O mOur first consideration is whether this book is the best of its kind – whether it is crime writing, literary fiction, young women’s writing, or poetry, it must represent the very highest quality standard.
我們首先關注的是這部作品是不是同類中的佼佼者。無論是犯罪小說、文學小說、女性文學或詩歌，它必須代表最高的寫作水準。

We then, must turn our attention to whether it can successfully make the transition from Chinese into English. The narrative style must be suited to rendition in another language, and retain the essence of what made it so captivating in Chinese. No matter how beautiful the original text is, if we are not able to reflect that beauty in English, its original qualities are entirely lost.
然后，我們必須要考慮這部中文作品能否成功地譯成英語。作品的敘事風格要適宜于轉換成另一種語言，同時還要能保留那些吸引中國讀者的基本元素。無論原作如何優美，如果無法將其用英語傳遞，那么原作的魅力就蕩然無存。

Finally, we think about what the book says about China. No one book can sum up a country and culture as complex as China’s; it can only represent one aspect and one author’s point of view. We look for stories that illuminate fascinating areas of Chinese thought, society, life, culture, and history. We hope that through our publishing we can reveal new aspects of China’s diversity to readers overseas.
最后，我們考查的是作品中的中國形象。中國國情復雜，文化多樣，沒有一部作品能將其完全囊括其中，它只能描寫其中的某個方面或闡述作者的一家之言。我們選擇的是那種能表現中國思想、社會、生活、文化和歷史獨特魅力的作品，并希望借助此類作品向海外讀者展現多姿多彩的中國。

But – and this is very important – the book must also reflect universal experiences that people from different places can easily identify with, allowing readers to form an emotional bond with the work. The strength of “Wolf Totem”, for example, was that it was both a truly Chinese story of the 1970s in Inner Mongolia, but it also challenged the reader to think about modernity vs culture, humanity vs nature, and men’s role in shaping their destinies.
不過，所選作品必須也要反映出世界各地的人們可以認同的普遍經歷，使讀者能在感情上與作品息息相通，這一點至關重要。《狼圖騰》就是一個絕佳的實例，其獨特優勢在于：它既是發生在20世紀70年代中國內蒙古的一個真實故事，同時也促使讀者思考現代與文明、人性與自然以及人類在塑造自己命運時所扮演的角色等問題。

Likewise, novels like Sheng Keyi’s “Northern Girls”, which we will publish ahead of the London Book Fair in 2012, tells the story of young women born into China’s countryside in the 1970s, and their migration to the big city; but it is also a classic coming of age novel, of love, loss and womanhood.
我們將于2012年倫敦國際書展之前出版的盛可以的《北妹》同樣如此。作品講述了出生于20世紀70年代的中國農村女孩從鄉村到大城市的故事，同時它也是一部典型的成長小說，探討了愛情、迷失和女性成長。

Before we buy books, we spend time getting to know authors, to help us understand the best way to publish them. Our China team plays an important role in helping our international colleagues making and maintaining contact, creating strong relationships with our authors.
買書之前，我們會花很長時間去了解作者，以尋找出版其作品的最佳方式。在這個過程中，我們的中國團隊功不可沒——幫助外國同事聯系作者，并與之保持密切聯系，建立持久關系。

Typically, we at Penguin seek to acquire world rights to the books we take on. We then represent authors like Sheng Keyi or Jiang Rong to other publishers, making sure we are clear from the start about which rights are available, and where authority lies. We prepare sample translation and synopses, commissioned by the best available translators, ensuring these materials are of the highest standards and of equal quality to the final book, so that publishers can get an accurate sense of the book’s tone.
通常情況下，企鵝出版社首先爭取購買目標圖書的海外版權，然后代表盛可以或姜戎等作家與其他出版社接洽，確保我們一開始就明確地知道轉讓的是哪些權利，我們得到了哪些授權。我們委托最好的譯者試譯作品，然后將試譯稿和故事梗概提供給出版社，保證這些資料具有最高水準，并且將始終如一地保持極高品質，使對方準確了解該作品的基調。

Most importantly, we use our network of contacts to show the book to the right editor in the right publishing house – our rights team spends time getting to know which individual in which publishing house is best suited to a certain novel, to avoid wasting time showing the book to the wrong person.
最重要的是，我們會利用自己的關系網，把作品送給最適合的出版社中最適合的編輯——我們的團隊負責了解各個出版社各個編輯的特點偏好，以免把不合適的作品送給不合適的編輯，浪費彼此的時間。

As a business that must be managed along commercial lines, Penguin acquires books that we believe we can make a success, and fit with our editorial and publishing strengths. We make our own decisions about what to publish, but work in partnership with governmental and non-governmental bodies when appropriate, receiving financial and marketing support. In the UK, there is a sophisticated network of state-funded organizations that includes the British Council and the Arts Council, among others.
作為一家按照商業原則運作的企業，我們企鵝出版社只會購買我們認為可以成功、并且符合我們編輯和出版優勢的圖書。當然，出版什么作品由我們自己決定，但在合適的時候也會與政府或非政府機構合作，獲取對方的經濟和營銷支持。英國擁有一套成熟復雜的公共機構網，其中包括英國文化委員會和藝術委員會。

Aside from offering funding for translation work, they create platforms where different organizations who share goals can promote new authors and new writing. They will not present books to us – it is our job to go out and find books that we believe in – but their generous support in marketing and funding of books that are traditionally difficult and expensive means we are more able to take the risk on new and unknown titles from foreign languages.
除了為翻譯作品提供資金支持外，這些機構還積極創造平臺，幫助不同組織推介新作家和新作品。他們不會向我們推薦具體的作品，我們必須要自己去“淘”心儀的好書，但是，對于那些通常難懂并昂貴的書籍，他們愿意進行宣傳和資助支持，這就意味著我們可以冒險出版一些名不見經傳的外文新作品。

We are very proud of our English language publishing from China, and are excited about the publishing that will become available in 2012 and beyond. It does not exist in isolation, but as part of a global community of writers, readers, publishers, and official funding organizations. With the forthcoming London Book Fair China Market Focus, we very much look forward to continuing to publish new and classic works from China that will challenge people’s expectations of this amazing and diverse culture.
我們對自己的英譯中文圖書出版工作非常自豪，同時也熱切地期待早日看到2012年及未來將要出版的作品。我們的工作并不是孤立存在的，而是作家、讀者、出版社和官方贊助機構所組成的全球網絡的一部分。隨著倫敦國際書展中國主賓國活動的臨近，我們真誠地希望繼續出版新的中文經典作品，使讀者不斷加深對中國豐富多彩的多元文化的了解。

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