D
Da Li
“Spring Festival Eve.” Tr. Song Shouquan. In Jianing Chen, ed. Themes in Contemporary Chinese Literature. Beijing: New World Press, 1993, 263-81.
Dai Houying 戴厚英
“Father’s Milk Is Also Blood Transformed.” Tr. Jeannette Faurot. Bulletin of Concerned Asian Scholars 16, 3 (1984): 21-25.
“On Behalf of Humanism: The Confession of a Former Leftist.” Tr. Frances LaFleur. In Helmut Martin, ed., Modern Chinese Writers: Self-portrayals. Armonk, NY: M.E. Sharpe, Inc., 1992, 27-33.
Stones of the Wall. Tr. Frances Wood. London: Joseph, 1985.
Dai Qing 戴晴
“Anticipation.” Tr. Billy Bikales. In Perry Link, ed., Roses and Thorns: The Second Blooming of the Hundred Flowers in Chinese Fiction. Berkeley: University of California Press, 1984, 146-67.
“The Case of Chu Anping.” In Geremie Barme, New Ghosts, Old Dreams: Chinese Rebel Voices. NY: Times Books, 1992, 358-62
“From Lin Zexu to Chiang Ching-kuo.” In Geremie Barme, New Ghosts, Old Dreams: Chinese Rebel Voices. NY: Times Books, 1992, 184-90.
“How I Experienced the Cultural Revolution.” In China for Women: Travel and Culture. NY : Feminist Press, 1995, 79-85.
“My Imprisonment: An Excerpt.” Tr. Geremie Barme. Index on Censorship 8 (1992): 20-27.
“No!” Tr. Dale R. Johnson. Bulletin of Concerned Asian Scholars 16, 3 (1984): 53-58. Rpt. in Michael S. Duke, ed., Contemporary Chinese Literature: An Anthology of Post-Mao Fiction and Poetry. Armonk, NY: M.E. Sharpe, 1984, 1985, 109-114.
The River Dragon Has Come!: The Three Gorges Dam and the Fate of China’s Yangtze River and It’s People. Compiled by Dai Qing; edited by John G. Thibodeau and Philip B. William; translated by Yi Ming. Armonk, N.Y. : M.E. Sharpe, 1998. [includes an essay by Dai]
(and Luo Ke) “A Sexy Lady.” In Geremie Barme, New Ghosts, Old Dreams: Chinese Rebel Voices. NY: Times Books, 1992, 293-311.
Tiananmen Follies: Prison Memoirs and Other Writings. Trs/Eds. Nancy Yang Liu, Peter Rand, and Lawrence R. Sullivan. Foreword by Ian Buruma. Norwalk, CT: Eastbridge Books, 2004.
“The Unexpected Tide.” Tr. Zhu Hong. In Zhu Hong, ed., The Serenity of Whiteness: Stories By and About Women in Contemporary China. NY: Ballantine Books, 1991, 42-71.
Wang Shiwei and “Wild lilies”: Rectification and Purges in the Chinese Communist Party, 1942-1944. Edited by David E. Apter and Timothy Cheek; translated by Nancy Liu and Lawrence R. Sullivan. Armonk: M.E. Sharpe, 1994.
Dai Sijie 戴思杰
Balzac and the Little Seamstress. Tr. (from French) Ina Rilke. NY: Anchor Books, 2002.
Mr. Muo’s Travelling Couch. Tr. (from French) Ina Rilke NY: Anchor Books, 2005.
Dai Wangshu 戴望舒
Dai Wangshu: The Life and Poetry of a Chinese Modernist. Gregory Lee. HK: The Chinese University Press,1989. [a study with extensive translations]
“Dai Wangshu’s Poetic Theory.” Tr. Kirk A. Denton. In Denton, ed., Modern Chinese Literary Thought. Stanford: Stanford UP, 1996, 316-17.
“Miscellaneous Records of a Mountain Villa.” Tr. Emily Suet Yi Lau. Renditions 100 (2024): 204-06.
Poems in: Modern Chinese Poetry. Ed. Acton; Twentieth Century Chinese Poetry: An Anthology. Ed. Kai-yu Hsu. Garden City, NY: Doubleday, 1963, 169-75.
“Second-Hand Book Markets in Hong Kong.” Tr. Emily Suet Yi Lau. Renditions 100 (2024): 200-203.
Dai Weina 戴潍娜
Loving You at the Speed of a Snail Travelling around the World. Tr. Liang Yujing. Lyttelton: Cold Hub Press, 2019.
Dai Xunyang
“Her Despondency.” Tr. Jeffrey Toy Eng. The Chinese Pen (Winter, 1987): 35-42.
Deng Anqing 邓安庆
“Forty Days: Growing Closer to My Parents during Quarantine.” Trs. Give-it-a-Go Translators. Paper Republic (May 21, 2020).
Deng Enming 邓恩明
“The Condition of Female Education in Jinan” (1921). Chinese Studies of History 31, 2 (Winter 1997/98): 55-60.
Deng Gang 邓刚
“Big Fish” (大鱼). Tr. Hu Zhihui. Chinese Literature (Summer 1985): 133-46.
“The Dragon King’s Troops Thunder Past” (龙兵过). Tr. Lu Binghong. Chinese Literature (Autumn 1986): 15-44.
“The Lure of the Sea” (迷人的海). Tr. Lu Binghong. Chinese Literature (Spring 1984): 5-37.
“Prawn Battle” (虾战). Chinese Literature (Spring 1992): 3-19.
“Shuqin Catches Prawns” (Luhua xia). Tr. Xiong Zhenru. Chinese Literature (Autumn 1984): 68-80.
Deng Xiaomang 邓晓芒
“Cultural Reflections on New Authoritarianism.” Tr. Jens Karlsson. Chinese Literature and Thought Today 53, 3-4 (2022): 145-49.
“The Dual Selves of Chinese New Era Writers.” Tr. Jens Karlsson. Chinese Literature and Thought Today 53, 3-4 (2022): 150-53.
