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The Song of Everlasting Sorrow follows the adventures of Wang Qiyao, a girl born of the crowded, labyrinthine alleys of Shanghai's working-class neighborhoods. Infatuated with the glitz and glamour of 1940s Hollywood, Wang Qiyao seeks fame in the Miss Shanghai beauty pageant, and this fleeting moment of stardom becomes the pinnacle of her life. After the Communist victory, Wang Qiyao continues to indulge in the decadent pleasures of the Shanghai bourgeoisie, secretly playing mahjong during the antirightist campaign and exchanging lovers on the eve of the Cultural Revolution. She reemerges in the 1980s as a purveyor of "old Shanghai," only to become embroiled in a tragedy that echoes the Hollywood noirs of her youth.
The play recounts the love story of Emperor Xuanzong of Tang and his favorite consort, Yang Guifei. Though based on a large body of earlier literature and legend, it is unique in its overall form and lyric exposition.
This “blistering satire” of modern China was a finalist for the Man Booker International Prize and a New York Times Editor’s Choice novel (Publishers Weekly, starred review). Lenin’s Kisses is set in modern day China, in the village of Liven. Nestled within the Balou Mountains, the people have enough food and leisure to be content—until their crops and livelihood are obliterated by a snowstorm in the middle of summer. Then a county official arrives with a peculiar plan. He wants to use the villagers to start a traveling performance troupe. Next, he’ll take the profits and buy Lenin’s embalmed corpse from Russia and install it in a mausoleum to attract tourism. But the success of the Shuanghuai County Special-Skills Performance Troupe comes at a serious price. Named a finalist for the 2013 Man Booker International Prize, Lenin’s Kisses is “a satirical masterpiece” (Kirkus) that was on Best Book of 2012 lists from the New Yorker, MacLeans, and Kirkus, and was also a New York Times Editors’ Choice.
Nainai has lived in Shanghai for many years, and the time has come to find a wife for her adopted grandson. But when the bride she has chosen arrives from the countryside, it soon becomes clear that the orphaned girl has ideas of her own. Her name is Fu Ping, and the more she explores the residential lanes and courtyards behind Shanghai’s busy shopping streets, the less she wants to return to the country as a dutiful wife. As Fu Ping wavers over her future, she learns the city through the stories of the nannies, handymen, and garbage collectors whose labor is bringing life and bustle back to postwar Shanghai. Fu Ping is a keenly observed portrait of the lives of lower-class women in Shanghai in the early years of the People’s Republic of China. Wang Anyi, one of contemporary China’s most acclaimed authors, explores the daily lives of migrants from rural areas and other people on the margins of urban life. In shifting perspectives rich in detail and psychological insight, she sketches their aspirations, their fears, and the subtle ties that bind them together. In Howard Goldblatt’s masterful translation, Fu Ping reveals Wang Anyi’s precise renderings of history, class, and the human heart.
New in the Harper Perennial Modern Chinese Classics series, Border Town is a classic Chinese novel—banned by Mao’s regime—that captures the ideals of rural China through the moving story of a young woman and her grandfather. Originally published in 1934 by author Shen Congwen, this beautifully written novel tells the story of Cuicui, a young country girl who is coming of age in rural China in the tumultuous time before the communist revolution.
The Song of Everlasting Sorrow follows the adventures of Wang Qiyao, a girl born of the crowded, labyrinthine alleys of Shanghai's working-class neighborhoods. Infatuated with the glitz and glamour of 1940s Hollywood, Wang Qiyao seeks fame in the Miss Shanghai beauty pageant, and this fleeting moment of stardom becomes the pinnacle of her life. After the Communist victory, Wang Qiyao continues to indulge in the decadent pleasures of the Shanghai bourgeoisie, secretly playing mahjong during the antirightist campaign and exchanging lovers on the eve of the Cultural Revolution. She reemerges in the 1980s as a purveyor of "old Shanghai," only to become embroiled in a tragedy that echoes the Hollywood noirs of her youth.
This collection of short stories by one of China's most prolific female writers portrays the nuances of life in 19th century and modern China. Wang Anyi's short stories in The Little Restaurant illuminate the emotional and intellectual complexity of the lives of the multiple generations caught up in China. Some of her short stories describe the lives of young students caught up in the Cultural Revolution who were sent away to rural communities across China to be educated and tempered in a hard scrabble existence; other stories revolve around the seemingly quiet lives of ordinary citizens in the city of Shanghai. In effortless language and with an eye for detail, she describes their simple physical existence and their complex interior lives. Her descriptions are realistic, affectionate and vivid yet somehow they remain evocative and haunting.
