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The books in the collection »Read Chinese with Ms. Su« are aimed at advanced Chinese learners who are in the process of reading longer texts on their own. In the autobiographical narrative Hometown, the great Chinese writer Lu Xun created two literary figures, namely the farmer's son Runtu and the "Tofu Beauty" Madame Yang, which belong to the Chinese cultural memory. The first-person narrator visits his hometown to dissolve the household of his now impoverished family. He was in a sad mood, partly because the homeland he had left more than twenty years ago was no longer that of his childhood. His friend Runtu, the radiant hero of his childhood, who now addressed him with "my master," suffered from hunger and the turmoil of war. Nevertheless, there should be hope. At least that is what the first-person narrator wishes for at the end of his journey. Hometown is a particularly lovingly told story of Lu Xun. The style is unusually gentle for this sharp-tongued critic, and the construction of the sentences more simple und fluid. This is typical of Lu Xun when he writes about the landscape and the people of his homeland. The text Hometown has approx. 5000 characters, which are initially reproduced in the book in large font size and with pinyin. The word boundaries, which are normally omitted in a Chinese text, are indicated. Below the text line you will find explanations on word meaning, grammar, etc.; at the right margin of the page you will find a summary of the paragraph. On the left pages of the book, the same text is printed in traditional Chinese characters, so that those who have learned simplified Chinese will quickly be able to understand the traditional characters with a little practice and vice versa. At the end of the book, the texts are reproduced in normal print, i. e. in smaller font size, without any other information, as they would be found in a book from mainland China or Taiwan.
�自始至_，_迅是一__化_者。由于_望于他的_代，_望于同_代人，他唯把希望寄托在青年身上。即使_受了青年的利用和打_，__了“清党”_期青年告密的可_的事_，他__，愿英俊出于中_之心，仍然不死。至于孩子，他把_幼小的一代_作“__的‘人’的萌芽”就更不必_了。不妨听听小_《狂人日_》的末尾，那_“救救孩子”的呼_，是何等的_人心魄。即使如《_明_》，_于孩子_的_真，他流露出了那么深重的疑_，以__于_法逃掉大人的_影，也仍然_改于一生工作的目_：“救救孩子”。 _迅深知，戕害孩子的_力_于_大。在中___老大帝_里，延_了几千年的__文化，他__起_就是__字：“吃人”。他_，“中___重，父_更重”，所有道德，只有“一味收拾幼者弱者的方法”，要勾___，除非“完全解放了我_的孩子”。 然而，_是可能的_？
From the acclaimed author of Brothers and China in Ten Words: here is Yu Hua’s unflinching portrait of life under Chairman Mao. A cart-pusher in a silk mill, Xu Sanguan augments his meager salary with regular visits to the local blood chief. His visits become lethally frequent as he struggles to provide for his wife and three sons at the height of the Cultural Revolution. Shattered to discover that his favorite son was actually born of a liaison between his wife and a neighbor, he suffers his greatest indignity, while his wife is publicly scorned as a prostitute. Although the poverty and betrayals of Mao’s regime have drained him, Xu Sanguan ultimately finds strength in the blood ties of his family. With rare emotional intensity, grippingly raw descriptions of place and time, and clear-eyed compassion, Yu Hua gives us a stunning tapestry of human life in the grave particulars of one man’s days.
"Here at last is an accurate and enjoyable rendering of Lu Xun's fiction in an American English idiom that masterfully captures the sardonic wit, melancholy pathos, and ironic vision of China's first truly modern writer." -Michael S. Duke, University of British Columbia The inventor of the modern Chinese short story, Lu Xun is universally regarded as twentieth century China’s greatest writer. This long awaited volume presents new translations of all Lu Xun’s stories, including his first, “Remembrances of the Past,” written in classical Chinese. These new renderings faithfully convey both the brilliant style and the pungent expression for which Lu Xun is famous. Also included are a substantial introduction by the translator and sufficient annotation to make the stories fully accessible, enabling readers approaching Lu Xun for the first time to appreciate why these stories occupy a permanent place not only in Chinese literature but in world literature as well.
