufang, Shu Ting, Hai Shang, Yang Zongze, Yan Li, Wang Xiaolong, Yu Jian, Yang Ze, Liang Xiaobin, Yang Lian, Zhai Yongming, Wang Xiaoni, Mao Han, Gu Cheng, Bai Hua, Xia Yu, Lin Hua, Ouyang Jianghe, Zi Wu, Zhang Shuguang, Liu Cheng, Yang Ke, Da Xie, Zuo An, Wang Jiaxin, Yuan Changming, Liao Yiwu, Wang Shunbin, Yang Ran, Ye Shibin, Wei Ming, Yan Yuejun, Bei Ling, Lv De’an, Luo Yihe, Fang Wenzhu, Han Dong, Meng Lang, Jidi Majia, Chen Dongdong, Chen Kehua, Lu Yimin, Zhang Zao, Ding Dang, Liu Manliu, Xue Yang, Yang Li, Lin Yaode, Hong Ying, Aerdingfu Yiren, Liang Xiaoming, Xi Chuan, Huang Canran, Zhong Dao, Li Yawei, Zhao Xingzhong, Chu Zi, Jie, Chen Meiming, Hai Zi, Na Ye, Nan Ou, Mo Mo, Zhu Likun, Zang Di, Tu Ya, Diablo, Shen Wei, Yao Hui, Xiao Hai, Feng Chu, Shu Cai, Xie Yixing, Gu Ma, Ma Ke, Yi Sha, Wei Se, Zhang Zhizhong, Ye Zhou, Mo Xue, Pu Dong, Lei Pingyang, Yu Nu, Ma Qidai, Ge Mai, Hou Ma, Zhao Siyun, Xi Du, Tang Shi, Xu Jiang, Chen Xianfa, Lan Lan, A Mao, Yang Jian, Wu Touwen, Zhou Sese, Yang Lin, An Qi, Luo Guangcai, Zhou Yunpeng, Jin Lingzi, Meng Ling, Dong Yue, Di Bai, Zhao Weifeng, Lin Zhongcheng, Huang Lihai, Yao Bin, Yang Xie, Duo Yu, Yin Lichuan, Li Xiaoluo, Hai Xiao, Mu Cao, Jiang Fei, Yang Jun, Zhu Jian, Shen Haobo, Ding Cheng, Li Cheng’en, Wu Xiaochong

After three years of efforts, now the Chinese-English textbook of 300 New Chinese Poems (1917—2012) is to be published for the readers, both Chinese and overseas, to appreciate and criticize.
In the process of compiling this book, I have been encouraged and supported by Chinese and overseas poets, critics, translators, and sinologists, hence my homage and indebtedness to all of them!
Poetry is immortal, and art is eternal.
The foregoing is my preface.

                                                                                        June 28, 2013; Chongqing, china

Bionote of the Editor

Diablo (1965— ), whose original mane is Zhang Zhi, English name Arthur Zhang, and pen name Wuyuelou (Moonless Tower), with ancestral place of Nan’an of Chongqing, was born in Phoenix Town of Baxian County, Sichuan Province. He is doctor of literature and honorary doctor in humanism, and has successively been engaged in many professions. He is the current chairman of the International Poetry Translation and Research Centre, executive editor of The World Poets Quarterly (multilingual), editor-in-chief of the English version of World Poetry Yearbook, embassador in China of the International Poets Association in Chile, and foreign academician of Greek International Literature & Arts and Science Academy. He began to publish his literary and translation works since 1986. Some of his literary pieces have been translated into over twenty foreign languages, such as English, French, German, Japanese, Russian, Greek, Spanish, Portuguese, Polish, Romanian, Danish, Hungarian, Bengalese, Italian, Swedish, Korean, Slavic-Mongolian, Serbian, Hebrew, Arabic, Slovak, Croatian, Bulgarian, Macedonian, and Albanian, etc., to be included into dozens of domestic and overseas anthologies. He has ever won poetry prizes from Greece, Brazil, America, Israel, France, India, Italy, Austria, Lebanon, and Macedonia. His main works include poetry collections such as RECEITA (Portuguese-English-Chinese), SELECTED POEMS OF DIABLO (English), POETRY BY ZHANG ZHI (German-English-Portuguese), Selected Poems of Diablo (Chinese-English), collection of poetry criticism entitled Series Essays on Avant-Garde Chinese Poets, etc. In addition, he has edited Selected Poems of Contemporary International Poets (English-Chinese), Selected New Chinese Poems of 20th Century (Chinese-English), A Dictionary of Contemporary International Poets (multilingual), The Book Series of World Poets (Bilingual), and Chinese-English Textbook 300 New Chinese Poems (1917—2012) , etc.

Bionote of the Tranlating Editor

Zhang Zhizhong (1966— ), his ancestral place is Boai County of Henan Province. He successively obtained a bachelor’s degree in English language and literature from Zhengzhou University, a master’s degree in English and American literature from Tianjin Foreign Studies University, and a doctor’s degree in translation studies from Nankai University, and he has done his postdoctoral study in aesthetics of poetry translation at Henan University. He is now director of Translation Studies Center of Tianjin Normal University, and professor of Foreign Languages College of Tianjin Normal University. Meanwhile, he is guest editor of The World Poets Quarterly, vice chairman of International Poetry Translation and Research Centre, and translation reviser of New Poetry, a large-scale periodical sponsored by the Research Institute of Lierature & Art of Chongqing University of Technology. He has done a huge amount of translation, including over 50 classic American movies (English-Chinese), the 84 episodes of TV play The Romance of Three Kingdoms and the movie entitled The Tale of Sister Liu (Chinese-English), etc. Until now, he has published 44 books (11 in collaboration with others), 70 academic papers, and over 3,500 translated poems. Besides, he has published his own poems. In October, 2003, he received scholarship from Nankai University; in November, 2003, he obtained Excellence Award in the 15th National Translation (Chinese-English) Competition for Youth Sponsored by Han Suyin; in December, 2005, he was entitled as the Best International Translator for 2005; in November, 2006, he won the Prize for Distinguished Translator in the 2nd World Poetry Prizes Sponsored by Dr. CHOI Laisheung; in March, 2007, he was entitled as the academic leader for 2006 by Henan Provincial Educational Bureau, and in September, 2011, he won the Translation Prize of “Contemporary Chinese Poetry Prizes (2000—2010)”.