Ma Yongbo was born in 1964, Ph.D, representative of Chinese avant-garde poetry,and a leading scholar in Anglo-American poetry. He has published over eighty original works and translations since 1986 included 6 poetry collections. He focused on translating and teaching Anglo-American poetry and prose including the work of Dickinson, Whitman, Stevens, Pound, Williams and Ashbery. He recently published a complete translation of Moby Dick, which has sold over half a million copies. He teaches at Nanjing University of Science and Technology. The Collected Poems of Ma Yongbo (four volumes, Eastern Publishing Centre, 2024) comprising 1178 poems, celebrate 40 years of writing poetry.

Please share your thoughts about the future of literature.

As long as the human spirit remains alive, literature (poetry) will endure, serving as the most faithful companion to the soul. The power of poetry to console and uplift the human spirit will always remain indispensable.

When did you start writing?

I began writing poetry, plays, and novels in 1979 during my first year of high school. My works were officially published starting in 1986. Writing poetry is a form of spiritual practice for me; my goal is not to secure a place in literary history.

The Good and the Bad.

Nature is good; humans are bad.

Who is winning nowadays?

Petty people dominate in every field. Yet evil only prevails temporarily, for Christ has already overcome the world.

How many books have you written?

I have published six poetry collections (including The Complete Collection of Poetry, which comprises four volumes), two essay collections, three academic monographs, two biographies, and two prose-poetry collections.

And where can we find your books?

Most of my 80 original and translated works have been published in mainland China, with a few released in traditional Chinese editions in Taiwan. They are available on Dangdang, JD.com, and in physical bookstores. Public libraries worldwide also hold copies. My bilingual poetry collections with Indian poet Anand, my another bilingual poetry collections with Greek poet Eva and Mexican poet Jeanette are sold on Amazon. A select few works, such as my three-volume bilingual translation of John Ashbery’s selected poems, can also be found there.

The book: E-book or Hardcover book? What will be the future?

Physical books will become increasingly expensive, eventually turning into collectibles for a small minority. E-books aid dissemination and conserve energy.

A wish for 2025.

May my friends find peace and joy, and may they write poetry abundantly. I also hope to leverage my translation skills to introduce more outstanding poets from other languages into Chinese, building a rainbow bridge to overcome cultural barriers.

A phrase from your book.

“Refining light from one’s own darkness.”

Solipsistic Haiku by Maurizio Brancaleoni

in the outside world —
all my sins
in red and white

nel mondo esterno:
rosso su bianco
tutti i miei peccati

*

at the nursing home —
the old lady asleep
with a packed suitcase

all’ospizio:
la vecchia dorme
con la valigia pronta

*

waiting for death
the cat passes by
to say hi

aspettando la
morte il gatto passa per
un salutino

*

Via Marsala —
among the pigeons the bum
talks to himself

Via Marsala:
tra i piccioni il barbone
parla da solo

*

the dog’s moaning
is persistent —
my fate

il lamento del cane
è persistente:
il mio destino

*

after sleeping on it
I haven’t solved it yet —
undertow of cars

dormendoci su
non ho ancora risolto:
risacca d’auto

*

in the face of
my decline the bats
laugh their jaws off

di fronte al mio
declino i pipistrelli
si sganasciano

*

end of April —
a black trash bag
dragged by the wind

fine d’aprile:
la busta nera
trascinata dal vento

Maurizio Brancaleoni is a poet and translator. He lives near Rome, Italy. His haiku have appeared in a wide variety of journals over the past few years. Maurizio manages “Leisure Spot”, a bilingual blog where he posts interviews, reviews and translations: https://leisurespotblog.blogspot.com/p/interviste-e-recensioni-interviews-and.html

The Problem of Emptiness and Loneliness of the Modern Individual in Chekhov’s Dramaturgy

Philology and History Faculty

Department of Native Language and Literature: Russian Language Specialization, Group 242

Annotation: this article analyzes the theme of existential emptiness and loneliness of the modern individual in Anton Pavlovich Chekhov’s dramaturgy. The author examines Chekhov’s plays such as “Uncle Vanya,” “Three Sisters,” “The Seagull,” and “The Cherry Orchard,” focusing on the characters’ inner emptiness, instability, and alienation from society. The paper draws parallels between literary characters and the philosophical-psychological views of J.-P. Sartre, E. Fromm, and V. Frankl. It demonstrates how Chekhov artistically portrays the loss of human vitality, inner suffering, communicative incapacity, and the search for meaning in modern life.

