The world is anything but unfamiliar with diaspora: Jewish, African, Armenian, Roma-Gipsy, Filipino/a, Tamil, Irish or Italian, even Japanese. But few have carried so global a resonance as that of China. What, then, of literary-cultural expression, the huge body of fiction which has addressed itself to that plurality of lives and geographies and which has come to be known as “After China”? This collection of essays offers bearings on those written in English, and in which both memory and story are central, spanning the USA to Australia, Canada to the UK, Hong Kong to Singapore, with yet others of more transnational nature.This collection opens with a reprise of woman-authored Chinese American fiction using Maxine Hong Kingston and Amy Tan as departure points. In turn follow readings of the oeuvres of Tan and Frank Chin. A comparative essay takes up novels by Canadian, American and Australian authors from the perspective of migrancy as fracture. Chinese Canada comes into view in accounts of SKY Lee, Wayson Choy, Evelyn Lau and Larissa Lai. Australia under Chinese literary auspices is given a comparative mapping through the fiction of Brian Castro and Ouyang Yu. The English language “China fiction” of Singapore and Hong Kong is located in essays centred, respectively, on Martin Booth and Po Wah Lam, and Hwee Hwee Tan and Colin Cheong. The collection rounds out with portraits of Timothy Mo as British transnational author, a selection of contextual Chinese British stories and art, and the phenomenon of “Chinese Chick Lit” novels. China Fictions/English Language will be of interest to readers drawn both to “After China” as diasporic literary heritage and comparative literature in general.

Literary critics such as C. T. Hsia called Pai Hsienyung a "rare talent" who according to another critic, "has absorbed the diverse techniques of contemporary Western literature to temper and modernize his writing; however, the characters he writes about remain Chinese people and the stories he tells remain Chinese tales." Widely acclaimed as a classic of contemporary fiction, Taipei People has been frequently compared to James Joyce's Dubliners. Henry Miller considers Pai Hsienyung "a master of portraiture." The collection of fourteen stories from this reprint edition has already been translated to great acclaim into French, German, Italian, Dutch, Hebrew, Japanese, and Korean.

The world is anything but unfamiliar with diaspora: Jewish, African, Armenian, Roma-Gipsy, Filipino/a, Tamil, Irish or Italian, even Japanese. But few have carried so global a resonance as that of China. What, then, of literary-cultural expression, the huge body of fiction which has addressed itself to that plurality of lives and geographies and which has come to be known as “After China”? This collection of essays offers bearings on those written in English, and in which both memory and story are central, spanning the USA to Australia, Canada to the UK, Hong Kong to Singapore, with yet others of more transnational nature. This collection opens with a reprise of woman-authored Chinese American fiction using Maxine Hong Kingston and Amy Tan as departure points. In turn follow readings of the oeuvres of Tan and Frank Chin. A comparative essay takes up novels by Canadian, American and Australian authors from the perspective of migrancy as fracture. Chinese Canada comes into view in accounts of SKY Lee, Wayson Choy, Evelyn Lau and Larissa Lai. Australia under Chinese literary auspices is given a comparative mapping through the fiction of Brian Castro and Ouyang Yu. The English language “China fiction” of Singapore and Hong Kong is located in essays centred, respectively, on Martin Booth and Po Wah Lam, and Hwee Hwee Tan and Colin Cheong. The collection rounds out with portraits of Timothy Mo as British transnational author, a selection of contextual Chinese British stories and art, and the phenomenon of “Chinese Chick Lit” novels. China Fictions/English Language will be of interest to readers drawn both to “After China” as diasporic literary heritage and comparative literature in general.

This is a full-length study of Chinese crime fiction in all eras: ancient, modern, and contemporary. It is also the first book to apply legal scholars law and literature inquiry to the rich field of Chinese legal and literary culture.

Contemporary discussions of China tend to focus on politics and economics, giving Chinese culture little if any attention. Why Fiction Matters in Contemporary China offers a corrective, revealing the crucial role that fiction plays in helping contemporary Chinese citizens understand themselves and their nation. Where history fails to address the consequences of man-made and natural atrocities, David Der-Wei Wang argues, fiction arises to bear witness to the immemorial and unforeseeable. Beginning by examining President Xi Jinping’s call in 2013 to “tell the good China story,” Wang illuminates how contemporary Chinese cultural politics have taken a “fictional turn,” which can trace its genealogy to early modern times. He does so by addressing a series of discourses by critics within China, including Liang Qichao, Lu Xun, and Shen Congwen, as well as critics from the West such as Arendt, Benjamin, and Deleuze. Wang highlights the variety and vitality of fictional works from China as well as the larger Sinophone world, ranging from science fiction to political allegory, erotic escapade to utopia and dystopia. The result is an insightful account of contemporary China, one that affords countless new insights and avenues for understanding.

When Deng Xiaoping’s efforts to “open up” China took root in the late 1980s, Xinran recognized an invaluable opportunity. As an employee for the state radio system, she had long wanted to help improve the lives of Chinese women. But when she was given clearance to host a radio call-in show, she barely anticipated the enthusiasm it would quickly generate. Operating within the constraints imposed by government censors, “Words on the Night Breeze” sparked a tremendous outpouring, and the hours of tape on her answering machines were soon filled every night. Whether angry or muted, posing questions or simply relating experiences, these anonymous women bore witness to decades of civil strife, and of halting attempts at self-understanding in a painfully restrictive society. In this collection, by turns heartrending and inspiring, Xinran brings us the stories that affected her most, and offers a graphically detailed, altogether unprecedented work of oral history.

Examines writings on China's oceanic piracy wars of the sixteenth century

This book develops interdisciplinary and comparative approaches to analyzing the cross-cultural travels of traditional Chinese fiction. It ties this genre to issues such as translation, world literature, digital humanities, book culture, and images of China. Each chapter offers a case study of the historical and cultural conditions under which traditional Chinese fiction has traveled to the English-speaking world, proposing a critical lens that can be used to explain these cross-cultural encounters. The book seeks to identify connections between traditional Chinese fiction and other cultures that create new meanings and add to the significance of reading, teaching, and studying these classical novels and stories in the English-speaking world. Scholars, students, and general readers who are interested in traditional Chinese fiction, translation studies, and comparative and world literature will find this book useful.

From one of our most important contemporary Chinese authors: a novel of language and love that tells one young Chinese woman's story of her journey to the West—and her attempts to understand the language, and the man, she adores. Zhuang—or “Z,” to tongue-tied foreigners—has come to London to study English, but finds herself adrift, trapped in a cycle of cultural gaffes and grammatical mishaps. Then she meets an Englishman who changes everything, leading her into a world of self-discovery. She soon realizes that, in the West, “love” does not always mean the same as in China, and that you can learn all the words in the English language and still not understand your lover. And as the novel progresses with steadily improving grammar and vocabulary, Z's evolving voice makes her quest for comprehension all the more poignant. With sparkling wit, Xiaolu Guo has created an utterly original novel about identity and the cultural divide.

A History of Modern Chinese Fiction was first published in 1961 and has ever since become a classic in the study of twentieth-century Chinese fiction. This volume accounts the development of Chinese fiction from the Literary Revolution in 1917 to the early 60s. C. T. Hsia delved into the works of important writers such as Lu Hsün, Pa Chin, Lao She, Eileen Chang, and Ch'ien Chung-shu. In Hsia's own words, "the literary historian's first task is always the discovery and appraisal of excellence," and in this belief he re-evaluated the important figures in modern Chinese literature, and "discovered" those who had not been given proper attention. To this day, A History of Modern Chinese Fiction is still a must-read for students interested in modern Chinese literature.