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During the early days of the COVID-19 health crisis, Fang Fang’s Wuhan Diary provided an important portal for people around the world to understand the outbreak, local response, and how the novel coronavirus was impacting everyday people. But when news of the international publication of Wuhan Diary appeared online in early April of 2020, Fang Fang’s writings became the target of a series of online attacks by “Chinese ultra-nationalists.” Over time, these attacks morphed into one of the most sophisticated and protracted hate Campaigns against a Chinese writer in decades. Meanwhile, as controversy around Wuhan Diary swelled in China, the author was transformed into a global icon, honored by the BBC as one of the most influential women of 2020 and featured in stories by dozens of international news outlets. This book, by the translator of Wuhan Diary into English, alternates between a first-hand account of the translation process and more critical observations on how a diary became a lightning rod for fierce political debate and the target of a sweeping online campaign that many described as a “cyber Cultural Revolution.” Eventually, even Berry would be pulled into the attacks and targeted by thousands of online trolls. This book answers the questions: why would an online lockdown diary elicit such a strong reaction among Chinese netizens? How did the controversy unfold and evolve? Who was behind it? And what can we learn from the “Fang Fang Incident” about contemporary Chinese politics and society? The book will be of interest to students and scholars of translation, as well as anyone with special interest in translation, US-Chinese relations, or internet culture more broadly.
During the early days of the COVID-19 health crisis, Fang Fang’s Wuhan Diary provided an important portal for people around the world to understand the outbreak, local response, and how the novel coronavirus was impacting everyday people. But when news of the international publication of Wuhan Diary appeared online in early April of 2020, Fang Fang’s writings became the target of a series of online attacks by “Chinese ultra-nationalists.” Over time, these attacks morphed into one of the most sophisticated and protracted hate Campaigns against a Chinese writer in decades. Meanwhile, as controversy around Wuhan Diary swelled in China, the author was transformed into a global icon, honored by the BBC as one of the most influential women of 2020 and featured in stories by dozens of international news outlets. This book, by the translator of Wuhan Diary into English, alternates between a first-hand account of the translation process and more critical observations on how a diary became a lightning rod for fierce political debate and the target of a sweeping online campaign that many described as a “cyber Cultural Revolution.” Eventually, even Berry would be pulled into the attacks and targeted by thousands of online trolls. This book answers the questions: why would an online lockdown diary elicit such a strong reaction among Chinese netizens? How did the controversy unfold and evolve? Who was behind it? And what can we learn from the “Fang Fang Incident” about contemporary Chinese politics and society? The book will be of interest to students and scholars of translation, as well as anyone with special interest in translation, US-Chinese relations, or internet culture more broadly.
From one of China’s most acclaimed and decorated writers comes a powerful first-person account of life in Wuhan during the COVID-19 outbreak. On January 25, 2020, after the central government imposed a lockdown in Wuhan, acclaimed Chinese writer Fang Fang began publishing an online diary. In the days and weeks that followed, Fang Fang’s nightly postings gave voice to the fears, frustrations, anger, and hope of millions of her fellow citizens, reflecting on the psychological impact of forced isolation, the role of the internet as both community lifeline and source of misinformation, and most tragically, the lives of neighbors and friends taken by the deadly virus. A fascinating eyewitness account of events as they unfold, Wuhan Diary captures the challenges of daily life and the changing moods and emotions of being quarantined without reliable information. Fang Fang finds solace in small domestic comforts and is inspired by the courage of friends, health professionals and volunteers, as well as the resilience and perseverance of Wuhan’s nine million residents. But, by claiming the writer ́s duty to record she also speaks out against social injustice, abuse of power, and other problems which impeded the response to the epidemic and gets herself embroiled in online controversies because of it. As Fang Fang documents the beginning of the global health crisis in real time, we are able to identify patterns and mistakes that many of the countries dealing with the novel coronavirus have later repeated. She reminds us that, in the face of the new virus, the plight of the citizens of Wuhan is also that of citizens everywhere. As Fang Fang writes: “The virus is the common enemy of humankind; that is a lesson for all humanity. The only way we can conquer this virus and free ourselves from its grip is for all members of humankind to work together.” Blending the intimate and the epic, the profound and the quotidian, Wuhan Diary is a remarkable record of an extraordinary time. Translated from the Chinese by Michael Berry