“Enlightenment Deficiencies in Twentieth-Century China: Re-Reading Kant’s “An Answer to the Question: What Is Enlightenment.” Tr. Jens Karlsson. Chinese Literature and Thought Today 53, 3-4 (2022): 161-68.
“What Is Hegemonism?” Tr. Jie Pan. Chinese Literature and Thought Today 53, 3-4 (2022): 154-60.
Deng Yiguang 邓一光
“Life after Retirement.” Tr. Yu Fanqin. Chinese Literature (Spring 1998).
“Shenzhen Is Located at 22°27′-22°55′. Tr. Ken Liu. Pathlight (Winter, 2013): 51-66.
Deng Youmei 邓友梅
“At the Precipice.” Tr. by Hua-yuan Li Mowry. In Vivian Ling Hsu, ed., Born of the Same Roots: Stories of Modern Chinese Women. Bloomington: Indiana University Press, 1981, 94-127.
“Han the Forger.” In Carolyn Choa and David Su Li-qun, eds., The Vintage Book of Contemporary Chinese Fiction. NY: Vintage Books, 2001, 191-204.
“Na Five.” [partial] Tr. Gladys Yang. In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: Foreign Languages Press, 1991, 48-77. Also translated as “Na Wu.” Tr. Gladys Yang. In Jianing Chen, ed. Themes in Contemporary Chinese Literature. Beijing: New World Press, 1993, 35-76.
Snuff-Bottles and Other Stories. Tr. Gladys Yang. Beijing: Chinese Literature, 1986.
Di An 笛安
“The River Seine Does Not Freeze.” Tr. Evan Shan Chou. In Geng Song and Qingxiang Yang, eds., The Sound of Salt Forming: Short Stories by the Post-80s Generation in China. Honolulu: University of Hawaii, 2016, 21-32.
“William’s Tomb.” Tr. Alice Xin Liu. Pathlight: New Chinese Writing 1 (2011): 71-86.
Di Yi
“The Noodle Lady.” Tr. David Steelman. The Chinese Pen (Spring, 1977):1-21.
Dian Qiu 典裘
100 Portraits of Dian Qiu, a Great Chinese Poet 中国伟大的诗人典裘肖像100幅(bilingual, Chinese–English). Tr. Jin Zhong. La Mesa: survivor village books, 2018.
Dianqiu Gujiu 典裘沽酒 (see Dian Qiu)
Diao Dou 刁斗
Points of Origin. Tr. Brendan O’Kane. Manchester, UK: Comma Press, 2015.
[Abstract: A letter-writing campaign goes awry when a law is passed that only allows people to walk the streets at night, if they maintain a squatting position at all times… A town is overrun with cockroaches; despite the government’s official expressions of concern, the only person doing anything about it is branded an agitator… A widower is forced to move into the city to live with his son, bringing his cat and his strange country ways with him… Diao Dou’s short stories perform a kind of high-wire literary acrobatics; each one executes an immaculate mid-air transition, from closely observed social realism to surrealist parody, and back again. Covering all aspects of modern Chinese life – from the high-minded morals of an emerging middle class, to the vividly remembered hardships of an all-too-recent collectivist past – these stories offer a very particular window into the contemporary Chinese psyche, and show a culture struggling to keep pace with the extraordinary transformations that have befallen it in the space of a single lifetime. Diao Dou is wildly regarded as one of China’s leading satirists, praised for his refusal to follow any of the numerous literary trends that often dominate the Chinese literary scene.]
“Squatting.” Tr. Brendan O’Kane. In Liu Ding, Carol Yinghua Lu, and Ra Page, eds., Shi Cheng: Short Stories from Urban China. Manchester, UK: Comma Press, 2012.
Ding Heng
“A Heart in Earnest.” In Chinese Women Writers’ Association, eds., The Muse of China: A Collection of Prose and Short Stories. Taipei: Chinese Women Writers’ Association, 1974, 127-50.
Ding Jie 丁捷
“Snuggling” [excerpts]. Tr. Fernando Arrieta. Chinese Arts and Letters 2, 1 (April 2015): 96-107.
Ding Jiu
“The Three Pagodas.” In Harold Isaacs, ed., Straw Sandals: Chinese Short Stories, 1918-1933. Cambridge: MIT Press, 1974, 261-73.
Ding Liying 丁丽英
“Family Secrets.” Tr. Nicky Harman. In Liu Ding, Carol Yinghua Lu, and Ra Page, eds., Shi Cheng: Short Stories from Urban China. Manchester, UK: Comma Press, 2012.
Ding Ling 丁玲
“A Bullet Never Fired” (1937). Tr. Tommy McClellan. Renditions 58 (Nov. 2002): 117-126.
“A Certain Night.” In Miss Sophie’s Diary and Other Stories. Beijing: Panda Books, 1985.
“The Content and Subjects of Poetry Should Be Diverse.” In Hualing Nieh, ed./tr. Literature of the Hundred Flowers. 2 vols. NY: Columbia UP, 1981, II: 48-51.
“Day.” In A. Dooling and K. Torgeson, eds., Writing Women in Modern China: An Anthology of Women’s Literature from the Early Twenties. NY: Columbia UP, 1998, 263-74.
“Daughter of the Chinese People.” In China for Women: Travel and Culture. NY: Feminist Press, 1995, 71-78.
“The Diary of Miss Sophia.” In Harold Isaacs, ed., Straw Sandals: Chinese Short Stories, 1918-1933. Cambridge: MIT Press, 1974, 129-69.
“Du Wanxiang.” Chinese Literature 1 (1980): 31-57. Also in Tani Barlow, ed., I Myself am a Woman: Selected Writings of Ding Ling. Boston: Beacon Press, 1989.
“The Flood” [Shui]. Asia 35 (1935). Also in: Edgar Snow, ed., Living China: Modern Chinese Stories. NY: Reynal and Hitchcock, 1936, 154-65.
“The Flood.” Tr. of first chapter in Edgar Snow, ed., Living China. Modern Chinese Short Stories. NY: Reynald and Hitchcock, 1937, 154-64.
