Culture

How could a writer who knew no foreign languages call himself a translator? How, too, did he become a major commercial success, churning out nearly 200 translations over twenty years? Lin Shu, Inc. crosses the fields of literary studies, intellectual history, and print culture, offering new ways to understand the stakes of translation in China and beyond. With rich detail and lively prose, Michael Gibbs Hill shows how Lin Shu (1852-1924) rose from obscurity to become China’s leading translator of Western fiction at the beginning of the twentieth century. Well before Ezra Pound’s and Bertolt Brecht’s “inventions” of China revolutionized poetry and theater, Lin Shu and his assistants—who did, in fact, know languages like English and French—had already given many Chinese readers their first taste of fiction from the United States, France, and England. After passing through Lin Shu’s “factory of writing,” classic novels like Uncle Tom’s Cabin, Oliver Twist spoke with new meaning for audiences concerned with the tumultuous social and political change facing China. Leveraging his success as a translator of foreign books, Lin Shu quickly became an authority on traditional Chinese culture who upheld the classical language as a cornerstone of Chinese national identity. Eventually, younger intellectuals—who had grown up reading his translations—turned on Lin Shu and tarred him as a symbol of backward conservatism. Ultimately, Lin’s defeat and downfall became just as significant as his rise to fame in defining the work of the intellectual in modern China. —Oxford University Press

From The Dragon’s Mouth: Ten True Stories that Unveil the Real China is an exquisitely intimate look into the China of the twenty-first century as seen through the eyes of its people. This is one of the rare times a book combines the voices of everyday Chinese people from so many different layers of society: a dissident tortured by the police; a young millionaire devoted to nationalism; a peasant-turned-prostitute to pay for the best education for her son; a woman who married her gay friend to escape from social pressure, just like an estimated 16 million other women; a venerated kung fu master unable to train outdoors because of the hazardous pollution; the daughter of two Communist Party officials getting rich coaching Chinese entrepreneurs the ways of Capitalism; among others.   —Penguin{chop}{node, 3048, 4}

China exists today in a liminal realm, caught between the socialist idealism of old and a calamitous drive for wealth spurned by recent free market reforms. This seemingly unbridgeable gap tears at the country’s social fabric while provoking younger generations to greater artistic heights. The unique sound emerging from Beijing’s underground delves deeply into this void, aggressively questioning the moral and social basis of China’s fragile modernity even as it subsists upon it.A formidable new wave of Chinese musicians is taking the city by storm. Revolving around four venues spread across Beijing, a burgeoning group of performers are working outside government-controlled media channels, and in the process, capturing the attention of the international music community. They now constitute a fresh, independent voice in a country renowned for creative conformity and saccharine Cantonese pop. In Sound Kapital, photographer Matthew Niederhauser captures the energy of the personalities and performers at D-22, Yugong Yishan, 2 Kolegas, and Mao Livehouse. These revolutionary Beijing nightclubs remain at the core of the city’s creative explosion by hosting an eclectic mix of punk, experimental, rock, and folk performances.Included with the book are concert posters and illustrations that encapsulate the underground scene in Beijing, as well as a CD sampler of the new music being produced. There is no doubt that these musicians will continue to break ground within Beijing’s nascent artistic landscape, helping to push the boundaries of an already expanding realm of independent thought and musical expression in China.—powerHouse Books