Аннотация: в данной статье анализируется тема экзистенциальной пустоты и одиночества современного человека в драматургии Антона Павловича Чехова. Автор рассматривает пьесы Чехова, такие как «Дядя Ваня», «Три сестры», «Чайка» и «Вишнёвый сад», сосредотачивая внимание на внутренней пустоте, нестабильности и отчуждённости персонажей от общества. В статье проводится параллель между литературными образами и философско-психологическими взглядами Ж.-П. Сартра, Э. Фромма и В. Франкла. Показано, как Чехов художественно отражает утрату жизненной энергии человека, его внутренние страдания, неспособность к коммуникации и поиск смысла жизни в условиях современной реальности.

Keywords: Chekhov’s dramaturgy, emptiness, loneliness, existentialism, modern individual, psychological crisis, communication, search for meaning.

Ключевые слова: драматургия Чехова, пустота, одиночество, экзистенциализм, современный человек, психологический кризис, коммуникация, поиск смысла.

The transformations of the late 19th and early 20th centuries left a profound imprint on human consciousness. Scientific progress, the crisis of spiritual values, and the contradiction between personal freedom and social restrictions raised new questions in the minds of individuals. It was precisely during this period that Anton Pavlovich Chekhov’s dramaturgy offered a deep expression of the modern individual’s spiritual state, inner emptiness, and loneliness. Through the characters’ inner torments, unfulfilled dreams, instability, and difficulty in establishing human connection, Chekhov reveals the universal problems of his time [1]. In plays such as Three Sisters, Uncle Vanya, The Seagull, and The Cherry Orchard, the absurdity of life, the lack of purpose, and the inevitability of loneliness become central themes. Chekhov’s characters seem to act, but they fail to achieve real change [2]. Their passivity, inner contradictions, and inaction align closely with modern existentialist philosophy [3].

In Chekhov’s work, the emptiness and loneliness of the modern individual are portrayed not only as personal but also as social problems, analyzed from psychological perspectives as well. Erich Fromm emphasized that loneliness and the lack of meaning in modern society are consequences that emerge alongside the acquisition of freedom [4]. Viktor Frankl showed that when a person loses meaning in life, emptiness and inner suffering arise [5]. Chekhov’s characters face precisely this kind of meaninglessness. This article examines how Chekhov’s dramaturgy portrays the emptiness and loneliness of the modern individual, analyzing the artistic representation and philosophical foundations of these states. Through the inner world of his characters, Chekhov addresses the most pressing issues of our time.

Chekhov’s dramaturgy is distinguished by its psychological depth and subtle artistic expression of socio-philosophical issues. One of the central problems in his plays is the emptiness and loneliness of the modern human being. This theme acquires a unique aesthetic and philosophical layer in plays such as Three Sisters, Uncle Vanya, The Seagull, and The Cherry Orchard.

The Psychological State of Chekhov’s Characters and the Sense of Emptiness

In Uncle Vanya, the protagonist comes to realize that his life has been wasted. Vanya experiences anger, despair, and deep inner torment upon realizing that he has spent his life serving others, only to be left with nothing. He declares, “I have squandered my life…” – thus transforming loneliness from a mere social condition into a deeply personal tragedy [6].

This state of inner emptiness resembles Jean-Paul Sartre’s concept of “freedom without ownership.” Sartre argues that although man is free, he is alone in the face of choices [7]. This very loneliness underlies the inaction and internal imbalance of Chekhov’s characters.

The Crisis of Communication and Futile Aspirations

In Three Sisters, the protagonists are dissatisfied with their current lives and dream of returning to Moscow. However, their longing never turns into real action. Their dialogues are filled with melancholy, loneliness, and emptiness. Often, their conversations fail to connect — a clear sign of the communication crisis [8].

Vladimir Kataev notes that behind their dreams, Chekhov presents the individual as a “mysterious being in the world.” According to him, for Chekhov’s characters, “a dream is not an action, but a desire for salvation” [9].

The Seagull and the Tragedy of Non-recognition

In The Seagull, Treplev’s artistic aspirations and attempts to assert himself end in rejection and failure. His life loses meaning, leading to one of Chekhov’s first clear depictions of suicide. Treplev finds no meaning in life and recognizes the absurdity of existence [10].Albert Camus, in The Myth of Sisyphus, declares life absurd – meaningless but still to be continued. Treplev, however, rejects this struggle and puts an end to his life [11]. This deepens the psychological realism found in Chekhov’s plays.

The Cherry Orchard and Clinging to the Past

In The Cherry Orchard, the characters are unprepared for change. Ranevskaya and her family cannot accept the changing world. They are emotionally attached to the past and live in memories, refusing to confront real problems. This reflects the condition of a modern person detached from reality, searching for meaning but unable to find it [12].

Boris Tomashevsky described the characters of The Cherry Orchard as “a collection of individuals who failed to find their place in life.” According to him, Chekhov explores the problem of modernity not through action, but through inaction [13].