“Foolish Dreams: Like a Blind Person Going Fishing.” Tr. Zha Jianying. In Helmut Martin, ed., Modern Chinese Writers: Self-portrayals. Armonk, NY: M.E. Sharpe, 1992, 302-306.
“From Night to Morning” [Cong yewan dao tianliang]. Tr. Ruth Nybakken. In M. Arkin and B. Shollar, eds. Longman Anthology of World Literature By Women, 1875-1975. NY: Longman, 1989, 402-07.
“From Dusk to Dawn.” In Miss Sophie’s Diary and Other Stories. Beijing: Panda Books, 1985.
“The Hamlet.” In Miss Sophie’s Diary and Other Stories. Beijing: Panda Books, 1985.
I Myself am a Woman: Selected Writings of Ding Ling. Ed. and Tr. Tani Barlow (with Gary Bjorge). Boston: Beacon Press, 1989.
“In the Hospital.” Tr. Susan Vacca. Renditions, 8 (1977): 123-35. Also in C.T. Hsia, et al. eds., Modern Chinese Stories and Novellas, 1919-1949. NY: Columbia UP, 1981.
Miss Sophie’s Diary and Other Stories. Beijing: Panda Books, 1985.
“Miss Sophie’s Diary.” In Miss Sophie’s Diary and Other Stories. Beijing: Panda Books, 1985.
“Mother.” In Tani Barlow, ed., I Myself am a Woman: Selected Writings of Ding Ling. Boston: Beacon Press, 1989.
“My Understanding of Superfluous Words.” Chinese Law and Government 17, 1-2 (1984): 121-26.
“New Year.” In J. Anderson and T. Mumford, eds. and trs., Chinese Women Writers: A Collection of Short Stories by Chinese Women Writers of the 1920s and 1930s. SF: China Books and Periodicals, 1985, 13-31.
“News.” In Edgar Snow, ed. Living China: Modern Chinese Short Stories. NY: Reynal and Hitchcock, 1936, 165-72.
“Night of Death—Dawn of Freedom.” In Ming-ting Cze, ed., Short Stories: Short Stories from China. Moscow: Cooperative Publishing Society of Foreign Workers in the USSR, 1935, 67-73.
“On Qingyun Lane” (Qingyun li zhong). In Munro, ed. Genesis of a Revolution. Also appears as “A House on Qingyun Lane.” In J. Anderson and T. Mumford, eds. and trs., Chinese Women Writers: A Collection of Short Stories by Chinese Women Writers of the 1920s and 1930s. SF: China Books and Periodicals, 1985, 4-12.
“One Certain Night.” Tr. George Kennedy. In Harold Isaacs, ed., Straw Sandals: Chinese Short Stories, 1918-1933. Cambridge: M.I.T. Press, 1974, 254-60.
Our Children and Others. Tr. Meng Tsiang. Shanghai: Yingwen xuehui, 1941.
“The Reunion.” In Miss Sophie’s Diary and Other Stories. Beijing: Panda Books, 1985.
“Rushing.” In Miss Sophie’s Diary and Other Stories. Beijing: Panda Books, 1985.
“Shanghai, Spring, 1931.” In Tani Barlow, ed., I Myself am a Woman: Selected Writings of Ding Ling. Boston: Beacon Press, 1989.
“Sketches from the ‘Cattle Shed’.” Tr. R.A. Roberts. In R.A. Roberts and A. Knox, eds., One Half of the Sky. London: Heinemann, 1987, 82-91.
“Sophia’s Diary.” Tr. Joseph S.M. Lau. Tamkang Review, 5, 1 (1974): 57-96.
The Sun Shines Over the Sanggan River. Beijing: Foreign Languages Press, 1984.
“The Trial (excerpt from The Sun Shinese Over the Sangkan River).” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 243-56.
“We Need the Zawen Essay.” Tr. Ruth Nybakken. In Kirk A. Denton, ed., Modern Chinese Literary Thought. Stanford: Stanford UP, 1996, 455-57.
“When I Was In Xia Village.” Tr. Gary J. Bjorge. In Joseph Lau and H. Goldblatt, eds., The Columbia Antholody of Modern Chinese Literature. NY: Columbia UP, 1995, 143-58. Also in C.T. Hsia, et al. eds.,Modern Chinese Stories and Novellas, 1919-1949. NY: Columbia UP, 1981.
When I Was in Sha Chuan and Other Stories. Tr. Pu-sheng Kung. Poona, India: Kutub Publishers, n.d. [includes “When I was in Sha Chuan,” “Night,” “New Faith,” “Ping-Ping,” and “The Soldier and the Journalist”]
Ding Mang
Poems in: Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 179-80.
Ding Wenzhi (Ting Wen-chih) 丁文智
“Hurt” [傷]. Tr. Yanwing Leung. The Taipei Chinese Pen (Winter 2016): 7-8.
Ding Xilin 丁西林
“Dear Husband.” Trs. Bonnie S. McDougall and Flora Lam. Renditions 69 (2008): 62-75.
“Flushed with Wine” (Jiu hou). Trs. John B. Weinstein and Carsey Yee. MCLC Resource Center Publication (March 2004). [includes “Translators’ Introduction” and images and video of a Nov. 2002 production of the play at Simon’s Rock College of Bard]
“Oppression” (Yapo). In Edward Gunn, ed., Twentieth-Century Chinese Drama: An Anthology. Bloomington: Indiana UP, 1983, 41-51. Also translated as “The Oppressed,” in Ku Tsong-nee, ed., Modern Chinese Plays. Shanghai: The Commercial Press, 1941, 55-74.; and tr. Joseph Lau. Renditions 3: 117-27; and trs. John B. Weinstein and Carsey Yee. In in Xiaomei Chen, ed., The Columbia Anthology of Modern Chinese Drama. NY: Columbia UP, 2010, 152-64.
“Three Dollars in National Currency: A One-Act Comedy by Ding Xilin.” Tr. Christopher Rea. Asian Theater Journal 25, 2 (Fall 2008): 173-92.
