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A bestseller in China, Brothers is an epic and wildly unhinged black comedy of modern Chinese society running amok. Here is China as we've never seen it before, in a sweeping, Rabelaisian panorama of forty years of rough-and-rumble Chinese history, from the madness of the Cultural Revolution to the equally rabid madness of extreme materialism. Yu Hua, award-winning author of To Live, gives us a surreal tale of two comically mismatched stepbrothers, Baldy Li, a sex-obsessed ne'er-do-well, and the bookish, sensitive Song Gang, who vow that they will always be brothers--a bond they will struggle to maintain over the years as they weather the ups and downs of rivalry in love and making and losing millions in the new China. Both tragic and absurd by turns, Brothers is a fascinating vision of an extraordinary place and time.
Carlos Rojas focuses on the trope of "homesickness" in China--discomfort caused not by a longing for home but by excessive proximity to it. This inverse homesickness marks a process of movement away from the home, conceived of as spaces associated with the nation, family, and individual body, and gives rise to the possibility of long-term health.
In Carlos Rojasâ TMs imaginative novel, the Spanish poet Federico GarcÃa Lorca, murdered by Francoist rebels in August 1936, finds himself in an inferno that somehow resembles Breughelâ TMs Tower of Babel. He sits alone in a small theater in this private hell, viewing scenes from his own life performed over and over and over. Unexpectedly, two doppelgÃ¤ngers appear, one a middle-aged Lorca, the other an irascible octogenarian self, and the poet faces a nightmarish confusion of alternative identities and destinies.Carlos Rojas uses a fantastic premiseâ "GarcÃa Lorca in hellâ "to reexamine the poetâ TMs life and speculate on alternatives to his tragic end. Rojas creates with a surrealistâ TMs eye and a moral philosopherâ TMs mind. He conjures a profoundly original world, and in so doing earns a place among such international peers as Gabriel GarcÃa MÃ¡rquez, Philip Roth, J. M. Coetzee, and JosÃ© Saramago.
"Dream and Swine and Aurora," "Deep in the Rubber Forest," "Fish Bones," "Allah's Will," "Monkey Butts, Fire, and Dangerous Things"-Ng Kim Chew's stories are raw, rural, and rich with the traditions of his native Malaysia. They are also full of humor and spirit, demonstrating a deep appreciation for human ingenuity in the face of poverty, oppression, and exile.Known for writing in a Chinese that incorporates English, Japanese, Malay, and the Chinese dialect of Hokkien, Ng Kim Chew creatively captures the riot of cultures that roughly coexist on the Malay Peninsula and its surrounding archipelago. Their creative interplay is heightened by the encroaching forces of globalization, which bring new opportunities for cultural experimentation, but also an added dimension of alienation. In prose that is intimate and atmospheric, these stories, selected from several Ng Kim Chew collections, depict the struggles of individuals torn between their ancestral and adoptive homes, communities pressured by violence, and minority Malaysian Chinese in dynamic tension with an Islamic Malay majority. Told through relatable characters, Ng Kim Chew's tales show why he has become a leading Malaysian writer of Chinese fiction, representing in mood, voice, and rhythm the dislocation of a people and country in transition.
Writing Taiwan is the first volume in English to examine the entire span of modern Taiwan literature, from the first decades of the twentieth century to the present. In this collection, leading literary scholars based in Taiwan and the United States consider prominent Taiwanese authors and works in genres including poetry, travel writing, and realist, modernist, and postmodern fiction. The diversity of Taiwan literature is signaled by the range of authors treated, including Yang Chichang, who studied Japanese literature in Tokyo in the early 1930s and wrote all of his own poetry and fiction in Japanese; Li Yongping, an ethnic Chinese born in Malaysia and educated in Taiwan and the United States; and Liu Daren, who was born in mainland China and effectively exiled from Taiwan in the 1970s on account of his political activism. Because the island of Taiwan spent the first half of the century as a colony of Japan and the second half in an umbilical relationship to China, its literature challenges basic assumptions about what constitutes a "national literature. " Several contributors directly address the methodological and epistemological issues involved in writing about "Taiwan literature. " Other contributors investigate the cultural and political grounds from which specific genres and literary movements emerged. Still others explore themes of history and memory in Taiwan literature and tropes of space and geography, looking at representations of boundaries as well as the boundary-crossing global flows of commodities and capital. Like Taiwan's history, modern Taiwan literature is rife with conflicting legacies and impulses. Writing Taiwan reveals a sense of its richness and diversity to English-language readers. Contributors. Yomi Braester, Sung-sheng Yvonne Chang, Fangming Chen, Lingchei Letty Chen, Chaoyang Liao, Ping-hui Liao, Joyce C. H. Liu, Kim-chu Ng, Carlos Rojas, Xiaobing Tang, Ban Wang, David Der-wei Wang, Gang Gary Xu, Michelle Yeh, Fenghuang Ying
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