Library

In Tide Players, acclaimed New Yorker contributor and author Jianying Zha depicts a new generation of movers and shakers who are transforming modern China. Through half a dozen sharply etched and nuanced profiles, Tide Players captures both the concrete detail and the epic dimension of life in the world’s fastest growing economy. Zha’s vivid cast of characters includes an unlikely couple who teamed up to become the country’s leading real-estate moguls; a gifted chameleon who transformed himself from Mao’s favorite “barefoot doctor” during the Cultural Revolution to a publishing maverick; and a tycoon of home-electronic chain stores who insisted on avenging his mother, who had been executed as “a counter-revolutionary criminal.” Alongside these entrepreneurs, Zha also brings us the intellectuals: a cantankerous professor at China’s top university; a former cultural minister turned prolific writer; and Zha’s own brother, a dissident who served a nine-year prison term for helping to found the China Democracy Party. Deeply engaging, lucid, and poignant, Zha’s insightful “insider-outsider” portraits offer a picture of a China that few Western readers have seen before. —The New Press{chop}

What happens when language wars are not about hurling insults or quibbling over meanings, but are waged in the physical sounds and shapes of language itself? Native and foreign speakers, mother tongues and national languages, have jostled for distinction throughout the modern period. The fight for global dominance between the English and Chinese languages opens into historical battles over the control of the medium through standardization, technology, bilingualism, pronunciation, and literature in the Sinophone world. Encounters between global languages, as well as the internal tensions between Mandarin and other Chinese dialects, present a dynamic, interconnected picture of languages on the move.In Sound and Script in Chinese Diaspora, Jing Tsu explores the new global language trade, arguing that it aims at more sophisticated ways of exerting influence besides simply wielding knuckles of power. Through an analysis of the different relationships between language standardization, technologies of writing, and modern Chinese literature around the world from the nineteenth century to the present, this study transforms how we understand the power of language in migration and how that is changing the terms of cultural dominance. Drawing from an unusual array of archival sources, this study cuts across the usual China-West divide and puts its finger on the pulse of a pending supranational world under “literary governance.”                 —Harvard University Press

Mo Yan, the most prolific writer in present-day China as well as one of its most prominent avant-gardists, is an author whose literary works have enjoyed an enormous readership and have caught much critical attention not only in mainland China, Hong Kong, and Taiwan but also in many other countries around the world. This book provides the most comprehensive exposition of Mo Yan’s fiction in any language. Author Shelley Chan delves into Mo Yan’s entire collection of literary works, considering novels as well as short stories and novellas. In this analysis, Mo Yan’s works are dealt with in a diachronic fashion––Chan discusses the development of Mo Yan’s style throughout his career by considering themes that he has addressed in a variety of narratives over time. This provides the reader with valuable insight into understanding how individual narratives fit into the entire collection of Mo Yan’s body of literary work. Scholars will also welcome the book’s extensive reference to secondary scholarship and theory, which not only skillfully deals with the Chinese scholarship on Mo Yan but also thoroughly covers the English-language sources. This book on one of the most important figures in contemporary Chinese literary history will be a landmark resource for scholars in Asian studies, cultural studies, and literary criticism, as well as an enticing read for people interested in Chinese literature and historical fiction.  —Cambria Press

The most prominent literary phenomenon in the 1980s and 1990s in China, historical fiction, has never been systematically surveyed in Anglophone scholarship. This is the first investigation into how, by rewriting the past, writers of Deng Xiaoping’s reform era undermined the grand narrative of official history. It showcases fictions of history by eleven native Chinese, Muslim and Tibetan authors. The four chapters are organized in terms of spatial schemes of fictional historiography, namely, regional histories and family romances, discourses on diaspora and myths of minorities, nostalgia for the hometown in the country and the city, as well as the bodily text and the textual body, thus broadly covering the eternal themes of memory, language, food, sex, and violence in historical writing.  —Brill

One of the longest and most dramatic trade routes of the ancient world, the Tea Horse Road carried a crucial exchange for 13 centuries between China and Tibet. China needed war horses to protect its northern frontier, and Tibet could supply them. When the Tibetans discovered tea in the 7th century, it became a staple of their diet, but its origins are in southwest China, and they had to trade for it. The result was a network of trails covering more than 3,000 kilometres through forests, gorges and high passes onto the Himalayan plateaus, traversed by horse, mule and yak caravans, and human porters. It linked cultures, economies and political ambitions, and lasted until the middle of the 20th century. Re-tracing the many branches of the Road, photographer and writer Michael Freeman spent two years compiling this remarkable visual record, from the tea mountains of southern Yunnan and Sichuan to Tibet and beyond. Collaborating on this fascinating account, ethnobotanist Selena Ahmed’s description of tea and bio-cultural diversity in the region draws on her original doctoral research.—River Books

The essays in this collection give voice to a wide range of artists and writers from China, Japan, Korea, and India who to this day remain largely unknown or poorly understood in literary circles around the world. Contributors from Asia, Europe, and the United States cover a wide range of topics from a vast expanse of time, from Sanskrit poetry dating back over a thousand years to Chinese fiction of the twenty-first century.  —University of Chicago Press