An intimate and revelatory account of two generations of students in China’s heartland, by an author who has observed the country’s tumultuous changes over the past quarter century More than two decades after teaching English during the early part of China’s economic boom, an experience chronicled in his book River Town, Peter Hessler returned to Sichuan Province to instruct students from the next generation. At the same time, Hessler and his wife enrolled their twin daughters in a local state-run elementary school, where they were the only Westerners. Over the years, Hessler had kept in close contact with many of the people he had taught in the 1990s. By reconnecting with these individuals—members of China’s “Reform generation,” now in their forties—while teaching current undergrads, Hessler gained a unique perspective on China’s incredible transformation. In 1996, when Hessler arrived in China, almost all of the people in his classroom were first-generation college students. They typically came from large rural families, and their parents, subsistence farmers, could offer little guidance as their children entered a brand-new world. By 2019, when Hessler arrived at Sichuan University, he found a very different China, as well as a new kind of student—an only child whose schooling was the object of intense focus from a much more ambitious cohort of parents. At Sichuan University, many young people had a sense of irony about the regime but mostly navigated its restrictions with equanimity, embracing the opportunities of China’s rise. But the pressures of extreme competition at scale can be grueling, even for much younger children—including Hessler’s own daughters, who gave him an intimate view into the experience at their local school. In Peter Hessler’s hands, China’s education system is the perfect vehicle for examining the country’s past, present, and future, and what we can learn from it, for good and ill. At a time when anti-Chinese rhetoric in America has grown blunt and ugly, Other Rivers is a tremendous, essential gift, a work of enormous empathy that rejects cheap stereotypes and shows us China from the inside out and the bottom up. As both a window onto China and a mirror onto America, Other Rivers is a classic from a master of the form.
These two searingly funny and unsettling portraits of teenagers beyond the control and largely beneath the notice of adults in 1980s Taiwan are the first English translations of works by Taiwan's most famous and best-selling literary cult figure. Chang Ta-chun's intricate narrative and keen, ironic sense of humor poignantly and piercingly convey the disillusionment and cynicism of modern Taiwanese youth. Interweaving the events between the birth of the narrator's younger sister and her abortion at the age of nineteen, the first novel, My Kid Sister, evokes the complex emotional impressions of youth and the often bizarre social dilemmas of adolescence. Combining discussions of fate, existentialism, sexual awakening, and everyday "absurdities" in a typically dysfunctional household, it documents the loss of innocence and the deconstruction of a family. In Wild Child, fourteen-year-old Hou Shichun drops out of school, runs away from home, and descends into the Taiwanese underworld, where he encounters an oddball assortment of similarly lost adolescents in desperate circumstances. This novel will inevitably invite comparisons with the classic The Catcher in the Rye, but unlike Holden Caulfield, Hou isn't given any second chances. With characteristic frankness and irony, Chang's teenagers bear witness to a new form of cultural and spiritual bankruptcy.
Interviews with Ang Lee (Crouching Tiger, Hidden Dragon) and other Chinese directors about their work & the ways it has impacted both on the film industry in China as well as on the world scene.
Divided Lenses: Screen Memories of War in East Asia is the first attempt to explore how the tumultuous years between 1931 and 1953 have been recreated and renegotiated in cinema. This period saw traumatic conflicts such as the Sino-Japanese War, the Pacific War, and the Korean War, and pivotal events such as the Rape of Nanjing, Pearl Harbor, the Battle of Iwo Jima, and the bombings of Hiroshima and Nagasaki, all of which left a lasting imprint on East Asia and the world. By bringing together a variety of specialists in the cinemas of East Asia and offering divergent yet complementary perspectives, the book explores how the legacies of war have been reimagined through the lens of film. This turbulent era opened with the Mukden Incident of 1931, which signaled a new page in Japanese militaristic aggression in East Asia, and culminated with the Korean War (1950–1953), a protracted conflict that broke out in the wake of Japan's post–World War II withdrawal from Korea. Divided Lenses explores the ways in which events of the intervening decades have continued to shape politics and popular culture throughout East Asia and the world. The essays in part I examine historical trends at work in various "national" cinemas, including China, Taiwan, Japan, Korea, and the United States. Those in part 2 focus on specific themes present in the cinema portraying this period—such as comfort women in Chinese film, the Nanjing Massacre, or nationalism—and how they have been depicted or renegotiated in contemporary films. Of particular interest are contributions drawing from other forms of screen culture, such as television and video games. Divided Lenses builds on the growing interest in East Asian cinema by examining how these historic conflicts have been imagined, framed, and revisited through the lens of cinema and screen culture. It will interest later generations living in the shadow of these events, as well as students and scholars in the fields of cinema studies, cultural studies, cold war studies, and World War II history.
