On April 27, 1960, Harry Wu, a senior at Beijing's Geology Institute, was arrested by Chinese authorities and, without ever being formally charged or tried, spent the next nineteen years in hellish prison labor camps. Exiled to the bitter desolation of this extensive gulag, he was transformed from a member of China's privileged intellectual elite into a pariah, a faceless cipher denied even the most basic human rights. He was subjected to grinding labor, systematic starvation, and torture, yet he refused to give up his passionate hold on life. From the tough peasants and petty criminals imprisoned with him, like chicken thief Big Mouth Xing, he learned the harsh lessons of survival. Driven by incessant hunger, he became expert at scavenging for edible weeds in the barren camp fields and capturing snakes and frogs in the irrigation ditches. Reduced at one point to a walking skeleton, he took part in elaborate "food imagining" sessions with his squad mates in the barracks at night. In the crucible of the nightmarish Qinghe prison farm, he watched as, night after night, prisoners succumbed to disease and starvation to be buried in unmarked graves outside the camp walls. Throughout this stunning chronicle are moving stories of the prisoners who became Wu's trusted friends. The gentle, lute-playing Ao, unblinking in his insistence on the dignity of humanity, serves as a beacon in the moral abyss of the camps. Handsome and virile Lu, tormented by unfulfilled longing for a woman's touch, is driven to insanity and finallysuicide. Buffeted by the worst horrors of the Chinese communist tragedy, these poignant figures provide a rare, detailed portrait of the depths of human despair. Released from prison in 1979, Harry Wu was eventually allowed to leave China for the United States. But his story doe

    An insightful and thought-provoking analysis of daily life in China, China Wakes is an exemplary work of reportage. 16 pages of photos.

    There a massive civil war is tearing the Qing dynasty apart. At the heart of the rebellion is the mysterious Taiping Tienkuo, the Heavenly Kingdom of Great Peace. The Heavenly Kingdom is the center for the Taipings, a religious and political movement determined to overthrow Confucian rule and establish a government based on semi-Christian beliefs. Leading the revolt is a man who claims to be the younger brother of Jesus Christ himself. The Heavenly Kingdom is home to the devout, the zealous, and the courageous. Some regard them as mere rebels but others as visionaries. For Jason Brandt, the son of a Hong Kong missionary, the Heavenly Kingdom holds an undeniable allure. Accompanied by his best friend, Wu Sek-chong, and the beautiful and stubborn Black Jade, the young man sets off to see the Heavenly Kingdom for himself. In the great journey ahead, all three travelers will be tested as they confront their hidden desires and doubts. Could there be catastrophic consequences in the gripping adventure unfolding before them?

    Liang and Lin were born in early twentieth-century China, a time when the influences of modernism were slowly bearing down on the traditional culture. In the 1920s, they traveled together to the Beaux Arts universe of Philadelphia, where they both graduated with honors from the architecture department of the University of Pennsylvania. Married in 1928, they returned to their native land and became the first two professors at the newly founded school of architecture in Shenyang's Tung Pei University.Wilma Fairbank and her husband, John King Fairbank, Harvard University's eminent historian of modern China, were lifelong friends of Liang and Lin. This relationship allows the author, herself a noted researcher of art and architecture, to paint a vivid picture of the couple within the context of China's turbulent past. Fairbank recounts how Liang and Lin used their Western training to initiate the study of China's architectural evolution. She also documents--as seen through the eyes of Liang and Lin--the tragic events that ravaged the Chinese homeland and its people: the 1937 invasion and bombings by the Japanese military and the ensuing illness and poverty; World War II and the civil war; the rise to power of the Communist government in 1949; and the victimization of the scholar class during the Cultural Revolution of 1966-76.Fairbank provides a highly readable, emotionally charged personal account of the couple's lives, and the numerous and sometimes horrific torments and humiliations they suffered. And, finally, when it was all too late, the posthumous praise and recognition.

