Howard Goldblatt Książki

„Wygadanemu zwykle Chen Zhenowi zabrakło argumentów. Większość jego poglądów na los, życie i przetrwanie, ukształtowanych przez osiadłą chińską kulturę, runęła w zderzeniu z tym stepowym myśleniem. Musiał przyznać, że pokora wobec natury znajduje się po stronie koczowników. Tutejszy lud chroni „wielkie życie” – los stepu i natury jest dla nich ważniejszy od losu ludzi. Ludy rolnicze chronią „małe życie” – dla nich najcenniejsze jest życie i przetrwanie człowieka. Ale „kiedy zabraknie wielkiego życia, małe życie nie przetrwa”. […] Jeśli spojrzeć z punktu widzenia tego „wielkiego” życia, karczowanie i wypalanie lasów pod pola uprawne, osadnictwo wojskowe na rubieżach, wszystko to niszczyło step i wielkie życie natury, tym samym zagrażając „małemu” życiu ludzi. Czy to nie jest większe barbarzyństwo? Na wschodzie i na zachodzie ludzie nazywają ziemię matką. Czy krzywda wyrządzana matce może być uznana za przejaw cywilizacji?” fragment powieści

Lao She wrote this moving story about a rickshaw puller during the 1920s in Beijing, China. It is a tale simply told with easy running narration like in a first-rate biography. It is a great portrayal of old China as seen through the eyes of the Chinese.

Stripped of his possessions and executed as a result of Mao's Land Reform Movement in 1948, benevolent landowner Ximen Nao finds himself endlessly tortured in Hell before he is systematically reborn on Earth as each of the animals in the Chinese zodiac.

Mo Yan chronicles the sweeping history of modern China through the lens of the nation’s controversial one-child policy. Frog opens with a playwright nicknamed Tadpole who plans to write about his aunt. In her youth, Gugu—the beautiful daughter of a famous doctor and staunch Communist—is revered for her skill as a midwife. But when her lover defects, Gugu’s own loyalty to the Party is questioned. She decides to prove her allegiance by strictly enforcing the one-child policy, keeping tabs on the number of children in the village, and performing abortions on women as many as eight months pregnant.

The Cook, the Crook, and the Real Estate Tycoon (AKA I Am Liu Yuejin) by prize-winning Chinese novelist Liu Zhenyun is a novel of Beijing that paints a microcosm of contemporary China, dealing with classes at the two extremes: the super rich and the migrant workers who make them rich through deceit and corruption.The protagonist, Liu Yuejin, is a work site cook and small-time thief whose bag is stolen. In searching for it he stumbles upon another bag, which contains a flash disk that chronicles high-level corruption, and sets off a convoluted chase. There are no heroes in this scathing, complex, and highly readable critique of the dark side of China’s predatory capitalism, corruption, and the plight of the underclasses. A movie adaptation and TV series appeared in 2008 in China.

The farmers of Paradise County have been leading a hardscrabble life unchanged for generations. 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.

Obfitymi piersiami i pełnymi biodrami natura obdarza kobiety z rodziny Shangguan, mieszkającej w małej chińskiej wiosce, w prowincji Shandong. Od obfitych piersi i matczynego mleka uzależniony jest narrator powieści, długo wyczekiwany syn, brat ośmiu starszych sióstr. Losy rodziny ukazane są na tle wydarzeń historycznych, począwszy od Powstania Bokserów w 1900 roku, poprzez upadek dynastii Qing, inwazję japońską, walki Kuomintangu z komunistami, „rewolucję kulturalną", aż do reform gospodarczych. Na prowincji życie toczy się jednak obok wielkich przemian, rządzą tam najprostsze instynkty, a podstawową wartością jest przetrwanie. W powieści Obfite piersi, pełne biodra wszystko jest trochę oderwane od rzeczywistości, pełne makabrycznych zdarzeń i wynaturzonych postaci, ocierające się o magię - a jednocześnie opisane prostym, niezwykle obrazowym językiem, przesycone ironią i czarnym humorem. Zręczność stylistyczna i wybujała fantazja Mo Yana powodują, że lektura wciąga na długo - jest to jedna z tych książek, które czyta się zachłannie, mimo że ogłuszają, wyprowadzają z równowagi.

Black Snow is the stunning portrait of a dissatisfied and emotionally illiterate young man's search for meaning and companionship in the gray world of totalitarianism. After serving a three-year sentence in a prison labor camp for his involvement in a juvenile street fight, Li Huiquan returns to Beijing and begins work as a street peddler. At night, he frequents a karaoke bar, where he enters into the shadowy world of the black market and meets a beautiful, naive young singer who becomes the object of his dangerous and overwhelming obsession. Riveting and relentless, Black Snow offers an extraordinary glimpse into the psyche and lifestyle of the young generation in contemporary Beijing.

Winner of the China Times Novel Prize, this postmodern, first-person narrative centers on a contemporary Taiwanese gay man reflecting on his life, loves, and intellectual influences. The narrator, Xiao Shao, recalls friends and lovers while grappling with the death of his childhood friend, Ah Yao, from AIDS complications. This loss sharpens Shao's erudite and erotic reflections on mortality. The story oscillates between humor and despair as he confronts Ah Yao's risky lifestyle, radical activism, and eventual demise; the fragility of love; the power of desire; the comfort found in writing; and the disconnection of a younger generation captivated by video games, all while navigating life on the fringes of Taiwanese society. Shao's journey through a rich landscape of metaphor and allusion—from Fellini and Levi-Strauss to classical Chinese poetry—serves as a shield against the inevitability of time and death. The narrative's exploration of marginalized sexuality underscores Taiwan's vibrant yet precarious existence near mainland China. The translation by Howard Goldblatt and Sylvia Li-chun Lin brings Chu T'ien-wen's lyrical and inventive blend of political, poetic, and sexual themes to the English-speaking audience.