“A Wasp.” Tr. John B. Weinstein and Carsey Yee. In Xiaomei Chen, ed., The Columbia Anthology of Modern Chinese Drama. NY: Columbia University Press, 2010, 137-51.
Ding Xiaqi 丁小琦
Maidenhome. Tr. Chris Berry. San Francisco: Aunt Lute Books, 1994
Dong Hong
“The Eyes of a Kirghiz Girl.” Chinese Literature (Spring 1997).
“Love, Galloping on Horseback.” Chinese Literature (Spring 1997).
“My Life is on the Mountain Path.” Chinese Literature (Spring 1997).
“The Songs of Herdsmen.” Chinese Literature (Spring 1997).
“Trekking Towards The Peak of Mount Tomur.” Chinese Literature (Spring 1997).
Dong Hongwei
“Gan Xiaocao’s Bamboo Pole.”In Loud Sparrows: Contemporary Chinese Short-Shorts. Trs. Aili Mu, Julie Chiu, and Howard Goldblatt. NY: Columbia University Press, 2006, 89-91.
Dong Nian 東年
“The Boat Sacrifice” [燒王船]. Tr. David and Ellen Deterding. The Taipei Chinese Pen 174 (Aug. 2015): 37-47.
“Fire.” Tr. Nathan K. Mao and Winston Yang. In Joseph S.M. Lau, ed., The Unbroken Chain: An Anthology of Taiwan Fiction Since 1926. Bloomington: IUP, 1983, 250-61.
“First Trip.” Tr. Eve Markowitz. The Chinese Pen (Winter 1989): 68-77.
Dong Ping (see Qiu Dongping)
Dong Qizhang (Dung Kai Cheung) 董启章
“The Atlas: Archaeology of an Imaginary City” (地圖集一個想像的城市的考古學). Tr. Dung Kai Cheung. In Martha P.Y. Cheung, ed., Hong Kong Collage: Contemporary Stories and Writing. HK: Oxford University Press, 1998, 40-54.
Atlas: The Archaeology of an Imaginary City. Trs. Dung Kai-chueng, Anders Hannson, and Bonnie S. McDougall. NY: Columubia UP, 2012. [MCLC Resource Center review by Sebastian Veg]
[Abstract: Set in the long-lost City of Victoria (a fictional world similar to Hong Kong), Atlas is written from the unified perspective of future archaeologists struggling to rebuild a thrilling metropolis. Divided into four sections–“Theory,” “The City,” “Streets,” and “Signs”–the novel reimagines Victoria through maps and other historical documents and artifacts, mixing real-world scenarios with purely imaginary people and events while incorporating anecdotes and actual and fictional social commentary and critique. Much like the quasi-fictional adventures in map-reading and remapping explored by Paul Auster, Jorge Luis Borges, and Italo Calvino, Dung Kai-cheung’s novel challenges the representation of place and history and the limits of technical and scientific media in reconstructing a history. It best exemplifies the author’s versatility and experimentation, along with China’s rapidly evolving literary culture, by blending fiction, nonfiction, and poetry in a story about succeeding and failing to recapture the things we lose. Playing with a variety of styles and subjects, Dung Kai-cheung inventively engages with the fate of Hong Kong since its British “handover” in 1997, which officially marked the end of colonial rule and the beginning of an uncharted future]
A Catalogue of Such Stuff as Dreams Are Made On. Trs. Bonnie S. McDougall and Anders Hansson. New York: Columbia University Press, 2022.
[Abstract: Dung Kai-cheung’s A Catalog of Such Stuff as Dreams Are Made On is a playful and imaginative glimpse into the consumerist dreamscape of late-nineties Hong Kong. First published in 1999, it comprises ninety-nine sketches of life just after the handover of the former British colony to China. Each of these stories in miniature begins from a piece of ephemera, usually consumer products or pop culture phenomena, and develops alternately comic and poignant snapshots of urban life. Dung’s sketches center on once-trendy items that evoke the world at the turn of the millennium, such as Hello Kitty, Final Fantasy VIII, a Windows 98 disk, a clamshell mobile phone, Air Jordans, and cargo shorts. The protagonist of each piece, typically a young woman, is struck by an odd, even overriding obsession with an object or fad. Characters embark on brief dalliances or relationships lasting no longer than the fashions that sparked them. Dung blends vivid everyday details—Portuguese egg tarts, Japanese TV shows, the Hong Kong subway—with situations that are often fantastical or preposterous. This catalog of vanished products illuminates how people use objects to define and even invent their own selves. A major work from one of Hong Kong’s most gifted and original writers, Dung’s archaeology of the end of the twentieth century speaks to perennial questions about consumerism, nostalgia, and identity.]
“The Centaur of the East” (東方半人馬). Tr. Dung Kai Cheung. In Martha P.Y. Cheung, ed., Hong Kong Collage: Contemporary Stories and Writing. HK: Oxford University Press, 1998, 202-204.
Cantonese Love Stories: Twenty-Five Vignettes of a City. Trs. Bonnie S. McDougall and Anders Hansson. Penguin, 2017.
[Abstract: A collection of twenty-five narrative sketches, Cantonese Love Stories offers an intimate look into the cultural, commercial and romantic milieu of Hong Kong in the 1990s. Two lovers ruminate on the power of their photo booth stickers to keep them together. Peach-pocket Girl reads stolen love letters at a café. Pui Pui knows a Portuguese egg tart is authentic if she dreams of riding a boat-like egg tart. Each character inhabits a different corner of Hong Kong’s dreamscape; together they bring to life Dung Kai-cheung’s imaginative vision of the city.]
“Floating Life, Beloved Wife, Part 2.” Tr. Andrea Lingenfelter. Chinese Literature Today 9, 1 (2020): 14-27.
“A Government House with a View” (總督府的景觀). Tr. Dung Kai Cheung. In Martha P.Y. Cheung, ed., Hong Kong Collage: Contemporary Stories and Writing. HK: Oxford University Press, 1998, 83-84.
