This was supposed to be a story of how Chinese parents are better at raising kids than Western ones. But instead, it's about a bitter clash of cultures, a fleeting taste of glory, and how I was humbled by a thirteen-year-old." —Amy ChuaAll decent parents want to do what's best for their children. What Battle Hymn of the Tiger Mother reveals is that the Chinese just have a totally different idea of how to do that. Western parents try to respect their children's individuality, encouraging them to pursue their true passions and providing a nurturing environment. The Chinese believe that the best way to protect your children is by preparing them for the future and arming them with skills, strong work habits, and inner confidence. Battle Hymn of the Tiger Mother chronicles Chua's iron-willed decision to raise her daughters, Sophia and Lulu, her way—the Chinese way—and the remarkable results her choice inspires.Here are some things Amy Chua would never allow her daughters to do:- have a playdate- be in a school play- complain about not being in a school play- not be the #1 student in every subject except gym and drama- play any instrument other than the piano or violin- not play the piano or violinThe truth is Lulu and Sophia would never have had time for a playdate. They were too busy practicing their instruments (two to three hours a day and double sessions on the weekend) and perfecting their Mandarin.Of course no one is perfect, including Chua herself. Witness this scene:"According to Sophia, here are three things I actually said to her at the piano as I supervised her practicing:- Oh my God, you're just getting worse and worse.- I'm going to count to three, then I want musicality.- If the next time's not PERFECT, I'm going to take all your stuffed animals and burn them!"But Chua demands as much of herself as she does of her daughters. And in her sacrifices—the exacting attention spent studying her daughters' performances, the office hours lost shuttling the girls to lessons—the depth of her love for her children becomes clear. Battle Hymn of the Tiger Mother is an eye-opening exploration of the differences in Eastern and Western parenting—and the lessons parents and children everywhere teach one another.

    Previous novels by Williams include 'The Palace of Heavenly Pleasure' and 'The Emperor's Bones'.

    These popular tales of the Taoist immortals were also often dramatized in Chinese operas.The stories are of famous characters in Chinese history and myth: a hero's battle with the lords of evil, the founder of the Ming dynasty's treacherous betrayal of his friends, a young girl who saves her town by imitating rooster calls. Entertaining and often provocative, these tales usually include a moral. The immortals are role models in Chinese culture, as well as examples of enlightenment. Some of the immortals were healers, some were social activists, some were aristocrats, and some were entrepreneurs. The tales chosen by Eva Wong here are of the best-known immortals among the Chinese. Their names are household words and their stories are told and retold by one generation to the next.

    The practice originated in the dance culture of China's medieval court and spread to gentry families, brothels, maid's quarters, and peasant households. Conventional views of footbinding as patriarchal oppression often neglect its complex history and the incentives of the women involved. This revisionist history, elegantly written and meticulously researched, presents a fascinating new picture of the practice from its beginnings in the tenth century to its demise in the twentieth century. Neither condemning nor defending foot-binding, Dorothy Ko debunks many myths and misconceptions about its origins, development, and eventual end, exploring in the process the entanglements of male power and female desires during the practice's thousand-year history.Cinderella's Sisters argues that rather than stemming from sexual perversion, men's desire for bound feet was connected to larger concerns such as cultural nostalgia, regional rivalries, and claims of male privilege. Nor were women hapless victims, the author contends. Ko describes how women—those who could afford it—bound their own and their daughters' feet to signal their high status and self-respect. Femininity, like the binding of feet, was associated with bodily labor and domestic work, and properly bound feet and beautifully made shoes both required exquisite skills and technical knowledge passed from generation to generation. Throughout her narrative, Ko deftly wields methods of social history, literary criticism, material culture studies, and the history of the body and fashion to illustrate how a practice that began as embodied lyricism—as a way to live as the poets imagined—ended up being an exercise in excess and folly.

    money management firm researching, analyzing, and investing in Chinese and Japanese equities. Richard is fluent in Chinese and Japanese and continues to live in Asia with his family.

    Chang was a Red Guard briefly at the age of fourteen, then worked as a peasant, a “barefoot doctor,” a steelworker, and an electrician. As the story of each generation unfolds, Chang captures in gripping, moving—and ultimately uplifting—detail the cycles of violent drama visited on her own family and millions of others caught in the whirlwind of history.