Psychological Foundations: From the Perspective of Fromm and Frankl

According to Erich Fromm, modern man’s loneliness stems from his alienation from society, abandonment of close relationships, and inability to understand himself. Chekhov’s characters experience precisely this: they speak, they dream, but they are unable to connect [14].Viktor Frankl argues that when a person cannot find meaning in life, inner emptiness and psychological stagnation follow. For Chekhov’s characters, this void leads to the loss of vitality — they live, but they do not feel alive [15].

Anton Chekhov’s dramaturgy reveals the inner world of the modern individual, especially their sense of emptiness and loneliness, through unique and unconventional artistic forms. Chekhov’s characters are those who do not act, who dream but do not strive for real change, who attempt to communicate but fail to establish connections. They are alienated from society, unable to find their place in life. These conditions align closely with modern psychological and philosophical perspectives: Sartre’s concept of loneliness within freedom, Fromm’s notion of alienation, and Frankl’s idea of lost meaning are vividly embodied in Chekhov’s literary figures.

In Uncle Vanya, suffering and inertia; in Three Sisters, passive dreams; in The Seagull, lack of recognition and lost meaning; and in The Cherry Orchard, the inability to let go of the past — all serve as artistic representations of spiritual crisis. Chekhov depicts psychological stagnation, hopelessness, and isolation against the backdrop of social upheaval. This makes his dramaturgy intimately connected to the existential concerns of the modern era.

Thus, through Chekhov’s works, we gain a profound understanding of one of the most crucial inner problems of the modern individual — the feeling of emptiness and loneliness. He is not merely a writer of his time, but a modern thinker who compels even 21st-century readers to reflect deeply. Chekhov’s characters suffer not from life itself, but from themselves — from their inaction and alienated emotions. This makes him an eternally relevant author.

References

1.Rayfield, D. (1997). Anton Chekhov: A Life. London: HarperCollins, p. 302.

2.Magarshack, D. (1960). Chekhov the Dramatist. New York: Hill and Wang, pp. 110–115.

3.Etkind, A. (1985). Chekhov’s World: A Study of His Drama. Cambridge University Press, p. 87.

4.Fromm, E. (1941). Escape from Freedom. New York: Farrar & Rinehart, p. 36.

5.Frankl, V. (1959). Man’s Search for Meaning. Boston: Beacon Press, p. 106.

6.Chekhov, A.P. Uncle Vanya (1899) // Chekhov, A.P. M.: Nauka, 1980. Vol. 12, p. 104.

7.Sartre, J.-P. Existentialism is a Humanism. New Haven: Yale University Press, 2007, p. 29.

8.Chekhov, A.P. Three Sisters (1901) // Ibid. Vol. 13, p. 220.

9.Kataev, V. If Only We Could Know: An Interpretation of Chekhov. Chicago: Ivan R. Dee, 2002, p. 88.

10.Chekhov, A.P. The Seagull (1896) // Ibid. Vol. 11, p. 150.

11.Camus, A. The Myth of Sisyphus. New York: Vintage Books, 1955, pp. 11–12.

12.Chekhov, A.P. The Cherry Orchard (1903) // Ibid. Vol. 14, p. 73.

13.Tomashevsky, B. “Thematics and Style in Chekhov’s Plays” // Russian Literature Triquarterly, No. 4, 1972, p. 97.

14.Fromm, E. Escape from Freedom. New York: Farrar & Rinehart, 1941, p. 121.

15.Frankl, V. Man’s Search for Meaning. Boston: Beacon Press, 1959, p. 106.

Seen In Eastern Oregon                                       

Eastern Oregon is defined as east of the Cascade Mountains.  The east/west divide is political and topographical.  The fauna and flora and climate differ as well.

Many years ago, it could have been 2010, I went with a group of nature guides from the Portland Oregon area to an interesting historical site close to the Northeastern Oregon city Baker.  The main attraction in nearby Sumpter was the remains of an odd gold mining operation that operated from 1934-1954.  A dry land dredge created its own stream while running rock through the dredge.  Workers picked gold from the rock that passed through.

As interesting as that was, what caught my attention was a scene at the yard of a Sumpter resident.  A dog on a leash was barking at a deer peacefully munching on edibles in the yard.  The drama looked like it could be a nightly show.  After he had enough of the relentless barking the resident of the house came out to shoo the deer away.  The dog relaxed.

That wasn’t the only example of games animals play.  When we visited the Malheur National Game refuge in Southeastern Oregon we witnessed a coyote stalking a pheasant.  When the coyote got close the pheasant would fly twenty feet way.  We watched the slow motion unsuccessful pursuit for a few minutes, but it looked like the show could go on all day so we moved on to other wonders of nature.  Imagine a slow motion version of Wiley Coyote and the Road Runner.  Beep Beep.

