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"Some of these stories, I am sure, will be read as long as the Chinese language exists."-Ha Jin
Lu Xun (Lu Hsun) is arguably the greatest writer of modern China, and is considered by many to be the founder of modern Chinese literature. Lu Xun's stories both indict outdated Chinese traditions and embrace China's cultural richness and individuality. This volume presents brand-new translations by Julia Lovell of all of Lu Xun's stories, including 'The Real Story of Ah-Q', 'Diary of a Madman', 'A Comedy of Ducks', 'The Divorce' and 'A Public Example', among others. With an afterword by Yiyun Li.
This is the first independent, full-life biography of Lu Xun, the most celebrated Chinese writer of the twentieth century, in any European language. It sets aside all the propaganda that has accrued over the sixty-six years since his death, and presents him as a credible human being, neither aggrandized nor belittled. While taking on board the findings of the most recent research on Lu Xun's life, and so being of interest to specialists, this biography is designed to be understood by any reader. As Lu Xun's life spanned the transition from Manchu empire to citizens' Republic, it can be seen as one man's history of China's progress to modernity—a progress in which he personally played a significant part. The facts of Lu Xun's life are presented objectively, but they do not always speak for themselves. The author has therefore drawn on his lifelong study of modern Chinese literature to offer intelligent interpretations where necessary. Since the subject of this biography was a writer, the author has appended to the chronicle some brief 'sketches' of his work for the benefit of those unacquainted with it.
Recognized as modern China’s preeminent man of letters, Lu Xun (1881–1936) is revered as the nation’s conscience, a writer comparable to Shakespeare or Tolstoy. Gloria Davies’s vivid portrait gives readers a better sense of this influential author by situating the man Mao Zedong hailed as “the sage of modern China” in his turbulent time and place.
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"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.
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.
Literature in Times of Revolution (1927) -- Miscellaneous Thoughts (1927) -- The Divergence of Art and Politics (1928) -- Literature and Revolution: A Reply (1928) -- An Overview of the Present State of New Literature (1929) -- A Glimpse at Shanghai Literature (1931) -- On the "Third Type of Person" (1932) -- The Most Artistic Country (1933) -- The Crisis of the Small Essay (1933) -- V. On Modern Culture -- Impromptu Reflections No. 48 (1919) -- Untitled (1922) -- What Happens after Nora Walks Out (1924) -- On Photography and Related Matters (1925) -- Modern History (1933) -- Lessons from the Movies (1933) -- Shanghai Children (1933) -- How to Train Wild Animals (1933) -- Toys (1934) -- The Glory to Come (1934) -- The Decline of the Western Suit (1934) -- Take-ism (1934) -- Ah Jin (1936) -- Written Deep into the Night (1936) -- Notes -- Lu Xun's Oeuvre -- Acknowledgments -- Illustration Credits -- Index