Though he lived mostly in rural South Taiwan, Zhong Lihe (1915–1960) spent several years in Manchuria and Peking, moving among an eclectic mix of ethnicities, classes, and cultures. His fictional portraits unfold on Japanese battlefields and in Peking slums, as well as in the remote, impoverished hill-country villages and farms of Zhong Lihe’s native Hakka districts. His scenic descriptions are deft and atmospheric, and his psychological explorations are acute. The first anthology to present his work in English, this volume features two novellas, ten short stories, and four short prose works.
Madmen and Other Survivors: Reading Lu Xun's Fiction puts the short stories written by this outstanding Chinese writer between 1918 and 1926 into a broad context of Modernism. The fiction of Lu Xun (1881–1936) deals with the China moving beyond the 1911 Revolution. He asks about the possibilities of survival, and what that means, even considering the possibility that madness might be a strategy by which that is possible. Such an idea calls identity into question, and Lu Xun is read here as a writer for whom that is a wholly problematic concept. The book makes use of critical and cultural theory to consider these short stories in the context of not only Chinese fiction, but in terms of the art of the short story, and in relation to literary modernism. It attempts to put Lu Xun into as wide a perspective as possible for contemporary reading. To make his work widely accessible, he is treated here in English translation.
Seminar paper from the year 2015 in the subject Literature - Asia, grade: 1.0, University of Heidelberg (Institut für Sinologie), course: PS Einführung in die Chinesische Literatur, language: English, abstract: In this essay the focus will be on the motif of cannibalism in “A Madman’s Diary” (Kuangren riji), which is the central image of this short-story. I will examine it in the socio-political context the story was written in and analyse possible readings. Furthermore since the meaning of the image of cannibalism in this text has been thoroughly discussed over the last century, I want to go on briefly exploring the choice of this motif itself. Why has Lu Xun chosen this very image of cannibalism and what could we learn from this about the author’s view of (traditional) Chinese society? Lu Xun’s story has already been interpreted many times and in different ways. However it is and remains a significant and complex literary piece that should be read and interpreted again and again. First of all because of its importance for the history of modern Chinese literature, generally being considered to be the first modern Chinese short-story (Hsia 33) and even more to mark the beginning of modern Chinese literature itself (Chou 1042). Despite this evident contribution to the genre of modern Chinese fiction, Lu Xun’s story can also be viewed as a “prototypical text of social protest and criticism in modern Chinese literature” (Tang).
"Some of these stories, I am sure, will be read as long as the Chinese language exists."-Ha Jin
In Contending for the "Chinese Modern", Xiaoping Wang studies the writing of fiction in 1940s China. Through a practice of political hermeneutics of fictional texts and social subtexts, it explores how social modernity and literary modernity intertwined with and interacted upon each other in the development of modern Chinese literature. It not only makes critical reappraisement of some renowned modern Chinese writers, but also sheds fresh lights on a series of theoretical problems pertaining to the issue of plural modernities, in which the problematic of subjectivity, class consciousness and identity politics are the key words as well as the concrete procedures that it employs to undertake the ideological analysis. The manuscript signifies a new paradigm in studies of modern Chinese literature.
"Here at last is an accurate and enjoyable rendering of Lu Xun's fiction in an American English idiom that masterfully captures the sardonic wit, melancholy pathos, and ironic vision of China's first truly modern writer." -Michael S. Duke, University of British Columbia The inventor of the modern Chinese short story, Lu Xun is universally regarded as twentieth century China’s greatest writer. This long awaited volume presents new translations of all Lu Xun’s stories, including his first, “Remembrances of the Past,” written in classical Chinese. These new renderings faithfully convey both the brilliant style and the pungent expression for which Lu Xun is famous. Also included are a substantial introduction by the translator and sufficient annotation to make the stories fully accessible, enabling readers approaching Lu Xun for the first time to appreciate why these stories occupy a permanent place not only in Chinese literature but in world literature as well.