Download Free Chinese Writers On Writing Book in PDF and EPUB Free Download. You can read online Chinese Writers On Writing and write the review.

As the United States and China move toward an expansion of political and economic relations, interest in China and its culture has never been greater. Chinese Writers on Writing makes a contribution in illuminating this corner of the globe through the works of some of its finest writers. With more than half the works appearing in English for the first time, Chinese Writers on Writing features authors such as Mo Yan, whose book Red Sorghum was made into an award-winning movie by the same name; Lu Xun, known as the Chinese George Orwell; and Gao Xingjian, recipient of the 2000 Nobel Prize for Literature. Edited by award-winning poet Arthur Sze, this is the first collection that brings together material by writers reflecting on their work, their processes, and the challenges of writing under China's political system. This is the fifth volume in the highly acclaimed Writer's World Series.
This is a comparative study of the politics of Chinese cultural identity facing China, Taiwan, Hong Kong, the US-Chinese, and the Chinese diaspora in the West. The author challenges current discussions of hybridity and nationalism by contrasting the experiences of Taiwan, Hong Kong and US-Chinese with those of China and the Chinese diaspora.
A lightly surreal story of misfortune, menace, and high-end stereo equipment in the cutthroat, capitalistic world of modern China. An NYRB Classics Original The hero of The Invisibility Cloak lives in contemporary Beijing—where everyone is doing their best to hustle up the ladder of success while shouldering an ever-growing burden of consumer goods—and he’s a loser. Well into his forties, he’s divorced (and still doting on his ex), childless, and living with his sister (her husband wants him out) in an apartment at the edge of town with a crack in the wall the wind from the north blows through while he gets by, just, by making customized old-fashioned amplifiers for the occasional rich audio-obsessive. He has contempt for his clients and contempt for himself. The only things he really likes are Beethoven and vintage speakers. Then an old friend tips him off about a special job—a little risky but just don’t ask too many questions—and can it really be that this hopeless loser wins? This provocative and seriously funny exercise in the social fantastic by the brilliantly original Ge Fei, one of China’s finest living writers, is among the most original works of fiction to come out of China in recent years. It is sure to appeal to readers of Haruki Murakami and other fabulists of contemporary irreality.
* Readings Prize for New Australian Fiction, Shortlist * 2022 Stella Prize, Longlist "A Best Book of the Year" —The Guardian "A Most Anticipated book of 2022" —Entertainment Weekly With an unforgettable voice and exuberant wit, She Is Haunted is a masterful debut exploring issues of identity, connection, and loss, told with remarkable grace and assurance by Chinese/American/Australian author, Paige Clark. In stories charged by the complexities of mother-daughter relationships, grief, exes, and the profundities of friendship, She Is Haunted features injured ballerinas, cloned dogs, and competitive call centers in settings as far ranging as future and present Australia, New York City’s Chinatown, and suburban California. A mother cuts her daughter’s hair because her own hair begins falling out; a woman attempts to physically transform into her dead husband so that she does not have to grieve; a woman undergoes brain surgery in order to live more comfortably in extreme temperatures. Braiding the real and the surreal, both playfully witty and deeply insightful, these stories show us characters striving to make sense of the grand themes of family, love, death, and our changing world. She Is Haunted flags Paige Clark as a wondrous and wise new literary talent.