“Histories of Time: The Luster of Mute Porcelain” [excerpts]. Tr. Carlos Rojas. In Mingwei Song and Theodore Huters, eds., The Reincarnated Giant: An Anthology of Twenty-First-Century Chinese Science Fiction. NY: Columbia University Press, 2018, 80-128.
The History of the Adventures of Vivi and Vera. Written by Dung Kai-cheung under the Inspiration of the Ancient Chinese Treatise Celestial Creations and the Works of Man (天工開物 : 栩栩如真). Tr. Yau Wai-ping. Hong Kong: Hong Kong University Press, 2018.
[Abstract: Award-winning author Dung Kai-cheung weaves together two inventive narratives in this remarkable book. One is the story of a novelist who recounts his family’s history against the backdrop of Hong Kong’s development from the 1930s to the 1990s. Dung builds this story through vignettes about the protagonist’s relationship with technological inventions that shaped his life, as glimpsed through his uncertain memory and family myths. Running parallel to this is a rebellion by the novelist’s oppressed fictional characters, who attempt to break the yoke of servile obedience laid upon them by the conventions of novel-writing. The central character, Vivi, has been written into being by the author and, once created, she seems to take on a life of her own and moves from being fabricated to being real, even bravely undertaking the journey to meet her creator—the novelist—in the real world. Fantasy and realism combine to suggest that crossing boundaries is inherent part of our nature.]
“Windows 98 and South Park.” Tr. Joshua Dyer. Pathlight (Winter, 2013): 151-54.
Dong Xi 东西
Fate Rewritten [篡改的命]. Tr. John Balcom. Sinoist Books, 2024.
[Abstract: Wang Changchi shouldn’t be here. His top marks should guarantee him a place at university, and with it the all-important city registration that opens all doors. For generations, his family have dreamed of escaping their poverty-stricken village. He should finally be able to break free. Instead, the lift doors close in his face. As the sons of the local elite begin their ascent without him, the only direction he can go is through the back door, along with the hordes of illegal construction workers risking their lives just to scrape together a living. Even if his chance has gone, he can still stake it all on the next generation. The Wangs could finally have a winner – all it would take is a few words on the right documents. But the cost of rewriting fate could require giving up everything… What price would you pay for tomorrow?]
“Life Without Language.” Tr. Dylan Levi King. Chinese Literature Today 6, 2 (2017): 76-90.
[Abstract: Dong Xi’s first major novella, published first in Harvest in 1996, winner of the Lu Xun National Excellent Novella Award, and adapted into a CCTV-8 television series in 2009 (as Sky Lovers) takes the form of a modern parable, telling the story of Wang Jiakuan, who is deaf; Wang Laobing, who is blinded in an accident; and Cai Yuzhen, who cannot speak. Wang Jiakuan and Cai Yuzhen meet and fall in love and live with Wang Laobing. The trio work together to get by in a cruel world, eventually bring a child into the world, and then finally withdraw from society.]
“Record of Regret” [partial]. Tr. Dylan Levi King. Chinese Literature Today 6, 2 (2017): 95-99.
[Abstract: Themes of politics and cleanliness, and lust and punishment are introduced in this excerpt of Dong Xi’s Record of Regret. The selection acquaints us with the character of Ceng Guangxian, a child who lives in a warehouse once owned by his grandfather but confiscated during Liberation in 1949. The novel opens with a scene involving two dogs copulating, a moment of rare amusement during a dark time in the country’s history (the 1960s) that is quickly disturbed by political firebrand Zhao Wannian. The incident leads to varying repercussions for each of the witnesses.]
Record of Regret: A Novel [后悔录]. Tr. Dylan Levi King. Norman: University of Oklahoma Press, 2018.
[Abstract: “Be careful trying to place blame, or it might come back to you,” middle-schooler Ceng Guangxian’s father warns him after the first time his good intentions end in ruin. Yet time and again as Guangxian comes of age, bad luck and his own desires for a bigger, better future wreak havoc upon his family, fortune, and social reputation, leaving him scrambling to find the causes of the mishaps that define his life. Dong Xi’s Record of Regret, here in its first English translation, introduces readers to a masterpiece of contemporary Chinese literature, and to the unparalleled tragicomic style of one of China’s most celebrated writers. Set in the wake of China’s Cultural Revolution, the novel follows Guangxian from his hapless days as a student at Number Five Middle School to adulthood as a lonely, middle-aged man. Guangxian’s path of misery—which he meticulously documents—is driven by absurdity: his discovery of two dogs stuck together, mating, leads to his father’s infidelity with a neighbor; Guangxian’s clumsy attempts to court a woman with the gift of a new dress result in his imprisonment for rape; he selects a spouse through a catastrophic game of chance, drawing from a set of names scrawled on crumpled pieces of paper. Guangxian’s guilty conscience and youthful understanding of morality compound these disasters, as he sends his friends and family to Communist Party–run “struggle sessions” where they are tortured into confessing their supposed crimes against the state and their comrades.]
“Why Don’t I Have a Mistress?” [我为什么没有小蜜]. Tr. Dylan Levi King. Chinese Literature Today 4, 2 (2014): 30-41.
Dongfang Bai 東方白
“The Golden Dream.” Tr. Helena Chang-hsu. The Chinese Pen (Summer 1977): 24-37. Republished as “Dream of Gold” in Nancy Ing, ed., Winter Plum: Contemporary Chinese Fiction. Taipei: Chinese Materials Center, 1982, 351-61.
Du Guoqing 杜國清 (Tu Kuo-ch’ing)
“A-he, A-he.” Tr. Kuo-Ch’ing Tu. Taiwan Literature: English Translation Series 41 (2018): 155-58.
“My Grief–In Memory of Argus.” Tr. Kuo-ch’ing Tu. Taiwan Literature: English Translation Series 41 (2018): 159-62.
Poems in: The Isle Full of Noises: Modern Chinese Poetry from Taiwan. Ed/tr. Dominic Cheung. NY: Columbia UP, 1987, 121-24.
Poems in: Taiwan Literature: English Translation Series 21 (July 2007): 115-22.
