Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    Twenty-one year old Fenfang Wang has traveled one thousand eight hundred miles to seek her fortune in contemporary urban Beijing, and has no desire to return to the drudgery of the sweet potato fields back home. However, Fenfang is ill-prepared for what greets her: a Communist regime that has outworn its welcome, a city under rampant destruction and slap-dash development, and a sexist attitude seemingly more in keeping with her peasant upbringing than the country’s progressive capital. Yet Fenfang is determined to live a modern life. With courage and purpose, she forges ahead, and soon lands a job as a film extra. While playing roles like woman-walking-over-the bridge and waitress-wiping-a-table help her eke out a meager living, Fenfang comes under the spell of two unsuitable young men, keeps her cupboard stocked with UFO noodles, and after mastering the fever and tumult of the city, ultimately finds her true independence in the one place she never expected.At once wry and moving, Twenty Fragments of a Ravenous Youth gives us a clear-eyed glimpse into the precarious and fragile state of China’s new identity and asserts Xiaolu Guo as her generation’s voice of modern China.

    To be published on the first anniversary of Kurt Vonnegut's death, Armageddon in Retrospect is a collection of twelve new and unpublished writings on war and peace, imbued with Vonnegut's trademark rueful humor.

    From Sarah Orne Jewett's portraits of rural Maine to F. Scott Fitzgerald's brilliant tales from the Jazz Age, these stories span the breadth of the American experience. In addition to acknowledged masters of the short story form, such as O. Henry, Jack London, and Ernest Hemingway, this volume features stories by Charles W. Chesnutt, the first important African-American novelist, and Charlotte Perkins Gilman, a leading theorist of the early women's movement.

    A Chinese American woman tells of the Chinese myths, family stories and events of her California childhood that have shaped her identity.

    One by one, over a hundred men and women are forced by the harsh feudal officialdom to take to the hills. They band together and defeat every attempt of the government troops to crush them. Within this framework we find intrigue, adventure, murder, warfare, romance ... in a connected series of fascinating individual tales, told in the suspenseful manner of the traditional storyteller.

    Born in China in 1943, she moved from Chongqing to Taiwan, Spain to Germany, the Canary Islands to Central America, and, for several years in the 1970s, to the Sahara.Stories of the Sahara invites us into Sanmao's extraordinary life in the desert: her experiences of love and loss, freedom and peril, all told with a voice as spirited as it is timeless.At a period when China was beginning to look beyond its borders, Sanmao fired the imagination of millions and inspired a new generation. With an introduction by Sharlene Teo, author of Ponti, this is an essential collection from one of the twentieth century's most iconic figures.

    According to custom, she moved to the Forbidden City at the age of seventeen to become one of hundreds of concubines. But her singular beauty and powers of manipulation quickly moved her into the position of Second Consort.Tzu Hsi was feared and hated by many in the court, but adored by the people. The Empress's rise to power (even during her husband's life) parallels the story of China's transition from the ancient to the modern way.

    Its author Gu Hua was brought up in the Wuling Mountains of south Hunan. He presents the ups and downs of some families in a small mountain town there during the hard years in the early sixties, the "cultural revolution," and after the downfall of the "gang of four." He shows the horrifying impact on decent, hard-working people of the gang's ultra-Left line, and retains a sense of humor in describing the most harrowing incidents. In the end wrongs are righted, and readers are left with a deepened understanding of this abnormal period in Chinese history and the sterling qualities of the Chinese people.

    Family, one of the most popular Chinese novels of that time, vividly reflects that turmoil and serves as a basis for understanding what followed. Written in 1931, Family has been compared to Dream of the Red Chamber for its superb portrayal of the family life and society of its time. Drawn largely from Pa Chin's own experience, Family is the story of the Kao family compound, consisting of four generations plus servants. It is essentially a picture of the conflict between old China and the new tide rising to destroy it, as manifested in the daily lives of the Kao family, and particularly the three young Kao brothers. Here we see situations that, unique as they are to the time and place of this novel, recall many circumstances of today's world: the conflict between generations and classes, ill-fated love affairs, students' political activities, and the struggle for the liberation of women. The complex passions aroused in Family and in the reader are an indication of the universality of human experience. This novel illustrates the effectiveness of fiction as a vehicle for translating the experience of one culture to another very different one.