    Long overshadowed by the more visible - and charismatic - Mao Dzedong, he and his life and extraordinary accomplishments remain little recognized outside China, where he is still revered as the beloved father of the modern nation. In Eldest Son, Han Suyin brings this towering figure to life in a profoundly human and intimate portrait - the first full-scale biography of the late premier to be published in English. Between 1956 and 1974, Dr. Han conducted a series of eleven unprecedented interviews with Zhou, each of them lasting for several hours. Drawing upon these encounters, and on further meetings with his widow, his family and colleagues, as well as her unusual access to the Communist Party archives, Dr. Han presents a nuanced portrait of this deeply committed Chinese nationalist and Communist. Here is the full sweep of Zhou's remarkable life: his early schooling in Japan and Europe, his complex and loyal relationship to Mao, his historic meetings with other world leaders such as Khrushchev, Nehru, and Nixon which opened China to the global community. And Dr. Han gives us the private man as well as the public figure: his loving and formative marriage to Deng Yingchao, the murder of his adopted daughter at the hands of the Red Guards, and ultimately his painful battle with cancer. Like no other, Zhou's life is the history of modern China. Through the lens of his experience we see unfolding the dramatic, sometimes violent, decades of change: the founding of the Chinese Communist Party, the galvanizing Long March, the social convulsions of the Great Leap Forward, the violent excesses of the Cultural Revolution, andthe diplomatic rapprochement with the West in the 1970s. Dr. Han weaves these decisive events with the impressions and memories of hundreds of ordinary citizens from every sector of Chinese society to create a rich historical tapestry. Compellingly written, unique in its perspect

    The first translation ever to appear in English that includes one of the major Chinese philosophical commentaries, the Columbia I Ching presents the classic book of changes for the world today.Richard Lynn's introduction to this new translation explains the organization of The Classic of Changes through the history of its various parts, and describes how the text was and still is used as a manual of divination with both the stalk and coin methods. For the fortune-telling novice, he provides a chart of trigrams and hexagrams; an index of terms, names, and concepts; and a glossary and bibliography.Lynn presents for the first time in English the fascinating commentary on the I Ching written by Wang Bi (226-249), who was the main interpreter of the work for some seven hundred years. Wang Bi interpreted the I Ching as a book of moral and political wisdom, arguing that the text should not be read literally, but rather as an expression of abstract ideas. Lynn places Wang Bi's commentary in historical context.

    Including works of varied genres from fiction and poetry to folk stories and elegies, travelogues and jokes to criticism and theory, this wide-ranging collection brings together more than two thousand years of great works in one portable volume.

    Now adults, survivors recall their childhood during the tumultuous years between 1965 and 1976, when Mao's death finally drew a curtain on a bitterly failed social and political experiment.A series of first-person narratives eloquently describes the life-long influence of this seminal period on China's children. Those who were teenagers in the late 1960s joined the Red Guards and the revolutionary rebel groups, following Mao's directives to make revolution, often to their own undoing. Those who were too young to participate directly were even more vulnerable. Although they had little understanding of the political firestorm that engulfed their parents, they were old enough to understand and feel the terror it brought. Vividly capturing the emotional intensity of the time, these stories explore what it was like to be caught up in revolutionary fervor, to be sent to the countryside, to be separated—either ideologically or physically—from one's parents, often forever.By undermining families and family structure, the Cultural Revolution created a generation of Chinese who view politics, the Communist Party, and life itself with deep cynicism. Presenting a spectrum of individual stories of people who saw the Cultural Revolution through the eyes of a child, The Red Mirror offers rare insights for understanding the crippling legacy of the Cultural Revolution.

    To be reborn, the deceased must successfully negotiate passage through ten courts of law, each ruled by a magistrate or king. The pains of transition from death to rebirth can be alleviated by the intercession of the living with contributions to the Buddhist church and bribes of spirit money. The cosmology, morality, and rituals of the ten kings are described for the first time in surviving sources in an illustrated text, The Scripture on the Ten Kings, which is here translated for the first time.

