Give yourself a Chinese name, see how to haggle in the shops and test yourself to see if you know the key characters.

    In this mesmerizing novel, Su Tong, China's most provocative young writer, explores the connections between hunger, sexuality, and brutality. Rice is used as food and currency, as an aphrodisiac and an implement of sexual torture, as a weapon for murder and a symbol of everything good. Lush and sensual, combining a strange comedy with a dark undercurrent of violence, and written in hypnotically beautiful prose, Rice is a novel of startling richness and furious creative energy.

    Where the fathers imbibed the doctrine of Confucius and learned the classics and revolted against them, these young people have been battered by many forces of the new times. They have been taught something of science, something of Christianity, something of atheism, something of free love, something of communism, something of Western philosophy, something of modern militarism, something, in fact, of everything. In the midst of the sturdy medievalism of the masses of their countrymen the young intellectuals have been taught the most extreme of every culture. Intellectually they have been forced to the same great omissions that China has made physically. They have skipped, figuratively speaking, from the period of the unimproved country road to the aero plane era. The omission was too great. The mind could not compensate for it. The spirit was lost in the conflict. The first result, therefore, of the hiatus was undoubtedly to produce a class of young Chinese, both men and women, but chiefly men, who frankly did not know how to live in their own country or in the age in which their country still was. They were for the most part educated abroad, where they forgot the realities of their own race. It was easy enough for various revolutionary leaders to persuade these alienated minds that China's so-called backwardness was due primarily to political and material interference by foreign powers. The world was made the scapegoat for Chinas medievalism. Instead of realizing that China was in her own way making her own steps, slowly, it is true, and somewhatponderously, toward modernity, it was easy hue and cry to say that if it had not been for foreigners she would have been already on an equality, in material terms, with other nations. The result of this was a fresh revolution of a sort. China practically rid herself of her two great grievances outside of Japan, extraterritoriality and the tariff. No great visible change appeared as a consequence. It became apparent that what had been weaknesses were still weaknesses, and that these were inherent in the ideology of the people. It was found, for instance, that when a revolutionary leader became secure and entrenched he became conservative and as corrupt, too often, as an old style official. The same has been true in other histories. There were too many honest and intelligent young minds in China not to observe and accept the truth, that the outside world had very little to do with Chinas condition, and what she had to do with it could have been prevented if China had been earlier less sluggish and her leaders less blind and selfish. Then followed a period of despair and frenzy and increased idealistic worship of the West. The evident prosperity of foreign countries was felt to be a direct fruit of Western scientific development.

    In “Disparity,” for example, Yu Hua illustrates the mind-boggling economic gaps that separate citizens of the country. In “Copycat,” he depicts the escalating trend of piracy and imitation as a creative new form of revolutionary action. And in “Bamboozle,” he describes the increasingly brazen practices of trickery, fraud, and chicanery that are, he suggests, becoming a way of life at every level of society. Characterized by Yu Hua’s trademark wit, insight, and courage, China in Ten Words is a refreshingly candid vision of the “Chinese miracle” and all its consequences, from the singularly invaluable perspective of a writer living in China today.

    Considered one of the Four Great Classical Novels of Chinese literature, the novel is written in vernacular Chinese rather than Classical Chinese.The story, set in the Song Dynasty, tells of how a group of 108 outlaws gathers at Mount Liang (or Liangshan Marsh) to form a sizable army before they are eventually granted amnesty by the government and sent on campaigns to resist foreign invaders and suppress rebel forces. It has introduced to readers many of the most well known characters in Chinese literature, such as Wu Song, Lin Chong and Lu Zhishen.

    It consists of seventy lessons in s'ix volumes, covering beginning to intermediate levels, for three years of instruction. It has been compiled under the guidance of the new NOTCFL Syllabus and in consultation with the HSK Guicleline. The objective of this series is to develop the student's ability to communicate using Chinese through the study of language structure, language function, and related cultural knowledge along with the training of listening, speaking, reading and writing skills. In order to make the study of Chinese easier and more interesting, this textbook has the following features: ?The student will be in the cultural setting of Chinese society with several international students, Ding Libo, Lin Na and Ma Dawei. Through many interesting experiences, the student will not only learn authentic Chinese but also understand Chinese society and culture. ?The instruction of functional items is emphasized. The student will learn to use Chinese from the very beginning of the learning process. ?Attention is paid to the instruction of pronunciation, grammar, vocabulary and discourse and a gradual increase in difficulty, orderly advances and multiple repeats are stessed along with the usage of four large cycles to help students understand the language structure of Chinese. ?A new method of teaching Chinese characters is utilized to help students read and write intriguing characters. ?Combined instruction of the four basic skills, listening, speaking, reading and writing, is emphasized. ?Offering tremendous flexibility, the instructional materials are suitable for users at different starting points and with different goals. ?Abundant practice materials are supplied for the student to use inside and outside the classroom. ?Each volume comes with a student's Workbook and an Instructor's Manual along with audio cassette and CD-ROM.

    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.

    

    Topics include word order, time, nouns, verbs, adjectives, word choices with verbs and adverbs, and letter writing. The simple format has one goal: quick mastery and growing confidence.Qin Xue Herzberg, a graduate of Beijing Normal University, has taught Chinese for decades and has been an upper-level Chinese professor at Calvin College for ten years.Larry Herzberg did his PhD work in Chinese and founded the Chinese language programs at Albion College and Calvin College.Qin and Larry live in Grand Rapids, Michigan, and are co-authors of the popular China Survival Guide as well as the recently released Chinese Proverbs and Popular Sayings.

    Other stories in this book by the same author deal with Shanghai in the 1930s and the harsh realities of rural life then and in the base areas during the war against Japan.

    Told in the format of a dictionary, with a series of vignettes disguised as entries, A Dictionary of Maqiao is a novel of bold invention–and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution.Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language–where the word for “beginning” is the same as the word for “end”; “little big brother” means older sister; to be “scientific” means to be lazy; and “streetsickness” is a disease afflicting villagers visiting urban areas. Filled with colorful characters–from a weeping ox to a man so poisonous that snakes die when they bite him–A Dictionary of Maqiao is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.

    So whether you?re planning a trip to Beijing, flirting with an online acquaintance from Shanghai, or just want to start a fight in Chinatown--Niubi! will ensure that nothing you say is lost in translation.

    His broad-ranging discussion offers insight on everything from the mountain landscape to the origins of consciousness and the Cosmos, from geology to Chinese landscape painting, from parenting to pictographic oracle-bone script, to a family chutney recipe. It’s a spiritual ecology that is profoundly ancient and at the same time resoundingly contemporary. Your view of the landscape—and of your place in it—may never be the same.

    Suitable for learners of all levels, from the novice to the more advanced, the series is geared specifically for nonnative English speakers and is perfect as supplemental desk references.

    Henry is a hip young DJ, Philip is an ex-MP ruined by scandal, Diana is his long-suffering wife, Lizzie is battling with illness and Marianne has replaced her husband with gin and chocolate, but when Polish backpacker Eva arrives, they realise a fresh pair of eyes can make a world of difference.