The Mencius, in which he recounts his dialogues with kings, dukes and military men, as well as other philosophers, is one of the Four Books that make up the essential Confucian corpus. It takes up Confucius's theories of jen, or goodness and yi, righteousness, explaining that the individual can achieve harmony with mankind and the universe by perfecting his innate moral nature and acting with benevolence and justice. Mencius' strikingly modern views on the duties of subjects and their rulers or the evils of war, created a Confucian orthodoxy that has remained intact since the third century BCE.

    Unfolding through a series of letters written by an unnamed narrator, Last Words tells the story of a passionate relationship between two young women—their sexual awakening, their gradual breakup, and the devastating aftermath of their broken love. In a style that veers between extremes, from self-deprecation to pathos, compulsive repetition to rhapsodic musings, reticence to vulnerability, Qiu’s genre-bending novel is at once a psychological thriller, a sublime romance, and the author’s own suicide note.The letters (which, Qiu tells us, can be read in any order) leap between Paris, Taipei, and Tokyo. They display wrenching insights into what it means to live between cultures, languages, and genders—until the genderless character Zoë appears, and the narrator’s spiritual and physical identity is transformed. As powerfully raw and transcendent as Mishima’s Confessions of a Mask, Goethe’s The Sorrows of Young Werther, and Theresa Cha’s Dictée, to name but a few, Last Words from Montmartre proves Qiu Miaojin to be one of the finest experimentalists and modernist Chinese-language writers of our generation.

    For the first time ever in English, here is the complete text, with an introduction and extensive notes by renowned translator, Red Pine. Over one hundred poets are represented in this bilingual edition, including many of China’s celebrated poets: Li Pai, Wang Wei, Tu Fu, Wang Po, and Ou-yang Hsiu.Poems of the Masters was compiled during the Sung dynasty (960–1278), a time when poetry became the defining measure of human relationships and understanding.As Red Pine writes in his introduction: "Nothing was significant without a poem, no social or ritual occasion, no political or personal event was considered complete without a few well-chosen words that summarized the complexities of the Chinese vision of reality and linked that vision with the beat of their hearts . . . [Poetry’s] greatest flowering was in the T’ang and Sung, when suddenly it was everywhere: in the palace, in the street, in every household, every inn, every monastery, in every village square.""Chiupu River Song" by Li PaiMy white hair extends three milesthe sorrow of parting made it this longwho would guess to look in a mirrorwhere autumn frost comes fromRed Pine (the pen name of writer and independent scholar Bill Porter) is one of the world’s most respected translators of Chinese literature, bringing into English several of China’s central religious and literary texts: Taoteching, The Diamond Sutra, Zen Teachings of Bodhidharma, and Collected Songs of Cold Mountain. He lives near Seattle, Washington.

    Yu's four-volume translation of Hsi-yu Chi, one of the most beloved classics of Chinese literature. The fantastic tale recounts the sixteen-year pilgrimage of the monk Hsüan-tsang (596-664), one of China's most illustrious religious heroes, who journeyed to India with four animal disciples in quest of Buddhist scriptures. For nearly a thousand years, his exploits were celebrated and embellished in various accounts, culminating in the hundred-chapter Journey to the West, which combines religious allegory with romance, fantasy, humor, and satire.

    With their elegant prose, witty wordplay and subtle charm, the 104 stories in this selection reveal a world in which nothing is as it seems.

    Set in the rural China in which Xiao grew up, these two masterpieces expand on many themes, including the plight of peasants and the role of women in society. With a realistic style that has been said to rival "Tolstoy's sweep, FlaubertÂ�s detachment and Ba JinÂ�s compassion," Xiao gives us an unflinching, surprisingly lyrical, and often wryly humorous account of the difficult lives of these characters. This is an updated and extensively revised new edition.

    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.

    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.

    The Communist government has encouraged them to plant garlic, but selling the crop is not as simple as they believed. Warehouses fill up, taxes skyrocket, and government officials maltreat even those who have traveled for days to sell their harvest. A surplus on the garlic market ensues, and the farmers must watch in horror as their crops wither and rot in the fields. Families are destroyed by the random imprisonment of young and old for supposed crimes against the state. The prisoners languish in horrifying conditions in their cells, with only their strength of character and thoughts of their loved ones to save them from madness. Meanwhile, a blind minstrel incites the masses to take the law into their own hands, and a riot of apocalyptic proportions follows with savage and unforgettable consequences. The Garlic Ballads is a powerful vision of life under the heel of an inflexible and uncaring government. It is also a delicate story of love between man and woman, father and child, friend and friend—and the struggle to maintain that love despite overwhelming obstacles.

    This searing novel, originally banned in China but later named one of that nation's most influential books, portrays one man's transformation from the spoiled son of a landlord to a kindhearted peasant. After squandering his family's fortune in gambling dens and brothels, the young, deeply penitent Fugui settles down to do the honest work of a farmer. Forced by the Nationalist Army to leave behind his family, he witnesses the horrors and privations of the Civil War, only to return years later to face a string of hardships brought on by the ravages of the Cultural Revolution. Left with an ox as the companion of his final years, Fugui stands as a model of gritty authenticity, buoyed by his appreciation for life in this narrative of humbling power.

    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.

    Liu Pei, the legitimate heir to the Han throne, elects to fight for his birthright and enlists the aid of his sworn brothers, the impulsive giant Chang Fei and the invincible knight Kuan Yu. The brave band faces a formidable array of enemies, foremost among them the treacherous and bloodthirsty Ts'ao Ts'ao. The bold struggle of the three heroes seems doomed until the reclusive wizard Chuko Liang offers his counsel, and the tide begins to turn.Romance of the Three Kingdoms is China's oldest novel and the first of a great tradition of historical fiction. Believed to have been compiled by the play-wright Lo Kuan-chung in the late fourteenth century, it is indebted to the great San-kuo chi (Chronicles of the Three Kingdoms) completed by the historian Ch'en Shou just before his death in 297 CE. The novel first appeared in print in 1522. This edition, translated in the mid-1920s by C. H. Brewitt-Taylor, is based on a shortened and simplified version which appeared in the 1670s. An Introduction to this reprint by Robert E. Hegel, Professor of Chinese and Comparative Literature at Washington University, provides an insightful commentary on the historical background to the novel, its literary origins and its main characters.

    Many Japanese know the poems by heart as a result of playing the popular card game version of the anthology. Collecting one poem each from one hundred poets living from the 7th century to the 13th century, the book covers a wide array of themes and personal styles.

    A ruba'i is a two-line stanza with two parts (or hemistichs) per line, hence the word rubáiyát (derived from the Arabic language root for "four"), meaning "quatrains". (Courtesy: Wikipedia)(less)

    Staring with the Classical Period (645-1604 A.D.), characterized by the wanka and tanka styles,followed by haiku poets of the Tokugawa period (to 1867), the subsequent modern tanka and haiku poets,and including the contemporary school of free verse—Women Poets of Japan records twelve hundred years of poetic accomplishment. Included are biographical notes on the individual poets, an essay on Japanese women and literature, and a table of historical periods.