*Winner of the National Book Critics Circle Award* *Shortlisted for the Costa Biography Award* *Shortlisted for the Jhalak Prize* *Shortlisted for the Rathbones Folio Prize 2018* *A Sunday Times Book of the Year* Xiaolu Guo meets her parents for the first time when she is almost seven. They are strangers to her. When she is born in 1973, her parents hand her over to a childless peasant couple in the mountains. Aged two, and suffering from malnutrition on a diet of yam leaves, they leave Xiaolu with her illiterate grandparents in a fishing village on the East China Sea. Once Upon a Time in the East takes Xiaolu from a run-down shack to film school in a rapidly changing Beijing, navigating the everyday peculiarity of modern China: censorship, underground art, Western boyfriends. In 2002 she leaves Beijing on a scholarship to study in Britain. Now, after a decade in Europe, her tale of East to West resonates with the insight that can only come from someone who is both an outsider and at home. 'This generation's Wild Swans' Daily Telegraph
‘One of the masters of modern Chinese literature’ Jung Chang This gripping dystopia contrasts the reality of life in China today with the sunny optimism of the ‘Chinese dream’. One dusk in early June, in a town deep in the Balou mountains, fourteen-year-old Li Niannian notices that something strange is going on. As the residents would usually be settling down for the night, instead they start appearing in the streets and fields. There are people everywhere. Li Niannian watches, mystified. Until he realises the people are dreamwalking, carrying on with their daily business as if the sun hadn’t already gone down. And before too long, as more and more people succumb, in the black of night all hell breaks loose. Set over the course of one night, The Day the Sun Died pits chaos and darkness against the bright ‘Chinese dream’ promoted by President Xi Jinping. We are thrown into the middle of an increasingly strange and troubling waking nightmare as Li Niannian and his father struggle to save the town, and persuade the beneficent sun to rise again. Praise for Yan Lianke's books: ‘Nothing short of a masterpiece’ Guardian ‘A hyper-real tour de force, a blistering condemnation of political corruption and excess’ Financial Times ‘Mordant satire from a brave fabulist’ Daily Mail ‘Exuberant and imaginative’ Sunday Times ‘I can think of few better novelists than Yan, with his superlative gifts for storytelling and penetrating eye for truth’ New York Times Book Review
China through the lens of its literature and the eyes of its leading writers
This volume gathers personal reflections on life and literature by 44 of China's leading authors. It aims to illustrate how Chinese society and its creative writing have supported, competed and fought with each other for the past 40 years and more. Much of what is revealed here is mundane, but the pressure of bringing art to social and political causes, indeed the universal pressure to survive, forges this collection into a very human document. The strengths and weaknesses of these essays offer a window on those of modern Chinese literature itself. Realism was the favoured literary doctrine of the day, and, reflecting this, most of these essays speak for themselves - about war, revolution, betrayal and commitment.
Throughout the twentieth century, Chinese writers have confronted the problem of creating a new literary tradition that both maintains the culturally unique aspects of a rich heritage and succeeds in promoting a new modernity. In the first book-length treatment of the topic, Wendy Larson examines the contradictory forms of authority at work in the autobiographical texts of modern Chinese writers and scholars and the way these conflicts helped to shape and determine the manner in which writers viewed themselves, their texts, and their work. Larson focuses on the most famous writers associated with the May Fourth Movement, a group most active in the 1920s and 1930s, and their fundamental ambivalence about writing. She analyzes how their writing paradoxically characterized textual labor as passive, negative, and inferior to material labor and the more physical political work of social progress, and she describes the ways they used textual means to devalue literary labor. The impact of China's increasing contact with the West--particularly the ways in which Western notions of "individualism" and "democracy" influenced Chinese ideologies of self and work--is considered. Larson also studies the changes in China's social structure, notably those linked to the abolition in 1905 of the educational exam system, which subsequently broke the link between the mastery of certain texts and the attainment of political power, further denigrating the cultural role of the writer.
This book introduces Chinese creative writing to the English-speaking world, considering various aspects of literary and creative theories in research in Chinese writing. It covers recent trends such as cross-media practices, pedagogy in creative writing in China, Taiwan and Hong Kong, specifically, and looks at how Chinese classical culture brings new interpretations to creative writing within a global context. Consisting of 14 chapters by established scholars and experts, writers, and poets working in various genres within the Chinese writing tradition, the book presents data accrued from personal reflections, classroom teaching, video games, museum studies, radio dramas, TV series, and cyber-literature. The book includes leading Chinese leading scholars’ reflections on research and the field, providing an omnibus perspective on theories of creative writing. It focuses on the interconnection between Chinese creative writing and pedagogy and examines different writer-training methods in Mainland China, Hong Kong, and Taiwan, offering a comparative perspective that deepens the understanding of institutional effects on the development of creative writing. It unpacks the interaction between Chinese creative writing and multimedia and ascertains the possibilities of incorporating media studies into writing practices. It also presents new interpretations of Chinese classical culture assets to new creative or literary manuscripts, such as TV series adaptation and Internet literature. Relevant to researchers, teachers, and students working Chinese creative writing and Chinese literature, it is also a landmark text in exposing English-speaking creative writing scholars to the wealth of Chinese creative writing, in English.