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The Corpse Walker introduces us to regular men and women at the bottom of Chinese society, most of whom have been battered by life but have managed to retain their dignity: a professional mourner, a human trafficker, a public toilet manager, a leper, a grave robber, and a Falung Gong practitioner, among others. By asking challenging questions with respect and empathy, Liao Yiwu managed to get his subjects to talk openly and sometimes hilariously about their lives, desires, and vulnerabilities, creating a book that is an instance par excellence of what was once upon a time called “The New Journalism.” The Corpse Walker reveals a fascinating aspect of modern China, describing the lives of normal Chinese citizens in ways that constantly provoke and surprise.
A “memorable series of portraits of the working class people who defended Tiananmen Square” (The New York Review of Books) during the protests from the award-winning poet, dissident, and “one of the most original and remarkable Chinese writers of our time” (Philip Gourevitch). Much has been written about the Tiananmen Square protests, but very little exists in the words of those who were actually there. For over seven years, Liao Yiwu—a master of contemporary Chinese literature, imprisoned and persecuted as a counter-revolutionary until he fled the country in 2011—secretly interviewed survivors of the devastating 1989 Tiananmen Square massacre. Tortured, imprisoned, and forced into silence and the margins of Chinese society for thirty years, their harrowing and unforgettable stories are now finally revealed in this “indispensable historical document” (Kirkus Reviews, starred review).
China Witness is a remarkable work of oral history that lets us see the cultural upheavals of the past century through the eyes of the Chinese who lived through them. Xinran, acclaimed author of The Good Women of China, traveled across China seeking out the nation’s grandparents and great-grandparents, the men and women who experienced firsthand the tremendous changes of the modern era. Although many of them feared repercussions, they spoke with stunning candor about their hopes, fears, and struggles, and about what they witnessed: from the Long March to land reform, from Mao to marriage, from revolution to Westernization. In the same way that Studs Terkel’s Working and Tom Brokaw’s The Greatest Generation gave us the essence of very particular times, China Witness gives us the essence of modern China—a portrait more intimate, nuanced, and revelatory than any we have had before.
From the renowned Chinese poet in exile comes a gorgeous and shocking account of his years in prison following the Tiananmen Square protests.
Banned in China for its candid exploration of a young girl's sexual awakening yet widely acclaimed as being "the first novel of 'tough youth' in China" (Beijing Today), Beijing Doll cuts a daring path through China's rock-and-roll subculture. This cutting edge novel -- drawn from the diaries the author kept throughout her teenage years -- takes readers to the streets of Beijing where a disaffected generation spurns tradition for lives of self expression, passion, and rock-and-roll. Chun Sue's explicit sensuality, unflinching attitude towards sex, and raw, lyrical style break new ground in contemporary Chinese literature.
In God is Red, Chinese dissident journalist and poet Liao Yiwu—once lauded, later imprisoned, and now celebrated author of For a Song and a Hundred Songs and The Corpse Walker—profiles the extraordinary lives of dozens of Chinese Christians, providing a rare glimpse into the underground world of belief that is taking hold within the officially atheistic state of Communist China. Liao felt a kinship with Chinese Christians in their unwavering commitment to the freedom of expression and to finding meaning in a tumultuous society, even though he is not a Christian himself. This is a fascinating tale of otherwise unknown personalities thriving against all odds. God is Red will resonate with readers of Phillip Jenkins' The Lost History of Christianity and Peter Hessler's Country Driving.
The staggering story of the most important Chinese political dissident of the Mao era, a devout Christian who was imprisoned, tortured, and executed by the regime Blood Letters tells the astonishing tale of Lin Zhao, a poet and journalist arrested by the authorities in 1960 and executed eight years later, at the height of the Cultural Revolution. The only Chinese citizen known to have openly and steadfastly opposed communism under Mao, she rooted her dissent in her Christian faith -- and expressed it in long, prophetic writings done in her own blood, and at times on her clothes and on cloth torn from her bedsheets. Miraculously, Lin Zhao's prison writings survived, though they have only recently come to light. Drawing on these works and others from the years before her arrest, as well as interviews with her friends, her classmates, and other former political prisoners, Lian Xi paints an indelible portrait of courage and faith in the face of unrelenting evil.
The Corpse Walker is a collection of twenty-seven extraordinary interviews that opens a window, unlike any other, onto the lives of ordinary, often outcast, Chinese men and women. Liao Yiwu reconstructs conversations he had between 1990 and 2008 with a range of remarkable people- a professional mourner, a human trafficker, a leper, an abbot, a retired government official, a former landowner, a mortician, a feng shui master, a former Red Guard, a political prisoner, a village teacher, a blind street musician, a Falun Gong practitioner and a corpse walker. The result is an idiosyncratic, powerful and dignified portrait of a people, a time and a place we might otherwise have never known.
The poignant, “powerful” (The Boston Globe) look at how to appreciate life from an extraordinary professor who teaches about death: “Poetic passages and assorted revelations you’ll likely not forget” (Chicago Tribune). Why does a college course on death have a three-year waiting list? When nurse Norma Bowe decided to teach a course on death at a college in New Jersey, she never expected it to be popular. But year after year students crowd into her classroom, and the reason is clear: Norma’s “death class” is really about how to make the most of what poet Mary Oliver famously called our “one wild and precious life.” Under the guise of discussions about last wills and last breaths and visits to cemeteries and crematoriums, Norma teaches her students to find grace in one another. In The Death Class, award-winning journalist Erika Hayasaki followed Norma for more than four years, showing how she steers four extraordinary students from their tormented families and neighborhoods toward happiness: she rescues one young woman from her suicidal mother, helps a young man manage his schizophrenic brother, and inspires another to leave his gang life behind. Through this unorthodox class on death, Norma helps kids who are barely hanging on to understand not only the value of their own lives, but also the secret of fulfillment: to throw yourself into helping others. Hayasaki’s expert reporting and literary prose bring Norma’s wisdom out of the classroom, transforming it into an inspiring lesson for all. In the end, Norma’s very own life—and how she lives it—is the lecture that sticks. “Readers will come away struck by Bowe’s compassion—and by the unexpectedly life-affirming messages of courage that spring from her students’ harrowing experiences” (Entertainment Weekly).
A candid guidebook about art-making in the midst of oppression—"a slim, necessary revelation" (Maggie Nelson, The Argonauts). Visiting the Andy Warhol Museum as a teenager, Beth Pickens realized that art was imperative for reflecting—and thus remaking—the world. As an adult, she has dedicated her life to arts nonprofits and consulting, helping marginalized artists traverse the world of MFAs, residences, and institutional funding. Writing in the aftermath of the 2016 election, Pickens reminds emerging artists that their art is more important than ever. She gives advice on fostering creativity and sustaining an innovative practice as conversations about grants, public programming, and arts funding in schools grow ever-more heated. Part political manifesto, part practical manual, this resource reminds us that art has always been a tool of resistance.