Ideology And Form In Yan Lianke S Fiction

Xie analyzes three novels by the international award-winning Chinese writer Yan Lianke and investigates how his signature "mythorealist" form produces textual meanings that subvert the totalizing reality prescribed by literary realism.The term mythorealism, which Yan coined to describe his own writing style, refers to a set of literary devices that incorporate both Chinese and Western literary elements while remaining primarily grounded in Chinese folk culture and literary tradition. In his use of mythorealism, carrying a burden of social critique that cannot allow itself to become "political," Yan transcends the temporality and provinciality of immediate social events and transforms his potential socio-political commentaries into more diversified concerns for humanity, existential issues, and spiritual crisis. Xie identifies three modes of mythorealist narrative exemplified in Yan's three novels: the minjian (folk) mode in Dream of Ding Village, the allusive mode in Ballad, Hymn, Ode, and the enigmatic mode in The Four Books. By positioning itself against an ambiguous articulation of social determinants of historical events that would perhaps be more straightforward in a purely realist text, each mode of mythorealism moves its narrative from the overt politicality of the subject matter to the existential riddle of negotiating an alternative reality.A groundbreaking study of one of contemporary China's most important authors that will be of great value to scholars and students of Chinese literature.

Xie analyzes three novels by the international award-winning Chinese writer Yan Lianke and investigates how his signature “mythorealist” form produces textual meanings that subvert the totalizing reality prescribed by literary realism. The term mythorealism, which Yan coined to describe his own writing style, refers to a set of literary devices that incorporate both Chinese and Western literary elements while remaining primarily grounded in Chinese folk culture and literary tradition. In his use of mythorealism, carrying a burden of social critique that cannot allow itself to become “political,” Yan transcends the temporality and provinciality of immediate social events and transforms his potential socio-political commentaries into more diversified concerns for humanity, existential issues, and spiritual crisis. Xie identifies three modes of mythorealist narrative exemplified in Yan’s three novels: the minjian (folk) mode in Dream of Ding Village, the allusive mode in Ballad, Hymn, Ode, and the enigmatic mode in The Four Books. By positioning itself against an ambiguous articulation of social determinants of historical events that would perhaps be more straightforward in a purely realist text, each mode of mythorealism moves its narrative from the overt politicality of the subject matter to the existential riddle of negotiating an alternative reality. A groundbreaking study of one of contemporary China’s most important authors that will be of great value to scholars and students of Chinese literature.

Xie analyses three novels by the international award-winning Chinese writer Yan Lianke and investigates how his signature mythorealist form produces textual meanings that subvert the totalizing reality prescribed by literary realism. The term mythorealism, which Yan coined to describe his own writing style, refers to a set of literary devices that incorporate both Chinese and Western literary elements while remaining primarily grounded in Chinese folk culture and literary tradition. In his use of mythorealism, carrying a burden of social critique that cannot allow itself to become political, Yan transcends the temporality and provinciality of immediate social events and transforms his potential socio-political commentaries into more diversified concerns for humanity, existential issues, and spiritual crisis. Xie identifies three modes of mythorealist narrative exemplified in Yan's three novels: the minjian (folk) mode in Dream of Ding Village, the enigmatic mode in The Four Books, and the allusive mode in Ballad, Hymn, Ode. By positioning itself against an ambiguous articulation of social determinants of historical events that would perhaps be more straightforward in a purely realist text, each mode of mythorealism moves its narrative from the overt politicality of the subject matter to the existential riddle of negotiating an alternative reality. A groundbreaking study of one of contemporary China's most important authors, that will be of great value to students and scholars of Chinese literature.

A satirical novel set in 1967 China from the Franz Kafka Prize-winning author of Lenin’s Kiss—“one of China’s greatest living authors” (The Guardian). Serve the People! is the story of a forbidden love affair between Liu Lian, the young wife of a Division Commander in Communist China, and a servant in her household, Wu Dawang. Left to idle at home while her husband furthers the revolution, Liu Lian establishes a rule for her orderly: whenever the household’s wooden Serve the People! sign is removed from its usual place on the dinner table and placed elsewhere, Wu Dawang is to stop what he is doing and attend to her needs upstairs. What follows is a “steamy and subversive” story and comic satire on Mao’s slogan and the political and sexual taboos of his regime (The Guardian). Originally banned in China, Serve the People! is the first work from Yan Lianke to be translated into English, and “a scathing sendup of life in 1960s China during the chaos of the country’s Cultural Revolution” (LA Times).