“Reincarnation of the Three Realms–After Watching the Movie God Man Dog.” Tr. Kuo-ch’ing Tu. Taiwan Literature: English Translation Series 41 (2018): 163-68.
Du Ma 杜麻
“Into Parting Arms.” Tr. Helen Wang. In Henry Y. H. Zhao and John Cayley, eds., Under-sky Underground. London: Wellswep Press,, 1994, 219-39.
Du Pengcheng 杜鹏程
Defend Yenan. Tr. Sidney Shapiro. Peking: Foreign Languages Press, 1958; rpt. 1983.
In Days of Peace. Peking: Foreign Languages Press, 1961.
“Lingkuan Gorge.” In Sowing the Clouds: A Collection of Chinese Short Stories. Peking: Foreign Languages Press, 1961, 1-5.
“Yenan People.” In I Knew All Along and Other Stories. Peking: Foreign Languages Press, 1960, 55-70.
Du Shisan
“Five Kinds of Beverages.” Tr. Jennifer O’Neal. The Chinese Pen (Summer 1988): 56-60.
Du Ye (Tu Yeh)
Poems in: The Isle Full of Noises: Modern Chinese Poetry from Taiwan. Ed/tr. Dominic Cheung. NY: Columbia UP, 1987, 189-94.
Duan Caihua
“The Feast of ‘Flower Pattern’ Wine.” Tr. Yen Yuan-shu. In Chi Pang-yuan, et al., eds., An Anthology of Contemporary Chinese Literature. Taipei: National Institute for Compilation and Translation, 1975, 2: 235-47.
Duan Ping
“Major’s Dimples.” Tr. Ma Aiying. Chinese Literature (Spring 1998).
Duanmu Hongliang 端木蕻良
“Despoiler of the Crop.” Tr. Sidney Shapiro. Chinese Literature 5 (1963): 39-56.
“Hatred.” Tr. Kuang Wendong. Chinese Literature 8 (1983): 51-68.
“Homesick.” Chinese Literature website.
“The Far-away Wind and Sand.” Tr. Clara Sun and Nathan Mao. In Joseph S.M. Lau, Leo Ou-fan Lee, and C.T. Hsia, eds., Modern Chinese Stories and Novellas, 1918-1948. NY: Columbia UP.
“Looking for a House.” Tr. Michael Lestz. Modern Chinese Literature 6, 1 (1980): 31-41.
“Lost.” In Chinese Stories from the Thirties. 2 vols. Beijing: Panda Books, 1982, 2: 86-101.
“The Osprey Village.” Chinese Literature website.
“The Rapid Currents of Muddy River.” Tr. Margaret Baumgartner and Nathan Mao. In Joseph S.M. Lau, Leo Ou-fan Lee, and C.T. Hsia, eds., Modern Chinese Stories and Novellas, 1918-1948. NY: Columbia University Press.
Red Night. Beijing: Panda Books, 1988.
“Shadows on Egret Lake.” Tr. Sidney Shapiro. Chinese Literature 4 (1962): 54-63. Rpt. in Stories from the Thirties. 2 vols. Beijing: Panda Books, 1982, 2: 73-85. Also trans. by Yuan Chi-hua and Robert Payne as “The Sorrows of the Lake of Egrets.” In Yuan and Payne, eds., Contemporary Chinese Short Stories. London: Noel Carrington, Transatlantic Arts Co., 1946, 118-129; reprinted in James Miller, et al., eds., Literature of the Eastern World. Glenview, Ill.: Scott, Foresman, 1970, 103-110.
Sorrows of Egret Lake: Selected Short Stories of Duanmu Hongliang. Trs. Howard Goldblatt and Haili Kong. HK: Chinese University Press, 2009. [bilingual edition]
“Tiger.” In Yuan Chia-hua and Robert Payne, eds., Contemporary Chinese Short Stories. London: Noel Carrington, 1946.
Duo Duo 多多
“At Dawn’s Gunpoint Lingering Smoke Rises.” Tr. Mai Mang. World Literature Today (March/April 2011): 49.
The Boy Who Catches Wasps – Translations of the Recent Poetry of Duoduo. Tr. Gregory Lee. Brookline: Zephyr Press, 2002. [reivewed by Kazim Ali for Electronic Poetry Review]
Canto (Song) (bilingual Chinese–Italian). Tr. Giusi Tamburello. Milan: Libri Scheiwiller, 1998.
“Courtyard,” “Amsterdam’s River.” Tr. George O’Connell and Diana Shi. Atlanta Review xiv, 2 (Spring/Summer 2008): 80-82
Crossing the Sea [过海]. Ed/tr Lee Robinson and Yu Li Ming. Concord, Ont.: Anansi, 1998.
“The Day I Got to Xi’an.” Tr. John A. Crespi. In Howard Goldblatt, ed., Chairman Mao Would Not Be Amused: Fiction from Today’s China. NY: Grove Press, 1995, 99-111.
Depths of Flames. Tr. Jin Zhong. Beijing: 1989.
“It’s Just Like Before,” “Five Years,” “Those Islands,” “Never a Dreamer,” “Returning.” Tr. Gregory Lee. In Henry YH Zhao, Yanbing Chen, and John Rosenwald. Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 58-63.
“Just Like Before.” Tr. Gregory B. Lee. Tinfish 3 (1996): 41-42.
“Living Together.” Tr. Mai Mang. World Literature Today (March/April 2011): 49.
Looking Out From Death: From the Cultural Revolution to Tiananmen Square. Trs. Gregory Lee and John Cayley. London: Bloomsbury Pub. Ltd., 1989.
“Poems.” Trs. Gregory B. Lee. Wasafiri 55 (2008): 43-44.
“Promise.” Tr. Mai Mang. World Literature Today (March/April 2011): 57.
“Selected Translations of Duo Duo (part I).” Tr. Gregory Lee. Interpoetics: Poetry of Asia and the Pacific Rim 1, 1 (Summer 1997).
“Selected Translations of Duo Duo (part II).” Tr. Gregory Lee. Interpoetics: Poetry of Asia and the Pacific Rim 1, 2 (Spring 1998).