    It is an ache for the homecoming. The Greeks called it nostalgia.  Post-modern man, homeless almost by definition, cannot understand nostalgia. If he is a progressive, dreaming of a utopia to come, he dismisses it contemptuously, eager to bury a past he despises. If he is a reactionary, he sentimentalizes it, dreaming of a lost golden age. In this profound reflection, Anthony Esolen explores the true meaning of nostalgia and its place in the human heart. Drawing on the great works of Western literature from the Odyssey to Flannery O'Connor, he traces the development of this fundamental longing from the pagan's desire for his earthly home, which most famously inspired Odysseys' heroic return to Ithaca, to its transformation under Christianity. The doctrine of the fall of man forestalls sentimental traditionalism by insisting that there has been no Eden since Eden. And the revelation of heaven as our true and final home, directing man's longing to the next world, paradoxically strengthens and ennobles the pilgrim's devotion to his home in this world. In our own day, Christian nostalgia stands in frank opposition to the secular usurpation of this longing. Looking for a city that does not exist, the progressive treats original sin, which afflicts everyone, as mere political error, which afflicts only his opponents. To him, history is a long tale of misery with nothing to teach us. Despising his fathers, he lives in a world without piety. Only the future, which no one can know, is real to him. It is an idol that justifies all manner of evil and folly. Nostalgia rightly understood is not an invitation to repeat the sins of the past or to repudiate what experience and reflection have taught us, but to hear the call of sanity and sweetness again. Perhaps we will shake our heads as if awaking from a bad and feverish dream and, coming to ourselves, resolve, like the Prodigal, to "arise and go to my father's house."

    The author's vast collection of historical and contemporary photographs, plus 40 full-color -portraits- of her most prized slippers, creates a uniquely poignant and evocative panorama.

    But the last major nation under Communist rule also has a history of catastrophe and tragedy, tyranny and repression, abject poverty, unfair business practice and inherent corruption under a nebulous system of leadership, and now faces environmental degradation and a demographic time bomb.In this compelling and lucid account based on years of research and first-hand experience, Jonathan Fenby links together the myriad features of today's China. He delivers a unique and coherent picture of its essence and evolution and contemplates its future - both alone and connected to the world around it.

    Hesperides Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

    Her background made her an obvious target for the fanatics of the Cultural Revolution: educated in London, the widow of an official of Chiang Kai-Shek's regime, and an employee of Shell Oil, Nien Cheng enjoyed comforts that few of her compatriots could afford. When she refused to confess that any of this made her an enemy of the state, she was placed in solitary confinement, where she would remain for more than six years. "Life and Death in Shanghai" is the powerful story of Nien Cheng's imprisonment, of the deprivation she endured, of her heroic resistance, and of her quest for justice when she was released. It is the story, too, of a country torn apart by the savage fight for power Mao Tse-tung launched in his campaign to topple party moderates. An incisive, rare personal account of a terrifying chapter in twentieth-century history, "Life and Death in Shanghai" is also an astounding portrait of one woman's courage.

    And Burton Watson's lucid and beautiful translation has been loved by generations of readers.Chuang Tzu (369?-286? B.C.) was a leading philosopher representing the Taoist strain in Chinese thought. Using parable and anecdote, allegory and paradox, he set forth, in the book that bears his name, the early ideas of what was to become the Taoist school. Central to these is the belief that only by understanding Tao (the Way of Nature) and dwelling in its unity can man achieve true happiness and freedom, in both life and death.Chuang Tzu: Basic Writings includes the seven "inner chapters," which form the heart of the book, three of the "outer chapters," and one of the "miscellaneous chapters." Watson also provides an introduction, placing the philosopher in relation to Chinese history and thought.Witty and imaginative, enriched by brilliant imagery, and making sportive use of both mythological and historical personages (including even Confucius), this timeless classic is sure to appeal to anyone interested in Chinese religion and culture.

    The author concerns himself not only with art, but also with Chinese philosophy, religion, and the realm of ideas.

    Growing up a ninety-pound weakling tormented by bullies in the schoolyards of Kansas, young Matthew Polly dreamed of one day journeying to the Shaolin Temple in China to become the toughest fighter in the world, like Caine in his favorite 1970s TV series, Kung Fu. While in college, Matthew decided the time had come to pursue this quixotic dream before it was too late. Much to the dismay of his parents, he dropped out of Princeton to spend two years training with the legendary sect of monks who invented kung fu and Zen Buddhism.Expecting to find an isolated citadel populated by supernatural ascetics that he’d seen in countless badly dubbed chop-socky flicks, Matthew instead discovered a tacky tourist trap run by Communist party hacks. But the dedicated monks still trained in the rigorous age-old fighting forms—some even practicing the “iron kung fu” discipline, in which intensive training can make various body parts virtually indestructible (even the crotch). As Matthew grew in his knowledge of China and kung fu skill, he would come to represent the Temple in challenge matches and international competitions, and ultimately the monks would accept their new American initiate as close to one of their own as any Westerner had ever become.Laced with humor and illuminated by cultural insight, American Shaolin is an unforgettable coming-of-age tale of one young man’s journey into the ancient art of kung fu—and a funny and poignant portrait of a rapidly changing China.

    By examining what they thought and what they did through lively and absorbing portraits, Schell and Delury chart how China made its tortured transformation from a weak, humiliated country under foreign assault to its astonishing rise in the early 21st century. In so doing, they provide us with a deeper and richer understanding of China's present success story.