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David Su Li-Qun and Carolyn Choa introduce nineteen of China's most enthralling writers-to date largely unknown outside their native land. From Shanghai to Beijing, we meet people whose lives have been transformed by their country's turbulent recent history.
Cheng Nai-shan writes about the present-day life of the former Shanghai upper class and their children. Sent to work on a rural commune at age fifteen, Wang An-yi now writes about the struggles of the urban underclass. Wang-Meng, once exiled to Tibet, now writes award-winning, character driven stories. Mo Shen had been a railway porter before emerging as a writer after the fall of the Gang of Four. With these and seventeen other writers represented, The Vintage Book of Contemporary Chinese Fiction is a literary testament to a post-revolutionary nation in transition.
- Sales Rank: #490354 in Books
- Published on: 2001-11-13
- Released on: 2001-11-13
- Original language: English
- Number of items: 1
- Dimensions: 7.98" h x .66" w x 5.16" l, .54 pounds
- Binding: Paperback
- 308 pages
From Publishers Weekly
This anthology, a revision of one published by Picador in the U.K. in 1998, contains 21 stories equally divided between urban and rural settings, mostly granting a view of life in modern China unlike anything presented to us by the news media. The perspective throughout the book is consistently childlike, without the ambivalence of most modern fiction in English: all women are exceedingly beautiful or plain; men are clever, dull or merely dutiful. Life follows the simple parameters of Communist dictum: birth, marriage, one child (two if it's a rich or aristocratic family) and death. Decidedly tame in tone and subject matter, the tales offer only mild, glancing criticism of Communism; they often focus on single characters who disrupt the social fabric through small "rebellions." One such example is "Black Walls" by Liu Xin-wu, which portrays the confusion in a small town when word spreads that an old man is spray painting the wall of his apartment black. In "Fate," by Shi Tie-sheng, an egotistical writer describes his anger and confusion at being rendered a paraplegic after he runs over an eggplant on his bicycle and is thrown in front of a truck. This bland anthology describes a China that appears poor and claustrophobic, but somehow still provides a context for romance, dreams and the occasional tragedy. Agent, Judy Daish. (Nov.)Forecast: The Vintage brand will lend this modest anthology some cachet, helping to land it on many an undergraduate syllabus.
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
Choa, a choreographer and film producer in London, and Su Li-qun (Asian studies, Univ. of London) have selected 19 authors for this anthology of recent fiction. With the exception of David Su, all the represented authors live in China and continue to pursue their careers there. The writers depict life in rural and urban China, almost always against the backdrop of the Cultural Revolution and its upheavals. While some stories are character-driven, others comprise a series of short fables, sketches, or vignettes. The translations, mostly by British scholars, are generally smooth, though some seem stilted and too literal, and the short author biographies would have been more useful if they had noted which of the authors' works were available in English or at least gave complete lists of their major works. For example, the editors fail to list Feng Ji-cai's The Three-Inch Golden Lotus, Wang An-yi's Baotown, and Zhang Jie's Heavy Wings along with their other works, although all these novels were translated into English within the last 20 years. Recommended for larger public libraries. Kitty Chen Dean, Nassau Coll., Garden City, NY
Copyright 2001 Reed Business Information, Inc.
From Booklist
The horrors of the Cultural Revolution have come and gone in China, but political dissent in fiction is still a dangerous endeavor. Several of these stories manage to subtly indict the government amid praise for the proletariat. Most acknowledge political situations in China without being consumed by them, proving that although art may be inherently political, it is not merely political. From a lyrical evocation of a crematorium and its workers to a first-person narration of a crippling car accident, the stories give color and depth to a world that most Americans glimpse only on television. The selection includes some folktales of the sort that has increased in popularity in the West, but it encompasses much more than that, embracing a range of prose styles that is genuinely astounding. Wholly accessible to a Western audience, these remarkable stories will be particularly valued by established fans of Chinese literature yet are sure to give enjoyment to any short-story fancier. John Green
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
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By Reader in Tokyo
This book was published under the Vintage title in 2001 and in 1998 as the Picador Book of Contemporary Chinese Fiction. There were 37 works from 19 authors: 1 excerpt from a novel and 36 short stories, about a third of them micro stories of 1-2 pages. As far as could be judged, there was one story from the 1950s, two from the late 1970s, and the rest split roughly between the 80s and the 90s. About two-thirds of the translations came from the Chinese Literature Press of the PRC, and the rest from co-editor Carolyn Choa.
The co-editors, born in the PRC and Hong Kong respectively but living in the UK, sought to introduce China and its people to foreign readers and make the book a bridge to Chinese culture and present-day concerns. Prominent authors included Wang Meng (1934-), Zhang Jie (1937-) Feng Jicai (1942-), Cheng Naishan (1946-), Shi Tiesheng (1951-), Wang Anyi (1954-) and Su Tong (1963-). Among the prominent authors not in the book were Bei Dao (1949-) and Mo Yan (1956-).
The first few stories in the collection were the most interesting for this reader: an excerpt from co-editor David Su Liqun's novel, Beijing Opera, in which an Englishwoman sought a Chinese teacher's help in studying opera. It expressed well the viewpoint of a cultured modern-day artist. A story by Cheng Naishan followed a woman from the remnants of Shanghai's upper class who survived the Cultural Revolution with her humanity intact ("Hong Taitai"). Shi Tiesheng's story showed a young man coming to terms with an accident that changed the course of his life ("Fate"). It was a rare work that cut back and forth in time, viewing an event from many angles rather than proceeding chronologically. And a story by Wang Anyi described a courtyard inhabited by an acting troupe, where people lived on intimate terms with each other.
Fables by Wang Meng poked fun at hypocrites and those who crushed others' creativity. A story by Chen Shixu followed the travails of a general who opposed the government during the rule of the Gang of Four but was vindicated when they fell from power ("The General and the Small Town"). In a story by Zhang Jie, a woman looked at her mother's life as read through the latter's journal, and the mother's feelings for a man she loved but couldn't marry ("Love Must Not Be Forgotten"). This story was worthwhile for the narrator's introspection and analysis of another's feelings.
A story from the late 1950s by Zhou Libo ("The Family on the Other Side of the Mountain") showed the behavior of people at a rural wedding, interesting in that relatively few stories from 1949-76 China have seen publication in anthologies abroad. Some of the atmosphere of that period was also expressed well in a story from the late 70s by Mo Shan, in which a lazy ticket-seller at a train station was educated through criticism to become a good worker, and eventually saved someone's life ("The Window"). Most of the other stories in the book made less of an impression. It would've been appreciated if the editors' introductions had offered a bit more analysis of the stories and their context.
This anthology showed the bad in China but also the good, including many characters who were adaptable, going about their lives or looking to the future. In this way, it counterbalanced the anthology Chairman Mao Would Not Be Amused (1995), edited by Howard Goldblatt, which also covered about 20 Chinese authors mainly the 1980s and 90s but emphasized misanthropy, pessimism, family dysfunction and moral conflict. Another anthology covering recent writing is Running Wild: New Chinese Writers (1994).
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