Snow Plain. Tr. John Crespi. Brookline, MA: Zephyr Press, 2010.
Statements: The New Chinese Poetry of Duo Duo. Trs. Gregory Lee and John Cayley. London: Wellsweep, 1989.
“This Is the Reason We Perservere: The 2010 Neustadt Prize Lecture.” Tr. Mai Mang. World Literature Today (March/April 2011): 46-47.
“Translations of Exile Poems by Duoduo.” Tr. Gregory Lee. In Gregory Lee, ed., Chinese Writing and Exile. Chicago: Center for East Asian Studies, The University of Chicago, 1993, 139-46.
“Underground Poetry in Beijing, 1970-1978.” Tr. John Cayley. In Henry Zhao and Cayley, eds., Under-sky Underground: Chinese Writing Today #1. London: Wellsweep, 1994, 97-104.
“Wake Up.” In Kerry Flattley & Chris Wallace-Crabbe, eds., From the Republic of Conscience: An International Anthology of Poetry. Fredonia, N.Y.: White Pine Press, 1993, p. 26.
Wegstrecken (Trajectories). Trs. Jo Fleischle, Peter Hoffmann, Jürgen Ritter, Vera Schick, and Sigrid Wallerich. Bochum: projekt verlag, 1994.
“When People Rise from Cheese: Statement #1,” “The Production of Language Is in the Kitchen.” Tr. John Rosenwald, et.al. The Beloit Poetry Journal (Chapbook 19) (Winter 1988/89): 4-7.
Words as Grain: New and Selected Poems [词如谷粒]. Tr. Lucas Klein. New Haven: Yale University Press, 2021.
Duo Si 朵思 (Duo Sui)
“Giddy City” [暈眩的城市]. Tr. Yanwing Leung. The Taipei Chinese Pen 173 (Summer 2015): 8-9.
Dust
“History of a Domestic Worker’s Struggles with Domestic Service Companies.” Tr. Meng Hui. Chinese Literature Today 10, 2 (2021): 106-109.
E
Er Can
“The Travels of Erh Ts’an.” Tr. Vivian Hsu and Samuel Ling. The Chinese Pen (Winter 1979): 49-67.
Eryue He 二月河
“Emperor Yongzheng (Excerpts).” Tr. Xiong Zhenru. Chinese Literature (Autumn 1998).
F
Fan Jiajun (Willy Fan) 范家駿
“Things You Know” [你知道的事]. Tr. Yanwing Leung. The Taipei Chinese Pen (Winter 2016): 18-19.
Fan Xiaoqing 范小青
“Our Life of Combat Is Like Poetry” (我们的战斗生活像诗篇). Tr. Xiaojing Zhou. Chinese Literature Today 4, 2 (2014): 20-27.
“Return to Secular Life.” In Six Contemporary Chinese Women Writers, IV. Beijing: Panda, 1995, 146-83.
“Where Did I Lose You?” [我在哪里丢失了你]. Tr. Paul Harris. Paper Republic (Nov. 10, 2016).
“Ying Yang Alley” [鹰扬巷]. Tr. Helen Wang. Paper Republic (April 14, 22016).
Fan Yanqiao
“A Writer’s Tribulations.” Tr. Timothy C. Wong. In Wong, Stories for Saturday: Twentieth Century Chinese Popular Fiction. Honolulu: University of Hawaii Press, 2003, 205-14.
Fan Yusu 范雨素
“I Am Fan Yusu.” Tr. What’s on Weibo. What’s on Weibo (May 10, 2017).
“Names.” Tr. Grace Price. Chinese Literature Today 10, 2 (2021): 110-113.
Fang Fang 方方
Children of the Bitter River: A Novel [风景]. Tr. Herbert Batt. Norwalk, CT: Eastbridge Books, 2007.
“Hints.” Tr. Ling Yuan. Chinese Literature (Summer 1997). Also in Kwok-kan Tam, Terry Siu-Han Yip, Wimal Dissanayake, eds., A Place of One’s Own: Stories of Self in China, Hong Kong, and Singapore. NY: Oxford UP, 1999, 215-48.
—–. “I Will Face it All with No Misgivings: After Wuhan Diary.” In Wuhan Diary: Dispatches from a Quarantined City. Tr. Michael Berry. HarperVia, 2022.
“Love and Its Lack Are Emblazoned on the Heart.” Tr. Eleanor Goodman. In Charles A. Laughlin, Liu Hongtao, and Jonathan Stalling, eds., By the River: Seven Contemporary Chinese Novellas. Norman: University of Oklahoma Press, 2016, 191-240.
“May My Dream Come True.” In Hui Wu, ed., Once Iron Girls: Essays on Gender by Post-Mao Chinese Literary Women. Lanham, MD: Lexington Books, 2010, 45-47.
“Predestined.” Tr. Zhang Siying. Chinese Literature (Winter 1998).
“Obedience Versus Disobedience.” In Hui Wu, ed., Once Iron Girls: Essays on Gender by Post-Mao Chinese Literary Women. Lanham, MD: Lexington Books, 2010, 37-38.
The Running Flame [奔跑的火光]. Tr. Michael Berry. New York: Columbia University Press, 2024.
[Abstract: The Running Flame opens with its protagonist in prison awaiting execution, desperate to give an account of her life. Yingzhi, a girl from the countryside, sees opportunity in the liberal trends sweeping across China. After high school, she joins a song-and-dance troupe, which allows her to travel and opens her eyes to new people and places. But an unplanned pregnancy brings an abrupt end to all her youthful dreams. Trapped in a bad marriage, Yingzhi is driven to desperate measures—and eventually a shocking act of violence. Fang Fang’s explosive short novel inspired widespread social debate in China upon its publication in 2001. In exploring the difficulties of one woman shackled by patriarchal tradition against the backdrop of radical social change, The Running Flame bears witness to widespread experiences of gendered violence and inequality. Fang Fang evocatively captures both the heady feeling of possibility in China’s roaring 1990s and its dark underside, as economic reform unleashed social dislocation in towns and villages. The novel draws loosely from interviews the author conducted with female death row inmates in a Chinese prison. Equal parts social critique and domestic horror, The Running Flame is a gripping, propulsive narrative that shines a light on the struggles of poor women in China’s countryside.