"Centers on the life of Ding Wenyu, a privileged, womanizing, narcissistic professor of languages, and traces the course of the affair that transforms him from outlandish rake to devoted lover."--Jacket.
The three films comprising director Jia Zhangke's 'Hometown Trilogy' - Xiao Wu (1997), Platform (2000) and Unknown Pleasures(2002) - represent key contributions to the cinema of contemporary China. The films, which are set in Jia's home province of Shanxi, highlight the plight of marginalised individuals – singers, dancers, pickpockets, prostitutes and drifters – as they struggle to navigate through the radically transforming terrain of contemporary China. Xiao Wu tells the story of a small-time pickpocket who faces the breakdown of his relationships with his friends, family and girlfriend. Platform, often considered Jia's most ambitious film, is an epic narrative that bears witness to China's roaring eighties and the radical transformation from socialism to capitalism. Jia's third feature, Unknown Pleasures continues his meditation on China in transition, tracing the story of two delinquent teenagers who live on a diet of saccharine Chinese pop music, karaoke, Pulp Fiction, and Coca-Cola while entertaining pipe dreams of joining the army and becoming small-time gangsters. Michael Berry's in-depth study of the three films considers them as an ambitious attempt to re-examine the transformation and fate of provincial China – its places and people – as it is caught up in a whirlwind of sweeping social, cultural and economic change. At the heart of the book lies a series of close readings of each of the three films; through which Berry teases out their central narrative themes, highlighting Jia's use of editing, cinematic language, and mise en scene. He pays special attention to the place of intertextuality in Jia's oeuvre, as well as the central themes of destruction and change, stagnation and movement, political verses popular culture, and, of course, the ceaseless search for home. Michael Berry is Associate Professor of Contemporary Chinese Cultural Studies at the University of California, Santa Barbara. He is the author of Speaking in Images: Interviews with Contemporary Chinese Filmmakers (2005), and A History of Pain: Trauma in Modern Chinese Literature and Film (2008). He is also the translator of several novels, including The Song of Everlasting Sorrow (2008), To Live (2004), Nanjing 1937: A Love Story (2002), and Wild Kids (2000).
A comprehensive and authoritative introduction to China's political history, contemporary political system, and key policy areas, such as the environment, population management, and public health. Politics in China is an authoritative introduction to how the world's second most populous nation and rapidly rising global power is governed today. Written by leading China scholars, each chapter offers an accessible overview of a key topic in Chinese politics. The opening section provides readers with a firm grounding in China's modern political history, covering the decline and fall of the last imperial dynasty and the rise to power of the Chinese Communist Party (CCP), and the radicalism of the era of Mao Zedong (1949-76), the dramatic economic reforms carried out by Deng Xiaoping and his disciples (1978 to 2012) and the era of Xi Jinping (2012-present), who has consolidated more personal power than any CCP leader since Mao.The next section sets the framework of politics in the People's Republic of China (PRC) with chapters on the ideology of the CCP, the structure and dynamics of the political system, the role of law and legal reform, and the policies behind the country's spectacular economic transformation. The book then shifts to a discussion of a series of major political issues in China today: reform and resistance in the countryside; changes and challenges in the cities; the arts and culture; the environment and climate change; public health; population policy; and internet politics. The final chapters of the book covers politics in four important areas located on China's geographic periphery: Tibet, Xinjiang, Hong Kong, and Taiwan. The fourth edition of Politics in China has been thoroughly updated and includes a new chapter on the rise and rule of Xi Jinping. It is essential reading not only for students studying the PRC, but also for any reader interested in learning how China has evolved in recent times, how its political system works, and about the most important challenges it faces in years ahead.