    Set during the period of Kim Il-sung and Kim Jong-il’s leadership, the seven stories that make up The Accusation give voice to people living under this most bizarre and horrifying of dictatorships. The characters of these compelling stories come from a wide variety of backgrounds, from a young mother living among the elite in Pyongyang whose son misbehaves during a political rally, to a former Communist war hero who is deeply disillusioned with the intrusion of the Party into everything he holds dear, to a husband and father who is denied a travel permit and sneaks onto a train in order to visit his critically ill mother. Written with deep emotion and writing talent, The Accusation is a vivid depiction of life in a closed-off one-party state, and also a hopeful testament to the humanity and rich internal life that persists even in such inhumane conditions.

    The Plum in the Golden Vase or, Chin P'ing Mei is an anonymous sixteenth-century work that focuses on the domestic life of Hsi-men Ch'ing, a corrupt, upwardly mobile merchant in a provincial town, who maintains a harem of six wives and concubines. The novel, known primarily for its erotic realism, is also a landmark in the development of the narrative art form--not only from a specifically Chinese perspective but in a world-historical context.With the possible exception of The Tale of Genji (1010) and Don Quixote (1615), there is no earlier work of prose fiction of equal sophistication in world literature. Although its importance in the history of Chinese narrative has long been recognized, the technical virtuosity of the author, which is more reminiscent of the Dickens of Bleak House, the Joyce of Ulysses, or the Nabokov of Lolita than anything in the earlier Chinese fiction tradition, has not yet received adequate recognition. This is partly because all of the existing European translations are either abridged or based on an inferior recension of the text. This translation and its annotation aim to faithfully represent and elucidate all the rhetorical features of the original in its most authentic form and thereby enable the Western reader to appreciate this Chinese masterpiece at its true worth.

    Inside the Forbidden City, she witnessed seductions, plots, murders, and brazen acts of treason. Propelled by a shrewd intelligence, an extraordinary persistence, and a friendship with the imperial heir, she rose through the ranks to become the first Empress of China. On the one hand, she was a political mastermind who quelled insurrections, eased famine, and opened wide the routes of international trade. On the other, she was a passionate patron of the arts who brought Chinese civilization to unsurpassed heights of knowledge, beauty, and sophistication.And yet, from the moment of her death to the present day, her name has been sullied, her story distorted, and her memoirs obliterated by men taking vengeance on a women who dared become Emperor. For the first time in thirteen centuries, Empress Wu flings open the gates of her Forbidden City and tells her own astonishing tale–revealing a fascinating, complex figure who in many ways remains modern to this day.

    K. Narayan in the Introduction to this new interpretation, 'is aware of the story of The Ramayana. Everyone of whatever age, outlook, education or station in life knows the essential part of the epic and adores the main figures in it - Rama and Sita. Every child is told the story at bedtime . . . The Ramayana pervades our cultural life.' Although the Sanskrit original was composed by Valmiki, probably around the fourth century BC, poets have produced countless variant versions in different languages. Here, drawing his inspiration from the work of an eleventh-century Tamil poet called Kamban, Narayan has used the talents of a master novelist to recreate the excitement and joy he has found in the original. It can be enjoyed and appreciated, he suggests, for its psychological insight, its spiritual depth and its practical wisdom - or just as a thrilling tale of abduction, battle and courtship played out in a universe thronged with heroes, deities and demons.

    There they meet the daughter of the local tailor and discover a hidden stash of Western classics in Chinese translation. As they flirt with the seamstress and secretly devour these banned works, they find transit from their grim surroundings to worlds they never imagined.