From Publishers Weekly
Hessler, who first wrote about China in his 2001 bestseller, River Town
, a portrait of his Peace Corps years in Fuling, continues his conflicted affair with that complex country in a second book that reflects the maturity of time and experience. Having lived in China for a decade now, fluent in Mandarin and working as a correspondent in Beijing, Hessler displays impressive knowledge, research and personal encounters as he brings the country's peoples, foibles and history into sharp focus. He frames his narrative with short chapters about Chinese artifacts: the underground city being excavated at Anyang; the oracle bones of the title ("inscriptions on shell and bone" considered the earliest known writing in East Asia); and he pays particular attention to how language affects culture, often using Chinese characters and symbols to make a point.A talented writer and journalist, Hessler has courage—he's undercover at the Falun Gong demonstrations in Tiananmen Square and in the middle of anti-American protests in Nanjing after the Chinese embassy bombings in Belgrade—and a sense of humor (the Nanjing rioters attack a statue of Ronald McDonald since Nanjing has no embassies). The tales of his Fuling students' adventures in the new China's boom towns; the Uighur trader, an ethnic minority from China's western border, who gets asylum after entering the U.S. with jiade
(false) documents; the oracle bones scholar Chen Mengjia, who committed suicide during the Cultural Revolution—all add a seductive element of human interest.There's little information available in China, we learn, but Hessler gets the stories that no one talks about and delivers them in a personal study that informs, entertains and mesmerizes. Everyone in the Western world should read this book. (May)
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Hessler, Beijing correspondent for the New Yorker
, freelance journalist, and the author of River Town: Two Years on the Yangtze
(2001), a memoir of his experiences as an English teacher for the Peace Corps in China's Sichuan Province, describes a world closed to most Westerners. The writing is smart and engaging, and Hessler uses an archaeological framework (chapters on the past, for instance, are deemed "Artifacts") to organize his narrative, a hook that reminds the reader always of the past's influence on the present. The reconciliation between old and new will likely never be absolute. Critics agree, however, that Hessler skillfully interweaves the two temporal threads to create a portrait of a China struggling to define itself in the global community.<BR>Copyright © 2004 Phillips & Nelson Media, Inc.