Yan Lianke is one of the most important, prolific, and controversial writers in contemporary China. At the forefront of the “mythorealist” Chinese avant-garde and using absurdist humor and grotesque satire, Yan’s works have caught much critical attention not only in the Chinese mainland, Hong Kong, and Taiwan but also around the world. His critiques of modern China under both Mao-era socialism and contemporary capitalism draw on a deep knowledge of history, folklore, and spirituality. This companion presents a collection of critical essays by leading scholars of Yan Lianke from around the world, organized into some of the key themes of his work: Mythorealism; Absurdity and Spirituality; and History and Gender, as well as the challenges of translating his work into English and other languages. With an essay written by Yan Lianke himself, this is a vital and authoritative resource for students and scholars looking to understand Yan’s works from both his own perspective and those of leading critics.

Over the last decade, Yan Lianke has been continually heralded as one of the “best contemporary Chinese writers” (The Independent) and “one of the country’s fiercest satirists” (The Guardian). Among many awards and honors, he has been twice a finalist for the Man Booker International Prize and he was awarded the prestigious Franz Kafka Prize for his impressive body of work. Now, for the first time, his two most acclaimed novellas are being published in English. “Timeless” and “marvelous” (Asian Review of Books), Marrow is a haunting story of a widow who goes to extremes to provide a normal life for her four physically and mentally disabled children. When she finds out that bones “the closer from kin the better” can cure their illnesses and prevent future generations from the same fate, she feeds them a medicinal soup made from the bones of her dead husband. But after running out of bones, she resorts to a measure that only a mother can take. A luminous, moving fable, The Years, Months, Days—a bestselling classic in China and winner of the prestigious Lu Xun Literary Prize—tells of an elderly man who stays in his small village after a terrible drought forces everyone to leave. Unable to make the grueling march through the mountains, he becomes the lone inhabitant, along with a blind dog. Tending to a single ear of corn, and fending off the natural world from overtaking the village, every day is a victory over death. With touches of the fantastical, these two novellas—masterpieces of the form—reflect the universality of mankind’s will to live, live well, and live with purpose.

From the Franz Kafka Prize–winning author of Lenin’s Kiss, a “stupendous and unforgettable” novel of Mao’s China (The Times, London). In the ninety-ninth district of a re-education compound, freethinking artists and academics are detained to strengthen their loyalty to Communist ideologies. Here, the Musician and her lover, the Scholar, along with the Author and the Theologian, are subjected to grinding physical labor. They are also encouraged to inform on each other’s dissident behavior—for the prize of a chance at freedom. Their preadolescent supervisor, the Child, delights in reward systems and excessive punishments. But when agricultural and industrial production quotas are raised to an unattainable level, the ninety-ninth district dissolves into lawlessness. As inclement weather and famine set in, the people are abandoned by the regime and left alone to survive. Set inside a labor camp during Mao’s Great Leap Forward, Booklist calls The Four Books a “rich and complex novel,” from “China’s most heralded and censored modern writer” (The South China Morning Post).

“A brilliant and harrowing novel” about a deadly epidemic fueled by corruption, based on real-life events in China (Publishers Weekly, starred review). Officially censored upon its Chinese publication, Dream of Ding Village is based on a real-life blood-selling scandal in eastern China. The novel is the result of three years of undercover work by Yan Lianke, who worked as an assistant to a well-known Beijing anthropologist in an effort to study a small village decimated by HIV/AIDS as a result of unregulated blood selling. Whole villages were wiped out with no responsibility taken or reparations paid. Dream of Ding Village focuses on one family, destroyed when one son rises to the top of the party pile as he exploits the situation, while another son is infected and dies. The result is a passionate and steely critique of the rate at which China is developing and what happens to those who get in the way. “Lianke confronts the black market blood trade and the subsequent AIDS epidemic it sparked, in a brilliant and harrowing novel.” —Publishers Weekly, starred review