Li Er gives a speech at Beijing's Tsinghua University. Photo: VCG

When the Chinese novel Cherries on a Pomegranate Tree, which vividly captures rural life, entered the European literary spotlight recently thanks to the translation by Italian sinologist Riccardo Moratto, its journey along the path of "going global" once again attracted attention. From its German edition being chosen as a diplomatic gift to the publication of its Italian translation, this work by Chinese author Li Er continues to offer overseas readers a unique window into contemporary China.

In an era when Chinese literature is engaging with the world ever more deeply, what gives a literary work the power to transcend borders? Li Er, a recipient of the prestigious Mao Dun Literature Prize, offers some answers through his creative journey and reflections.

Chinese author Li Er Photo: VCG

Allure of difference

For Li Er, the arrival of the Italian edition of Cherries on a Pomegranate Tree carries special significance. 

Unlike many works promoted through translation grants, this novel was independently translated and championed by Moratto, whose cross-cultural passion left a lasting impression on the author.

With the publication of the Italian version, three of Li Er's books are now available in Italy. From Hua Qiang (lit: Coloratura) to The Mentor is Dead and now this new translation focused on rural China, the novels serve as prisms refracting different facets of Chinese society. 

"I think Italian readers, through these three books, may gain a more multidimensional understanding of China," Li Er told the Global Times, adding that he is considering visiting Italy in 2026 to meet local readers - a rare international trip for him in recent years.

Cherries on a Pomegranate Tree that was first published in 2004 is steeped in the flavors of the Chinese countryside, replete with folk sayings and idioms, and even its title is a local proverb. Some have worried that such deeply rooted cultural details would prove "untranslatable." Li Er, however, is remarkably at ease.

He explained that most proverbs in the novel have equivalents in other languages, and even when there is no direct match, a simple, vivid metaphor suffices. The phrase "cherries on a pomegranate tree" itself - a metaphor for the mismatch between hope and reality - is hardly unique to China, but rather a universal human experience. 

Moratto has written two academic papers about translating this novel, meticulously documenting the translation adjustments involved. 

These essays not only offer a deep reading of the novel but also serve as valuable case studies in the field of translation studies.

In Li Er's view, the charm of literature lies precisely in differences. The countryside portrayed in his writing is fundamentally distinct from those in White Deer Plain or To Live, and it is this uniqueness that captivates overseas readers. 

Although written at the dawn of the 21st century, the novel continues to resonate with readers of diverse cultural backgrounds, and Li Er noted that the answer lies in its authenticity. 

"No matter the era, a writer's primary task is to truthfully express their own observations and reflections on life," he stated.

Writing in the world

The German edition of Cherries on a Pomegranate Tree was once hailed as a "must-read for understanding contemporary China." 

Faced with such expectations for his work, Li Er maintains a balanced wisdom. He understands the curiosity of overseas readers: "For those who have never been to China, the book may seem novel and intriguing. For many abroad, their knowledge of China either lingers in the distant past or is shaped by misinterpretations."

Yet he was quick to return the focus to literature itself: "If this book helps readers gain a deeper understanding of China, that's wonderful. But personally, I still prefer to see it as a novel, and I hope readers approach it as a work of art."

For Li Er, changing external circumstances and critical opinions should not constrain a writer's creative path. "The writer's foremost duty is to say what is in their heart, and to write what they genuinely feel."

This commitment to authenticity is rooted in his synthesis of Chinese and Western literary traditions. Scholars have called his work a model of harmonious integration of Western literature, Chinese classical literature, and modern literary heritage. 

In Li Er's eyes, literary tradition is the concrete embodiment of cultural tradition itself. 

Living within such a cultural reality, a writer must remain vigilant and continually renew their knowledge in order to artistically render the complex textures of the times.

In the context of globalization, how does one preserve a sense of "staying rooted" while enabling a work to resonate across borders? Li Er has his own unique perspective on the notion of "going global." "We are not moving toward the world; we are already in the world, already engaged in countless dialogues," he said.

When a writer realizes they are "in the world," they become acutely sensitive to the contradictions, displacements, and misunderstandings between cultures. 

It is precisely these shared human experiences that allow works to resonate with readers. This is not only the underlying logic of literary exchange, but also aligns with the profound idea of a "community with a shared future," Li noted.

When it comes to the vision of "seeking beauty in difference and sharing beauty together," Li Er and his works serve as a reminder to creators: Chinese literature need not "move toward" an external world - for it is already an indispensable, radiant part of that richly diverse world. 

Maintaining an engaged dialogue with the era, safeguarding inner authenticity and nurturing a spirit of inquiry about humanity's future - these, Li Er said, are the timeless keys for literature to traverse time, cross boundaries, and ultimately reach the realm of genuine resonance.