{"id":284,"date":"2016-11-09T09:54:55","date_gmt":"2016-11-09T01:54:55","guid":{"rendered":"http:\/\/pacificartsinfo.com\/chuansha\/?p=284"},"modified":"2024-01-03T10:13:02","modified_gmt":"2024-01-03T02:13:02","slug":"%e8%8e%ab%e8%a8%80%e6%8e%a8%e8%8d%90%e5%8f%8a%e8%af%84%e5%b7%9d%e6%b2%99%e9%95%bf%e7%af%87%e5%b0%8f%e8%af%b4%e3%80%8a%e9%98%b3%e5%85%89%e3%80%8b-%e8%af%95%e5%9b%be%e7%94%a8%e5%b0%8f","status":"publish","type":"post","link":"http:\/\/www.chuanshastudio.com\/?p=284","title":{"rendered":"\u83ab\u8a00\u63a8\u8350\u53ca\u8bc4\u5ddd\u6c99\u957f\u7bc7\u5c0f\u8bf4\u300a\u9633\u5149\u300b\u2014\u2014\u8bd5\u56fe\u7528\u5c0f\u8bf4\u63a2\u7d22\u4e2d\u56fd\u4eba\u7684\u4fe1\u4ef0\u95ee\u9898"},"content":{"rendered":"

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\"dsc_0010a\"<\/p>\n

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 <\/p>\n

Chuan Sha is a modest man, but his novel is full of ambition. Sunlight proves the point. He uses the novel as a medium to explore Chinese beliefs, to deconstruct and reconstruct history. Therefore, history and philosophy mingle, the beautiful and the sublime merge, old pains and new anxieties coexist in his text.<\/p>\n

His writing is sustained with a poetic passion and a Ginsbergian rebelliousness. It moves with an irresistible gravity reminiscent of novels such as Kundera\u2019s The Joke, The Unbearable Lightness of Being, Orwell\u2019s Nineteen Eighty-four, Animal Farm, Chernyshevsky\u2019s What Is To Be Done?, and Voynich\u2019s The Gadfly.<\/p>\n

As Chuan Sha states, he wants his novel to remind millions of Chinese who chant \u201cAmida Buddha\u201d that there are millions others who say \u201cAmen,\u201d and that there are other ways to approach Western culture than \u201cTOEFLE.\u201d If thought and beliefs represent the human soul, then Chuan Sha\u2019s novel is a courageous gesture to the Chinese soul in our post-Communist, materialistic age. A novel need not be burdened with such weight, but Sunlight carries precisely this much weight, and this is also why I recommend it.<\/p>\n

Mo Yan<\/h5>\n
July 2004<\/h5>\n
Beijing, China<\/h5>\n

 <\/p>\n

Guan Moye (simplified Chinese: \u7ba1\u8c1f\u4e1a; traditional Chinese: \u7ba1\u8b28\u696d; pinyin: Gu\u01cen M\u00f3y\u00e8; born 17 February 1955), better known by the pen name Mo Yan (\/mo\u028a j\u025bn\/, Chinese: \u83ab\u8a00; pinyin: M\u00f2 Y\u00e1n), is a Chinese novelist and short story writer. Donald Morrison of U.S. news magazine TIME referred to him as “one of the most famous, oft-banned and widely pirated of all Chinese writers”, and Jim Leach called him the Chinese answer to Franz Kafka or Joseph Heller.He is best known to Western readers for his 1987 novel Red Sorghum Clan, of which the Red Sorghum and Sorghum Wine volumes were later adapted for the film Red Sorghum. In 2012, Mo was awarded the Nobel Prize in Literature for his work as a writer “who with hallucinatory realism merges folk tales, history and the contemporary”.<\/em><\/h6>\n
Mo Yan began his career as a writer in the reform and opening up period, publishing dozens of short stories and novels in Chinese. His first novel was Falling Rain on a Spring Night, published in 1981.<\/em>Mo Yan’s Red Sorghum Clan is a non-chronological novel about the generations of a Shandong family between 1923 and 1976. The author deals with upheavals in Chinese history such as the War of Resistance Against Japanese Aggression, the Communist Revolution, and the Cultural Revolution, but in an unconventional way; for example from the point of view of the invading Japanese soldiers.<\/em><\/h6>\n
His second novel, The Garlic Ballads, is based on a true story of when the farmers of Gaomi Township rioted against a government that would not buy its crops. The Republic of Wine is a satire around gastronomy and alcohol, which uses cannibalism as a metaphor for Chinese self-destruction, following Lu Xun. Big Breasts & Wide Hips deals with female bodies, from a grandmother whose breasts are shattered by Japanese bullets, to a festival where one of the child characters, Shangguan Jintong, blesses each woman of his town by stroking her breasts.The book was controversial in China because some leftist critics regarded Big Breasts’ perceived negative portrayal of Communist soldiers.Extremely prolific, Mo Yan wrote Life and Death Are Wearing Me Out in only 42 days.He composed the more than 500,000 characters contained in the original manuscript on traditional Chinese paper using only ink and a writing brush. He prefers writing his novels by hand rather than by typing using a pinyin input method, because the latter method “limits your vocabulary”.Life and Death Are Wearing Me Out is a meta-fiction about the story of a landlord who is reincarnated in the form of various animals during the Chinese land reform movement. The landlord observes and satirizes Communist society, such as when he (as a donkey) forces two mules to share food with him, because ” the age of communism… mine is yours and yours is mine.”<\/em><\/h6>\n","protected":false},"excerpt":{"rendered":"

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