Mao Zedong, leader of the revolution and absolute chairman of the People's Republic of China, was also a calligrapher and a poet of extraordinary grace and eloquent simplicity. The poems in this beautiful edition (from the 1963 Beijing edition), translated and introduced by Willis Barnstone, are expressions of decades of struggle, the painful loss of his first wife, his hope for a new China, and his ultimate victory over the Nationalist forces. Willis Barnstone's introduction, his short biography of Mao and brief history of the revolution, and his notes on Chinese versification all combine to enrich the Western reader's understanding of Mao's poetry.

Mao Zedong was not only a great strategist and politician, but also a poet, a philosopher, and calligrapher. As early as the 1940s Mao's poetry was earning critical and popular acclaim. This book makes all of Mao's extant poems available for the first time in English.

How poetry and revolution meshed in Red China The Chinese Revolution, which fought its way to power seventy years ago, was a complex and protracted event in which groups and individuals with different hopes and expectations for the Revolution competed, although in the end Mao came to rule over the others. Its veterans included many poets, four of whom feature in this anthology. All wrote in the classical style, but their poetry was no less diverse than their politics. Chen Duxiu, led China’s early cultural awakening before founding the Communist Party in 1921. Mao led the Party to power in 1949. Zheng Chaolin, Chen Duxiu’s disciple and, like him, a convert to Trotskyism, spent thirty-four years in jail, first under the Nationalists and then under their Maoist nemeses. The guerrilla leader Chen Yi wrote flamboyant and descriptive poems in mountain bivouacs or the heat of battle. Poetry has played a different role in China, and in Chinese Revolution, from in the West—it is collective and collaborative. But in life, the four poets in this collection were entangled in opposition and even bitter hostility towards one another. Together, the four poets illustrate the complicated relationship between Communist revolution and Chinese cultural tradition.

Dragon in Ambush by Jeremy Ingallsis a critique and new translation of the first twenty poems of Mao Zedong’s published poetry. This seminal work stands out from previous translations of Mao’s poems in seeing them as an expression of his core political beliefs, rather than for their poetic effect. Instead, Dr. Ingalls shows in consummate detail that Mao was careful and deliberate in employing imagery in his poetry to lay out procedures for political supremacy in which the central drive was his will to psychological domination. That is, domination of the minds of others is the unifying theme of Mao’s verse-sequence. The crux of Prof. Ingalls’ work lies in her focus on the symbolism in the poems. The poems are, in Mao’s use of them as a means of communication, meaningless on their surface. No image, however seemingly commonplace, is ever employed for merely lyrical or aesthetic description. Every image functions as a factor in an entirely political calculus. According to Dr. Ingalls, “When Mao mentions streams or mountains, suns or moons, clouds or winds or icicles, horses, elephants, snakes, tigers, leopards or bears, specifies kinds of trees or birds or fish, flies, brooms, mats or bridges, these and all his other images have, as their primary function, neither happenstance descriptions nor whimsical metaphor. They all have politically symbolic functions in Mao’s algebra of versified political discourse.” Furthermore, in her analysis, Prof. Ingalls downplays the significance of Marxism-Leninism in the Thought of Mao Zedong. She shows that throughout his career, Mao regarded Marxism-Leninism as a political convenience, not as a doctrine permanently essential to his master-plan. Just as Mao used the Nationalists of Chiang Kai-shek and Stalin’s Soviet Union as means to further his own political ambitions, so did he manipulate Marxist-Leninist ideology to hoodwink and attract, at home and abroad, professional revolutionaries to help do his bidding. Mao’s aims express, in their worldviews, an entirely Chinese tradition. In his poems Mao’s dialectics, his materialism, and his authoritarianism all take their points of reference from within the Chinese cultural order. Dragon in Ambush is a thoroughly unique and revolutionary approach to understanding the Mind of Mao Zedong.

Short's masterful assessment--informed by secret documents recently found in China--provides an up-close look at Mao Tse-tung, the colossal figure whose shadow will dominate into the 21st century. of photos. 4 maps.

"Originally published in a different version in 2007 in Russian by Molodaia Gvardiia as Mao Tzedun"--Title page verso.

Wang Fanxi, a leader of the Chinese Trotskyists, wrote this book on Mao more than fifty years ago. He did so while in exile in the then Portuguese colony of Macau, across the water from Hong Kong, where he had been sent in 1949 to represent his comrades in China, soon to disappear for decades into Mao’s jails. The book is an analytical study whose strength lies less in describing Mao’s life than in explaining Maoism and setting out a radical view on it as a political movement and a current of thought within the Marxist tradition to which both Wang and Mao belonged. With its clear and provoking thesis, it has, since its writing, stood the test of time far better than the hundreds of descriptive studies that have in the meantime come and gone.

