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Amazon.com Review
That the concept and history of punishment should figure heavily in the artistic sensibility of a young Chinese writer who grew up during the Cultural Revolution is hardly surprising. The main characters in both the title story and in "1986" are scholars specializing in the history of punishment through the ages, and an ancient fortune teller in another story is said to have achieved near-immortality through the deaths of his first four children. Personality and feeling are almost secondary in Yu Hua's cruel world, a world dominated by numerology, prophecy, and the faceless power of the state. --This text refers to the Paperback edition.
From Publishers Weekly
Yu is best known in this country for his novel Lifetimes, or more precisely for the moving film adaptation of it, the 1994 Cannes Film Festival-winning To Live. This collection of stories is marked by scenes of jarring brutality that may discomfit American readers. None of the violence is extraneous, though; juxtaposed with passages of exquisite grace and layers of symbolic meaning, it creates a subtle reading of the harshness of contemporary China. In "On the Road at Eighteen," a young man finds out what life is truly like while walking down a deserted country road. "Classical Love" parodies the traditional Chinese love tale, setting it against the chaos and violence of ancient Imperial China. In the title story, the past catches up with "the stranger" in the form of an ultimate punishment. Yu's style is somewhat detached, and Jones's stately translation preserves that quality, but that only makes the barbarity more noticeable.
Copyright 1996 Reed Business Information, Inc. --This text refers to the Paperback edition.
See all Editorial Reviews
That the concept and history of punishment should figure heavily in the artistic sensibility of a young Chinese writer who grew up during the Cultural Revolution is hardly surprising. The main characters in both the title story and in "1986" are scholars specializing in the history of punishment through the ages, and an ancient fortune teller in another story is said to have achieved near-immortality through the deaths of his first four children. Personality and feeling are almost secondary in Yu Hua's cruel world, a world dominated by numerology, prophecy, and the faceless power of the state. --This text refers to the Paperback edition.
From Publishers Weekly
Yu is best known in this country for his novel Lifetimes, or more precisely for the moving film adaptation of it, the 1994 Cannes Film Festival-winning To Live. This collection of stories is marked by scenes of jarring brutality that may discomfit American readers. None of the violence is extraneous, though; juxtaposed with passages of exquisite grace and layers of symbolic meaning, it creates a subtle reading of the harshness of contemporary China. In "On the Road at Eighteen," a young man finds out what life is truly like while walking down a deserted country road. "Classical Love" parodies the traditional Chinese love tale, setting it against the chaos and violence of ancient Imperial China. In the title story, the past catches up with "the stranger" in the form of an ultimate punishment. Yu's style is somewhat detached, and Jones's stately translation preserves that quality, but that only makes the barbarity more noticeable.
Copyright 1996 Reed Business Information, Inc. --This text refers to the Paperback edition.
See all Editorial Reviews
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10
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- Chinese Modern: The Heroic and the Quotidian (Post-Contemporary Interventions) by Xiaobing Tang on page 200, page 212, and Back Matter
- Chinese Literature in the Second Half of a Modern Century: A Critical Survey by Pang-Yuan Chi on page 213, Back Matter (1), and Back Matter (2)
- The Mouth That Begs: Hunger, Cannibalism, and the Politics of Eating in Modern China (Post-Contemporary Interventions) by Gang Yue in Back Matter (1), and Back Matter (2)
- Postmodernism and China (a boundary 2 book) by Arif Dirlik on page 397
- Fictional Authors, Imaginary Audiences by Bonnie S. McDougall on page 266
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