On another occasion we found what appeared to be a flattened road runner.  A coyote didn’t get it, but it may have failed to Dodge a Maverick, Cougar, Impala, or other animal-named automobile.

Going through South Central Oregon just north of Nevada, we have seen herds of antelope (more accurately pronghorns).  They are the fastest land animal in the USA.  They evolved when dire wolves were around so they needed to be a little faster, and the excess speed has survived the demise of dire wolves.

The bittern is a bird that stays safe by standing head tilted up in reeds and is hard to discern from its surroundings.  It is good at hiding but we saw one.

The landscape east of the Cascades is much different.  The trees are different and smaller.  The juniper, sage brush, and horned toads (actually a lizard made famous by Yosemite Sam – I’ve run across a few) won’t be found in Western Oregon.

The differences between East and West are partly from climate differences and extent and timing of volcanic activity.  Western Oregon has a moderate climate with a lot of rain.  Eastern Oregon is arid and much more extreme.  Volcanoes made both Crater Lake National Park and Newberry Crater National Monument, home to East and Paulina Lakes, a frequent summer vacation for my family in the 1950s.  On a much smaller scale, there are the lava tubes and ice caves which were formed by lava vents.  Lava River Cave is over a mile long and open to visitors.  The various ice caves can keep ice for much of the year when the outside temperature can reach 90F.  In earlier times they provided Bend Oregon with ice in the summer.

Eastern Oregon – it’s something else.

Reason for the Rain

There was all this talk about Botticelli.

There was all this wine in our veins.

There was all this rain.

And all those people coming and going

Through my brain

Dancing on the ferry to another shore

Changes of scenery, of geography

Changes of heart

And there was this wall between words,

Erected with pain.

Will this rain ever stop?

Will the summertime

Open a window

And let the sun shine

From inside

Through my eyes again

After all these years

Of waltzing all alone

All by myself

Amidst the crowds?

Notes toward a Ballad

The August sun is intense, I undress

On the beach, sand in my toes

I hold sunrays in my hair.

I take refuge in a café 

On the nameless street

Tired of the heat

White wine goes green in my glass

Sun still fire in the sky.

No shade, no break,

His eyes dance on me,

They burn my skin 

I accept the figs he gives me

They are too soft. 

The coffee is too strong.

And the sun doesn’t give up.

And he does not give up. 

And now I lie awake pretending

That he lies awake

And that the whole world is awake

As we were then

In that summer heat

In that café

Without a break.

Fixing Cars

These callow young men who work under cars

all summer with eyes on the girls passing by

billboards of flesh, attired as if to please.

Wanderings of flesh, whose pale youth beckons

to tease and torment, their pleasure as if

just an image and perfume is enough.

For  callow young men who work under cars

their white t shirts stained with copious sweat

cool mirror shades reflect metal workings

iron tools of the trade only rearrange.

When summer’s over, the cars remain ghosts

but the girls return for a final pose.

Then driven to nowhere in borrowed cars

these callow young men reserved all along.

Death Of Language

Out of body

even as our eyes

focus/our

fingers interlocked

with familiar

detachment.

She takes

photographs of

herself, of me

countless birds

that leave us

without crumbs.

All, as it

should be until

with succinct

innocence she

mentions a friend

whose obviously more.

A montage of

images gather

to assail/accuse

with inviolate

clarity. Her

recent furtive

moments…

Calls made

with surreptitious

candor. Late

nights and

now its too late

to ask why.

On a busy street

she wants to explain

all I feel. As every

artery rushes blood

to my skull with

dizzying effect.

At a restaurant

she cant explain herself

nor can I.

The death of language

all we know.

Waitress gives us

menus but English

and love  are now

languages-

I no longer understand.

For Lydia Lunch

They’re all guilty

said Lydia Lunch

of her predators.

Cracked mirrors

who left each                               

sharp shard

of  hate deep

to draw blood

frequently in

nightmares framed

with forbidden

detail from assaults

of childhood incest.

It’s been her life

to wake scathed

from these or

lesser indifferent wounds.

Later documented as if

from  a mirror

in too many ways not

to be her life’s work.

A  timeless art

from trauma her shadow

at home or hospitals

as they stitched her up again.

Trauma of being set loose

with havoc and revenge

the only words to live by.

Seldom having

enough disdain to aim.

Her targets all

varied players…

some merely accidents.

In lurid yet beguiling

ongoing adventures

she half hypnotizes

even the casual to read…

or hear on stage.

Where still

no one is ever safe

especially not her.