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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
Vic Lee's Corona Diary is an exquisitely illustrated graphic novel-style memoir chronicling the dramatic events around the global spread of the coronavirus.
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.
Hulu in the Wind's diary of "Wuhan Lockdown" opens a window into the actual situation in Wuhan for overseas Chinese. Hulu in the Wind was on the front lines of the Pandemic himself, traveling through the streets of Wuhan as a community service worker and documenting his experiences. In his diary, Hulu in the Wind describes both the anxiety and helplessness of ordinary people in society. It is also a record of the confusion and mismanagement of government. The community, which is supposed to be the grassroots self-governing organization in China, had reluctantly assumed the primary responsibility for social assistance during the Pandemic. China's state-wide system of fighting the Pandemic was supported by community service center workers who had no power and no money. Behind the so-called "efficient" state-wide system were the people's heartache, blood and tears, and the secondary disasters after the Pandemic.
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.
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.
This work probes the restaging, representation, and reimagining of historical violence and atrocity in contemporary Chinese fiction, film, and popular culture. It examines five historical moments including the Musha Incident (1930) and the February 28 Incident (1947).
A BOSTON GLOBE BEST BOOK OF THE YEAR • With unwavering humanity and light-footed humor, this intimate account of the interminable year of 2020 offers commentary on the COVID-19 pandemic, protests for racial justice, the U.S. presidential election, and more, all with a miraculous dose of groundedness in head-spinning times. "This book is so funny and so true. Charles Finch unpacks a year of plague, fear, shameless venality, and dizzying stupidity with an irrepressible wit and surgically precise cultural observations. I didn't know how badly I needed exactly this. Maybe you do too?" —Joe Hill, author of Heart-Shaped Box In March 2020, at the request of the Los Angeles Times, Charles Finch became a reluctant diarist: As California sheltered in place, he began to write daily notes about the odd ambient changes in his own life and in the lives around him. The result is What Just Happened. In a warm, candid, welcoming voice, and in the tradition of Woolf and Orwell, Finch brings us into his own world: taking long evening walks near his home in L.A., listening to music, and keeping virtual connections with friends across the country as they each experience the crisis. And drawing on his remarkable acuity as a cultural critic, he chronicles one endless year with delightful commentary on current events, and the things that distract him from current events: Murakami’s novels, reality television, the Beatles. What Just Happened is a work of empathy and insight, at once of-the-moment and timeless—a gift from one of our culture's most original thinkers.
"Chan and Ridley write with an urgency...that inspires gripping depictions of what viruses are, how infectious-disease laboratories work and wonderfully lucid descriptions of bats. . . . They powerfully recount how dangerous pathogens can both leak from a lab and emerge in nature." (New York Times Book Review) Understanding how Covid-19 started is crucial for the future of humankind. Viral is the most incisive and authoritative book about the search for the source of the virus. A new virus descended on the human species in 2019 wreaking unprecedented havoc. Finding out where it came from and how it first jumped into people is an urgent priority, but early expectations that this would prove an easy question to answer have been dashed. Nearly two years into the pandemic, the crucial mystery of the origin of SARS-CoV-2 is not only unresolved but has deepened. In this uniquely insightful book, a scientist and a writer join forces to try to get to the bottom of how a virus whose closest relations live in bats in subtropical southern China somehow managed to begin spreading among people more than 1,500 kilometres away in the city of Wuhan. They grapple with the baffling fact that the virus left none of the expected traces that such outbreaks usually create: no infected market animals or wildlife, no chains of early cases in travellers to the city, no smouldering epidemic in a rural area, no rapid adaptation of the virus to its new host—human beings. To try to solve this pressing mystery, Viral delves deep into the events of 2019 leading up to 2021, the details of what went on in animal markets and virology laboratories, the records and data hidden from sight within archived Chinese theses and websites, and the clues that can be coaxed from the very text of the virus’s own genetic code. The result is a gripping detective story that takes the reader deeper and deeper into a metaphorical cave of mystery. One by one the authors explore promising tunnels only to show that they are blind alleys, until, miles beneath the surface, they find themselves tantalisingly close to a shaft that leads to the light.