    The boy lived two lives, one within the pious church compound, the other along the canal and in the alleys of a traditional Chinese city. There he faced the alley brats' Lady Bandit, heard the shrill screams of a child's foot-binding, learned rank obscenities from passing boatmen, and, while still in short pants, chewed Sen-Sen and ogled snake-charmers in the old Native City. He sailed up the Yangtze to attend boarding school, and along with his Boy Scout patrol, met Chiang Kai-shek. And when John Espey grew up, he wrote about his years in China.This memoir is the story of those years, and while it is a wry, affectionate account, it also conveys an often overlooked picture of China in the years before communism. Seen through the eyes of a child, the interplay of religion, commerce, and American colonialism that took place during this period is revealed more tellingly—and more lightheartedly—than in many an analysis by an "old China hand."Espey's bent is to use a "Chinese" approach to his subject, that is, to hide a second meaning within his words, to speak in parables. This he learned from both his single-minded missionary father and the family's Chinese cook. The result is that the reader of Minor Heresies, Major Departures will learn a great deal about the Pacific Rim while having a rollicking good time.

    It was also the first Chinese novel with each chapter headed by a couplet giving the gist of the content. It describes the power struggles among the kingdoms of Wei, Shu and Wu, headed by Cao Cao, Liu Bei and Sun Quan, respectively, in the period known to Chinese history as that of the Three Kingdoms (220 – 280). It highlights the sharp and complicated political and military conflicts of that time, and had a far-reaching influence on the political and military strategies of later ages. The novel vividly portrays the individuality of the historical characters, including Cao Cao, Liu Bei, Guan Yu and Zhang Fei. Besides being a work of epic grandeur, its literary merit has had a great impact on China 's literature and art, and social life as well.Three Kingdoms was first published in the period which saw the demise of the Yuan Dynasty and the rise of the Ming Dynasty. Many stories about the three kingdoms had circulated among the people before the appearance of the book. Many editions of Three Kingdoms have appeared, and the novel has been translated into foreign languages since the end of the 17th century. This English edition, by US sinologist Moss Roberts, is based on the Mao Zonggang edition published during the reign of Emperor Kangxi of the Qing Dynasty (1644 – 1911).

    Behind the protective walls of the House of Yang, Baba is immersed in a world of the legends and colorful characters of village life. Yang's beautiful watercolors accompany each story and create "an astonishing personal vision" (Kirkus Reviews, pointer). Preface by Amy Tan; illustrations.

    In "Mandate of Heaven" Orville Schell, one of America's foremost China specialists, interprets these conflicting developments and brilliantly documents the new power structures, economic initiatives, and cultural changes that have transformed China since the Tiananmen Square demonstrations of 1989. Schell takes readers on a series of journeys inside this latter-day People's Republic and introduces us to a broad spectrum of people, from students and workers to entrepreneurs, pop stars, and party officials, who, although they acted out the drama of the Square, are now playing the prominent roles in China's high-speed economic rush into the future.As China's role on the world stage grows, it becomes increasingly important that the West acquaint itself with the people who will be leading it into the twenty-first century. "Mandate of Heaven" is the authoritative and definitive account of this generation as it moves into a capitalist economic future while still clinging to the structures of its communist past.

    In this new collection, he goes beyond the poetry of exile and reaches a new level of maturity and synthesis in a series of kaleidoscopic images of the end of the twentieth century. These poems, a conflation of history and personal happenstance, are explorations of individual, emotional, physical, and cultural distance that speak to an international readership in an ever more divided world. Bei Dao's poems are translated with new sharpness and intensity by David Hinton, highly regarded for his versions of the Chinese classics (The Selected Poems of Tu Fu, The Selected Poems of Tao Ch'ien), who comments in his Translator's Note: "Bei Dao's work recalls China's ancient masters: clear resonant images set in sharp juxtapositions. But his are decidedly modern clarities, adrift on the terrible mystery of today's world-historical forces."

    She & her brother were sent to be brought up in Beijing under the direct auspices of Premier Zhou Enlai as he wards. This is a personal story of a life lived in the highest court of China during the Great Leap Forward.

