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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.
我们首先关注的是这部作品是不是同类中的佼佼者。无论是犯罪小说、文学小说、女性文学或诗歌，它必须代表最高的写作水准。

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，我们必须要考虑这部中文作品能否成功地译成英语。作品的叙事风格要适宜于转换成另一种语言，同时还要能保留那些吸引中国读者的基本元素。无论原作如何优美，如果无法将其用英语传递，那么原作的魅力就荡然无存。

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，我们考查的是作品中的中国形象。中国国情复杂，文化多样，没有一部作品能将其完全囊括其中，它只能描写其中的某个方面或阐述作者的一家之言。我们选择的是那种能表现中国思想、社会、生活、文化和历史独特魅力的作品，并希望借助此类作品向海外读者展现多姿多彩的中国。

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.
不过，所选作品必须也要反映出世界各地的人们可以认同的普遍经历，使读者能在感情上与作品息息相通，这一点至关重要。《狼图腾》就是一个绝佳的实例，其独特优势在于：它既是发生在20世纪70年代中国内蒙古的一个真实故事，同时也促使读者思考现代与文明、人性与自然以及人类在塑造自己命运时所扮演的角色等问题。

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.
我们将于2012年伦敦国际书展之前出版的盛可以的《北妹》同样如此。作品讲述了出生于20世纪70年代的中国农村女孩从乡村到大城市的故事，同时它也是一部典型的成长小说，探讨了爱情、迷失和女性成长。

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.
买书之前，我们会花很长时间去了解作者，以寻找出版其作品的最佳方式。在这个过程中，我们的中国团队功不可没——帮助外国同事联系作者，并与之保持密切联系，建立持久关系。

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.
通常情况下，企鹅出版社首先争取购买目标图书的海外版权，然后代表盛可以或姜戎等作家与其他出版社接洽，确保我们一开始就明确地知道转让的是哪些权利，我们得到了哪些授权。我们委托最好的译者试译作品，然后将试译稿和故事梗概提供给出版社，保证这些资料具有最高水准，并且将始终如一地保持极高品质，使对方准确了解该作品的基调。

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，我们会利用自己的关系网，把作品送给最适合的出版社中最适合的编辑——我们的团队负责了解各个出版社各个编辑的特点偏好，以免把不合适的作品送给不合适的编辑，浪费彼此的时间。

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.
作为一家按照商业原则运作的企业，我们企鹅出版社只会购买我们认为可以成功、并且符合我们编辑和出版优势的图书。当然，出版什么作品由我们自己决定，但在合适的时候也会与政府或非政府机构合作，获取对方的经济和营销支持。英国拥有一套成熟复杂的公共机构网，其中包括英国文化委员会和艺术委员会。

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.
除了为翻译作品提供资金支持外，这些机构还积极创造平台，帮助不同组织推介新作家和新作品。他们不会向我们推荐具体的作品，我们必须要自己去“淘”心仪的好书，但是，对于那些通常难懂并昂贵的书籍，他们愿意进行宣传和资助支持，这就意味着我们可以冒险出版一些名不见经传的外文新作品。

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.
我们对自己的英译中文图书出版工作非常自豪，同时也热切地期待早日看到2012年及未来将要出版的作品。我们的工作并不是孤立存在的，而是作家、读者、出版社和官方赞助机构所组成的全球网络的一部分。随着伦敦国际书展中国主宾国活动的临近，我们真诚地希望继续出版新的中文经典作品，使读者不断加深对中国丰富多彩的多元文化的了解。

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