Soft Burial [软埋]. Tr. Michael Berry. New York: Columbia University Press, 2024.
[Abstract: Fang Fang’s Soft Burial begins with a mysterious, nameless protagonist. Decades earlier she was pulled out of a river in a state of near-death; upon regaining consciousness, she discovered that her entire memory had been erased. The narrative follows her journey through recovery as she takes a job as a housekeeper in the home of a powerful cadre, marries the doctor who saved her, and starts a family of her own. As the story unfolds, the protective cocoon of amnesia that her subconscious wove around her begins to give way, revealing glimpses of her previous life and the unspeakable trauma that she suffered. Soft Burial is one of the most remarkable—and most controversial—recent works of Chinese literature. Part mystery, part historical fiction, and part social exposé, the novel intercuts different generations, regions, and time periods. First published in 2016, Soft Burial initially received critical acclaim but soon faced a wave of denunciations and was taken off the shelves of bookstores throughout China. Fang Fang challenged the unspoken rules that govern how Chinese writers portray the past by depicting the human costs of the Land Reform Campaign in the late 1940s and early 1950s, and she was attacked for expressing sympathy toward members of the “landlord class.” An intimate portrait of historical trauma and the psychological toll of repressed violence, Soft Burial is a landmark in contemporary Chinese fiction.]
“Stakeout.” Tr. Zhang Siying. Chinese Literature (Summer 1997).
Three Novellas By Fang Fang: Contemporary Chinese Women Writers V. Beijing: Panda, 1996.
The Walls of Wuchang [武昌城]. Tr. Olivia Milburn. Sinoist Books, 2022.
[Abstract: 1926. Wuhan is in lockdown. Fourteen years earlier, its heroes toppled China’s last emperor, but at great cost. Patriots became politicians. Reformers became warlords. Now at Wuchang, the ancient walled city anchoring the metropolis to the Yangtze, they fight to the death. Former comrades and broken families watch each other through iron crosshairs. For Chiang Kai‑shek’s unproven government forces camped outside, victory means a chance at national salvation. For the ragtag Beiyang soldiers and citizenry trapped within, there is but one mission: stay alive. From the banks of the Mother River, the cold stone walls have seen entire dynasties unravelled in tides of senseless destruction. Will the living fare any better?]
“On Women.” In Hui Wu, ed., Once Iron Girls: Essays on Gender by Post-Mao Chinese Literary Women. Lanham, MD: Lexington Books, 2010, 41-43.
“Women’s Eyes.” In Hui Wu, ed., Once Iron Girls: Essays on Gender by Post-Mao Chinese Literary Women. Lanham, MD: Lexington Books, 2010, 39.
Wuhan Diary: Dispatches from a Quarantined City. Tr. Michael Berry. NY: HarperCollins, 2020. [MCLC Resource Center review by Howard Y. F. Choy]
[Abstract: From one of China’s most acclaimed and decorated writers comes a powerful first-person account of life in Wuhan during the COVID-19 outbreak and the toll of this deadly calamity on families and individual lives. On January 25, 2020, acclaimed Chinese writer Fang Fang began publishing an online diary to help herself and others understand what was happening in Wuhan, the epicenter of the COVID-19 outbreak. Deeply personal and informative, her posts reveal in real-time the widespread impact of the virus and the government’s mandatory quarantine on the city’s residents. Each day, she gives voice to the fears, frustrations, anger, and hope of millions of ordinary Chinese, reflecting on the psychological impact of forced isolation, the role of the internet as both community lifeline and source of misinformation, and most tragically, the lives of neighbors and friends taken by the deadly virus. In a nation where authorities use technology to closely monitor citizens and tightly control the media, writers often self-censor. Yet the stark reality of this devastating situation drives Fang Fang to courageously speak out against social injustice, corruption, abuse, and the systemic political problems which impeded the response to the epidemic. For treading close to the line of “dissident,” she pays a price: the government temporarily shuts down her blog and deletes many of her published posts. A fascinating eyewitness account of events as they unfold, Wuhan Diary captures the challenges of daily life and the changing moods and emotions of being quarantined without reliable information. As Fang Fang documents the beginning of the global health crisis in real time, she illuminates how many of the countries dealing with the novel coronavirus pandemic have repeated similar patterns and mistakes. Blending the eerie and dystopian, the profound and the quotidian, Wuhan Diary is a remarkable record of our times and a unique look at life in confinement in an authoritarian nation.]
Fang Hao
“My Mother.” Tr. Wu Wang Hen-ling. The Chinese Pen (Spring 1978): 106-115.
Fang Jing
Poems in Twentieth Century Chinese Poetry: An Anthology. Ed. Hsu Kai-yu. Garden City, N.Y.: Doubleday, 1963.
Fang Ming 方明 (Fong Ming)
“Human Affairs without Design” [世事無端]. Tr. J. S. Balcom. The Taipei Chinese Pen 172 (Spring 2015): 13-14.
“Reading Paris at Night” [夜讀花都]. Tr. Yanwing Leung. The Taipei Chinese Pen 172 (Spring 2015): 11-12.
Fang Qi (Fang Ch’i)
Poems in China, China: Contemporary Poetry from Taiwan, Republic of China. Eds. Germain Groogenbroodt and Peter Stinson. Ninove, Belgium: Point Books, 1986.
Fang Shumin
“The Moon on a Frosty Morning.” Tr. W.J.F. Jenner. In W.J.F. Jenner, ed. Modern Chinese Stories. London: Oxford UP, 1970, 220-29.
Fang Weide
Poems in Twentieth Century Chinese Poetry: An Anthology. Ed. Hsu Kai-yu. Garden City, NY: Doubleday, 1963, 127-30.
Fang Yu
“The Waterfall, A Stranger” (Mosheng de pubu). Tr. