This facing-page edition makes translations of over 150 poems of contemporary Chinese poet/author Huang Xiang available to the Western world for the first time in a collection. Since he is subject to a long-term ban against publication of any of his writings in his native China, only a few of his poems have ever been read and translated in the West. A member of the proscribed classes by virtue of his birth, he was subjected to harassment, imprisonment and brutality from his childhood until his departure from China in 1997. His writings have already gained high and deserved respect in the small scholarly circle that is familiar with them in China and the West. Xiang outside China, plus many that refer to him or quote his works, as well as general works on Chinese poetry. The long biographical introduction will be of great value to scholars who wish to pursue the origins of Underground Literature in which Huang is a major figure, and the later Menglung misty, obscure) poetry that followed it. The poems themselves are in clear recitable English. The book's composition, with the original Chinese on the left and English on the right, matched line for line, offers an excellent pedagogical tool, as well as a subject for study by critics, commentators, and students of language. The book also includes a section of personal photographs, and a foreword by Huang Xiang.

This facing-page edition makes translations of over 150 poems of contemporary Chinese poet/author Huang Xiang available to the Western world for the first time in a collection. Since he is subject to a long-term ban against publication of any of his writings in his native China, only a few of his poems have ever been read and translated in the West. A member of the proscribed classes by virtue of his birth, he was subjected to harassment, imprisonment and brutality from his childhood until his departure from China in 1997. His writings have already gained high and deserved respect in the small scholarly circle that is familiar with them in China and the West. Xiang outside China, plus many that refer to him or quote his works, as well as general works on Chinese poetry. The long biographical introduction will be of great value to scholars who wish to pursue the origins of Underground Literature in which Huang is a major figure, and the later Menglung misty, obscure) poetry that followed it. The poems themselves are in clear recitable English. The book's composition, with the original Chinese on the left and English on the right, matched line for line, offers an excellent pedagogical tool, as well as a subject for study by critics, commentators, and students of language. The book also includes a section of personal photographs, and a foreword by Huang Xiang.

Huang Xiang 黄翔, the protagonist of this book, was born on 26th December 1941 in Guidong county, Hunan province of central China. After the Communists came to power in 1949, he was imprisoned six times and severely persecuted for his free-spirited writing and his campaigns for human rights. For more than thirty years, this self-educated poet and writer, wrote secretly against the bondage of totalitarian ideology to safe-guard the freedom of speech. According to the author of the book, Huang is a great dark poet who has expressed the painful memories, fears and struggles that haunted his life creating wonderful poetic beauty in the darkness. His poetic creation is a miracle in the history of Chinese contemporary literature. We may say that Huang's identity as an unknown dark poet is conditioned by his personal, emotional and tragic experiences of struggles while facing historical events such as the Cultural Revolution from 1966 to 1976, the April 5th Movement in 1976, the Democracy Wall Movement in 1978 and the Pro-Democracy Movement in 1989 in China.

Chinese Poetry in Times of Mind, Mayhem and Money is a groundbreaking contribution to scholarship, well-suited to classroom use in that it combines rigorous analysis with a lively style. Covering the period from the 1980s to the present, it is organized around the notions of text, context and metatext, meaning poetry, its socio-political and cultural surroundings, and critical discourse in the broadest sense. Authors and issues studied include Han Dong, Haizi, Xi Chuan, Yu Jian, Sun Wenbo, Yang Lian, Wang Jiaxin, Bei Dao, Yin Lichuan, Shen Haobo and Yan Jun, and everything from the subtleties of poetic rhythm to exile-bashing in domestic media. This book has room for all that poetry is: cultural heritage, symbolic capital, intellectual endeavor, social commentary, emotional expression, music and the materiality of language – art, in a word.

The harshness of the modern Communist regime has far exceeded that of all past despots, as the PRC’s founder Mao Zedong openly acknowledged: “What was Emperor Qin Shi Huang? He only buried 460 scholars, but we buried 46,000. During the suppression of counter-revolutionaries, didn’t we kill some counterrevolutionary intellectuals? I’ve discussed this with pro-democracy advocates: ‘You call us Qin Shi Huang as an insult, but we’ve surpassed Qin Shi Huang a hundred-fold.’ Some people curse us as dictators like Qin Shi Huang. We must categorically accept this as factually accurate. Unfortunately, you haven’t said enough and leave it to us to say the rest”. In fact, the number of writers killed under CPC rule far exceeds 46,000, and the number imprisoned is incalculable. This volume collects 64 cases occurring from 1947 to 2010, with one emblematic case for each year, but these represent just the tip of the iceberg. The CPC has officially acknowledged that 550,000 people were labeled “Rightists” from 1957 to 1959, mostly through various types of literary inquisition, making the 130-plus cases of the Qianlong period pale in comparison. This volume describes the cases of 12 “Rightist” victims – Sun Mingxun, Feng Xuefeng, Lin Xiling, Ding Ling, Ai Qing, Lin Zhao, Wang Ruowang, Wang Zaoshi, Chen Fengxiao, Yuan Changying, Nie Gannu and Liu Binyan, obviously only a minute proportion. In the single case of the “anti-Party” novel Liu Zhidan, more than 10,000 people were persecuted, the most wide-ranging literary inquisition in Chinese history. In the case of Wang Shenyou’s love letter, Wang ripped up the letter before sending it, but he was forced to rewrite it and was then executed for his “unspoken criticism”. A multitude of such cases demonstrates that literary inquisition has reached its fullest flowering under CPC rule.

Yang Jisheng’s The World Turned Upside Down is the definitive history of the Cultural Revolution, in withering and heartbreaking detail. As a major political event and a crucial turning point in the history of the People’s Republic of China, the Great Proletarian Cultural Revolution (1966–1976) marked the zenith as well as the nadir of Mao Zedong’s ultra-leftist politics. Reacting in part to the Soviet Union’s "revisionism" that he regarded as a threat to the future of socialism, Mao mobilized the masses in a battle against what he called "bourgeois" forces within the Chinese Communist Party (CCP). This ten-year-long class struggle on a massive scale devastated traditional Chinese culture as well as the nation’s economy. Following his groundbreaking and award-winning history of the Great Famine, Tombstone, Yang Jisheng here presents the only history of the Cultural Revolution by an independent scholar based in mainland China, and makes a crucial contribution to understanding those years' lasting influence today. The World Turned Upside Down puts every political incident, major and minor, of those ten years under extraordinary and withering scrutiny, and arrives in English at a moment when contemporary Chinese governance is leaning once more toward a highly centralized power structure and Mao-style cult of personality.

Carlos Rojas presents a sweeping survey of the historical and political significance of one of the world’s most recognizable monuments. Although the splendor of the Great Wall has become virtually synonymous with its vast size, the structure’s conceptual coherence is actually grounded on the tenuous and ephemeral stories we tell about it. These stories give life to the Wall and help secure its hold on our collective imagination, while at the same time permitting it to constantly reinvent itself in accordance with the needs of each new era. Through an examination of allusions to the Wall in an eclectic array of texts—ranging from official dynastic histories, elite poetry, and popular folktales, to contemporary tourist testimonials, children’s songs, and avant-garde performance art—this study maps out a provocative new framework for understanding the structure’s function and significance. This volume approaches the Wall through the stories we tell and contends that it is precisely in this cultural history that we may find the Wall’s true meaning, together with the secret of its greatness.

Raised to be "flowers of the nation," the first generation born after the founding of the People's Republic of China was united in its political outlook and at first embraced the Cultural Revolution of 1966, but then split into warring factions. Investigating the causes of this fracture, Guobin Yang argues that Chinese youth engaged in an imaginary revolution from 1966 to 1968, enacting a political mythology that encouraged violence as a way to prove one's revolutionary credentials. This same competitive dynamic would later turn the Red Guard against the communist government. Throughout the 1970s, the majority of Red Guard youth were sent to work in rural villages, where they developed an appreciation for the values of ordinary life. From this experience, an underground cultural movement was born. Rejecting idolatry, these relocated revolutionaries developed a new form of resistance that signaled a new era of enlightenment, culminating in the Democracy Wall movement of the late 1970s and the Tiananmen protest of 1989. Yang's final chapter on the politics of history and memory argues that contemporary memories of the Cultural Revolution are factionalized along these lines of political division, formed fifty years before.

"Before the next National Congress of the Communist Party of China, due in November 2022, President Xi Jinping will be removed from office by a coup d'état mounted by rivals in the top leadership who will end the tyranny of the one-party dictatorship and launch a transition to democracy and the rule of law. The main body of this book, Part 2, explains why it will happen. Parts 1 and 3 tell how it may happen"--