The Story of the Stone (also known as Dream of the Red Chamber) is widely held to be the greatest work of Chinese literature, beloved by readers ever since it was first published in 1791. The story revolves around the young scion of a mighty clan who, instead of studying for the civil service examinations, frolics with his maidservants and girl cousins. The narrative is cast within a mythic framework in which the protagonist’s rebellion against Confucian strictures is guided by a Buddhist monk and a Taoist priest. Embedded in the novel is a biting critique of imperial China’s political and social system. This book is a straightforward guide to a complex classic that was written at a time when readers had plenty of leisure to sort through the hundreds of characters and half a dozen subplots that weave in and out of the book’s 120 chapters. Each chapter of the companion summarizes and comments on each chapter of the novel. The companion provides English-speaking readers—whether they are simply dipping into this novel or intent on a deep analysis of this masterpiece—with the cultural context to enjoy the story and understand its world. The book is keyed to David Hawkes and John Minford’s English translation of The Story of the Stone and includes an index that gives the original Chinese names and terms.
The Tang Dynasty was the golden age of Chinese poetry, and Bo Juyi is generally acclaimed as one of China's greatest poets. For him, writing poetry was a way to expose the ills of society; his was the poetry of everyday human concerns. His poems have an appealing style, written with a deliberate simplicity. They were extremely popular in his lifetime, in both China and Japan, and they continue to be read in both countries today.
A Pragmatist and His Free Spirit portrays the unconventional love of Hu Shi, a Chinese social reformer and civil rights pioneer, and Edith Clifford Williams, an American avant-garde artist of the early twentieth century. Hu studied at Cornell University, where he first met Williams, and Columbia University, where he worked with the famous pragmatist John Dewey. At the time of his death in 1962, he and Williams had exchanged more than 300 letters that, along with poems and excerpts from Hu's diaries and documents (some of which have never before been translated into English) form the center of this book. In Williams, Hu found his intellectual match, a woman and fellow scholar who helped the reformer reconcile his independent scholarship with cultural tradition. Williams counciled Hu on the acceptance of an arranged marriage, and she influenced his pursuit of experimental vernacular poetry through an exposure to avant-garde art. In 1933, the two became lovers, although their romance would eventually dwindle. Nevertheless, Williams maintained a devoted and honest correspondence with Hu throughout his tumultuous life. Hu's work touched on virtually every crucial aspect of twentieth-century Chinese society, particularly Chinese liberalism and the use of vernacular Chinese. A Pragmatist and His Free Spirit explores the lesser-known side of this major philosopher while reconstructing his romance with Williams. Not only does the volume place Hu within the larger social, economic, and political context of his time, but it also provides readers with a multifaceted portrait of China's dramatic modern history. Hu Shi: Father of the Modern Chinese Renaissance*1891: Born in a suburb of Shanghai; 1962: Died in Taipei.* Married with three children.* Possibly the most documented life in modern China.* Earned a B.A. and M.A. at Cornell University; Earned a Ph.D. at Columbia University, where he studied with the famous pragmatist John Dewey.* Became a leading figure of the Chinese Literary Revolution of 1919, advocating the use of vernacular Chinese and the importance of intellectual individualism.* Become a civil rights advocate who promoted the empowerment of women.* Served as the Republic of China's Ambassador to the United States from 1938 to 1942.* Installed as president of Peking University from 1946 to 1948.* Worked as curator of Princeton University's Gest Library from 1950 to 1952.* Became the target in absentia of a massive political denunciation campaign launched by the Chinese government between 1954 and 1955.* Served as president of Academica Sinica, Taipei, from 1958 to 1962.* Quoted as saying: "Be bold in your hypothesis; be meticulous in your verification." Edith Clifford Williams: A Woman Ahead of Her Time* 1885: Born in Ithaca, New York; 1971: Died in Barbados.* Claims to have followed her father's advice: "Don't marry unless you can't help it."* Studied at Yale University School of Art and the Académie Julian in Paris.* Became a pioneer of abstract art and a member of Alfred Stieglitz's inner circle.* Worked as the first full-time librarian of Cornell University's Veterinary Library from 1923 to 1946.* Completed two modernist works of monumental importance: Two Rhythms (1916), a painting now housed at the Philadelphia Museum of Art; and Plâtre à toucher chez de Zayas (1916), a sculpture made for touching that was featured in Marcel Duchamp's 1917 journal, Rongwrong, and used as the subject of a lecture by Guillaume Apollinaire in Paris.