Quotations from Chairman Mao Tse-Tung' is a volume of selected statements taken from the speeches and writings by Mao Mao Tse-Tung, published from 1964 to 1976. It was often printed in small editions that could be easily carried and that were bound in bright red covers, which led to its western moniker of the 'Little Red Book'. It is one of the most printed books in history, and will be of considerable value to those with an interest in Mao Tse-Tung and in the history of the Communist Party of China. The chapters of this book include: 'The Communist Party', 'Classes and Class Struggle', 'Socialism and Communism', 'The Correct Handling of Contradictions Among The People', 'War and Peace', 'Imperialism and All Reactionaries ad Paper Tigers', 'Dare to Struggle and Dare to Win', et cetera. We are republishing this antiquarian volume now complete with a new prefatory biography of Mao Tse-Tung.

Revolution in its Leninist guise has been a dominant force in the world for most of the 20th century, and the Chinese revolution has been, with the Russian revolution, one of its two most important manifestations. Mao Zedong, the architect of victory in China in 1949, stands out as one of the dominant figures of the century. Guerilla leader, strategist, conqueror, ruler, poet and philosopher, he placed his imprint on China, and on the world. Even though today communism is widely seen as bankrupt, Mao Zedong's achievements as an innovative disciple of Lenin and Stalin in the most populous nation on earth guarantees his place in history. Whatever the ultimate fate of communism in China, the fact of Mao's influence on events during more than five decades, and its resonance after his death, will remain. This edition of Mao Zedong's writings provides abundant documentation in his own words regarding his life and thought. It has been compiled from all available Chinese sources, including not only the 20-volume edition published in Tokyo years ago, but many new materials issued in China since 1978, both openly and for internal circulation. The editors have pursued a threefold goal: firstly, to translate every text by Mao which could be obtained, so as to make this English version as complete as possible; secondly, to annotate the materials in sufficient detail to make them accessible to the non-specialist reader; and thirdly, to combine accuracy with a level of literary quality which is intended to make the volumes agreeable as well as instructive to read. Volume 1 includes translations of the entire contents of the authoritative "Mao Zedong Zaoqi Wengao 1912.6-1920.11" ("Draft writings from Mao Zedong's early period, June 1912-November 1920"), published in Beijing in 1990, plus some 15 additional texts for the same period which have been attributed to Mao. Among the items thus made available in English are his first surviving work, a middle school essay of 1912 in praise of Shang Yang; his very extensive "Classroom Notes" of late 1913 on the lectures of his most influential teachers, Yang Changji and "Yuan the Big Beard"; a dozen letters to his then close friend Xiao Zisheng (Siao-yu), who described a shared odyssey in "Mao-Tse-tung and I were Beggars"; his marginal annotations of 1918 to the German philosopher Friedrich Paulsen's work on ethics, in which Mao proclaimed himself a believer in "individualism" and an admirer of Nietzsche; and many important letters, articles, and other writings documenting his evolution from liberalism to anarchism and finally to Marxism in 1919-1920.

The writings of Mao Zedong have been circulated throughout the world more widely, perhaps, than those of any other single person this century. The “Talks at the Yan’an Conference on Literature and Art” has occupied a prominent position among his many works and has been the subject of intense scrutiny both within and outside China. This text has undoubted importance to modern Chinese literature and history. In particular, it reveals Mao’s views on such questions as the relationship between writers or works of literature and their audience, or the nature and value of different kinds of literary products. In this translation and commentary, Bonnie S. McDougall finds that Mao was in fact ahead of many of his critics in the West and his Chinese contemporaries in his discussion of literary issues. Unlike the majority of modern Chinese writers deeply influenced by Western theories of literature and society (including Marxism), Mao remained close to traditional patterns of thought and avoided the often mechanical or narrowly literal interpretations that were the hallmark of Western schools current in China in the early twentieth century. Many of the detailed discussions on the “Talks” in the West have been concerned with their political and historical significance. However, since Mao is a literary figure of some importance in twentieth-century China, McDougall finds it worthwhile to follow up his published remarks on the nature and source of literature and the means of its evaluation. By better understanding the complex and revolutionary ideas contained in the “Talks,” McDougall suggests we may acquire the necessary analytical tools for a more fruitful investigation into contemporary Chinese literature.