    This history, from 1949 to the present, has been extensively studied by scholars using the methods of history and political science. Dialectic of the Chinese Revolution makes an innovative departure from these studies through a series of reflections on the history of communist China as a history of consciousness.It focuses on important aspects of the Chinese experience - such as memory and amnesia, energy and meaning, and the center and periphery mentality - that are amenable more to a philosophical and psychological approach than to an empirical one.The author goes beyond the concept of utopianism that is customarily applied to the Chinese communist experience by viewing this epoch in terms of the movement from utopianism to nihilism to hedonism. He traces the path of Chinese communism from the early belief that denial and hard work combined with Marxism and Maoism would create a utopia of material and spiritual abundance to the disappointment of this belief and the ensuing search for individual pleasure and prosperity.In this progression, which the author describes as the unfolding of the hedonistic potential of utopianism, Marxism became China's road to capitalism and consumerism.The book consists of essays that approach the trajectory of utopianism-nihilism-hedonism from six different viewpoints: the impact of Marxism on China's relationship to itself and to the West, the manipulation of language and cultural memory, the effects of founding morality on a revolutionary teleology, the tension between the ascetic and the hedonistic aspects of utopianism, the paralysis of the will resulting from continual mobilizations and failures, and the relationship of past, present, and future as mirrored in constantly shifting beliefs.

    Each of the seven pieces by Ma Zhongxing, Tie Ning, Bai Fengxi, Xiang Ya, Wang Anyi, Liu Xihong, and Han Chunxu is an exploration of women's identity in modern Chinese society, a declaration of equality and freedom. The new voice in Chinese women's literature is the sound of strength, passion, and defiance.

    Obtaining and changing job assignments, buying certain foods and consumer items, getting into good hospitals, buying train tickets, obtaining housing, even doing business-all such tasks call for the skillful and strategic giving of gifts and cultivating of obligation, indebtedness, and reciprocity.Mayfair Mei-hui Yang's close scrutiny of this phenomenon serves as a window to view facets of a much broader and more complex cultural, historical, and political formation. Using rich and varied ethnographic examples of guanxi stemming from her fieldwork in China in the 1980s and 1990s, the author shows how this "gift economy" operates in the larger context of the socialist state redistributive economy.

    This valuable comprehensive reference covers the whole range of Chinese clothing including court dress, textiles, accessories, children's wear, rural clothing, and wedding and funeral attire.

    This book asserts that the rich and diverse personal, educational, and political experiences of Zhou's formative years established clear patterns for his future and political orientations. In addition to substantiating the facts of Zhou Enlai's early years for the first time, the author sets Zhou's experience in the historical context of the Chinese youth of his generation, notably such events as Marxism, the Bolshevik Revolution, World War I, and the May Fourth Movement.

    The myths and legends of the ancient Greeks and Romans are very well known, but these 12 myths from ancient China are just as fascinating. Between Pangu separating the sky from the earth and the Northern Emperor separating man from gods, we have an array of deities as busy and colorful as those in Greek and Roman myths. They create men out of clay, mend the broken sky after the flood, and shoot down suns so that life on earth will not die.Inspired by the art of the Ming Dynasty, this is a wonderful collection of Chinese myths of creation, illustrated by award-winning artist Song Nan Zhang.

    The tales are peopled by memorable characters, such as the Tibetan mother who, reborn as a cow, comforts and helps her daughter into her harsh life as a slave girl; the two Kucong sisters who marry snakes; and the bodiless Lahu "head-baby" who grows up to win one of the earth-god Poyana's daughters in marriage. Chosen for their representativeness, aesthetic appeal, and variety, the stories provide rich examples of the folk traditions of Southwest China.South of the Clouds includes introductions and an appendix which describe the places and people of Yunnan, analyzethe literary and psychological characteristics of their stories, give the sources of the tales, and explain the methodolgy of collecting folk literature in China.

    It traces Wenchang's development through his many transformations culminating in his apotheosis as director of the Wenchang Palace and custodian of the Cinnamon Record that determines men's and women's fates. The god has since assumed a high position in the Taoist pantheon, has been introduced into the school system and Confucian temples, and now controls the all-important civil service examinations in China. The text translated here provides a unique window into the religious world of Traditional China. Numerous anecdotes of good- and evil-doers reveal the ethical dilemmas facing men and women of the time, from social questions like infanticide and discrimination against women to more purely religious issues such as how evil gods are punished and how China's divergent religious traditions can be reconciled.

    It concludes with poetry from the Qing period (1644-1911). As new, freely colloquial forms and song-poems emerged during the Yuan period (1279-1368), the tide of Chinese literature began to turn away from poetry towards prose. In between there are poems by, among many others, Qu Yuan, the earliest named Chinese poet; Li Shang-yin, sublime master of the love lyric in the Tang dynasty, golden age of Chinese classical poetry; and Li Qing-zhao, a woman poet of rare intensity and invention.

    In this comprehensive study, Egan analyzes Su's literary and artistic work against the background of eleventhcentury developments within Buddhist and Confucian thought and Su's dogged disagreement with the New Policies of Wang Anshi.Egan explicates Su's views on governance, the classics, and Buddhism; and he describes Su's social-welfare initiatives, arrest for disloyalty, and exiles. Finding a key to the richness of Su's artistic activities in his vacillation on the significance of aesthetic pursuits, Egan explores Su's shi and ci poetry and Su's promotion of painting and calligraphy, looking specially at the problem of subjectivity. In a concluding chapter, he reconsiders Su's role as a founder of the wenren ("literati") and challenges the conventional understanding of both Su and the Northern Song wenren generally.

    This book aims to clarify their misunderstandings by tracing the development of Chinese communicative strategies from Confucius to the boardrooms and streets of Hong Kong. Its formal analysis of taped interchanges and in-depth interviews reveals Chinese speakers' distinctive ways of communicating and relating, thus highlighting the pitfalls of hidden assumptions underlying talk.

    The book reveals an unusual and dramatic spiritual teacher.

    For the first time, the voices of China-based scholars are heard alongside scholars positioned in the United States. The distinguished contributors to this volume are of different generations, hold citizenship in different countries, and were trained in different disciplines, but all embrace the shared project of mapping gender in China and making power-laden relationships visible. The essays take up gender issues from a variety of disciplinary perspectives. Chapters focus on learned women in the eighteenth century, the changing status of contemporary village women, sexuality and reproduction, prostitution, women's consciousness, women's writing, the gendering of work, and images of women in contemporary Chinese fiction.Some of the liveliest disagreements over the usefulness of western feminist theory and scholarship on China take place between Chinese working in China and Chinese in temporary or longtime diaspora. Engendering China will appeal to a broad academic spectrum, including scholars of Asian studies, critical theory, feminist studies, cultural studies, and policy studies.

    The Art of Rulership is Book Nine of the Huai Nan Tzu, an anthology of diverse and far-ranging contents compiled under the patronage of Liu An (prince of Huai Nan) and presented to the court of Wu Ti during the first century of the Former Han (perhaps as early as 140 B.C.).Ames demonstrates that the political theory contained in The Art of Rulership shares an underlying sympathy with precepts of Taoist and Confucian origin, and contains a systematic political philosophy that is not only unique but compelling. The book presents a political theory that tempers lofty ideals with functional practicability. While the spirit of the work is strongly Taoist and Confucian, this spirit is provided with a Legalist political framework in which it can be implemented, nurtured, and cultivated.

    Actively sought by fund-raising abbots, such patronage affected institutional Buddhism. After exploring the relation of Buddhism to Ming Neo-Confucianism, the growth of tourism to Buddhist sites, and the mechanisms and motives for charitable donations, Timothy Brook studies three widely separated and economically dissimilar counties. He draws on rich data in monastic gazetteers to examine the patterns and social consequences of patronage.

    In only half an hour a day, users will move ahead naturally until they are at ease with all the basic structures needed for communication and become familiar with the basic words and grammar. The method comprises two phases: the passive phase, in which users simply repeat what they hear and read, and the active phase, in which users begin to create sentences and imagine themselves in a variety of everyday situations.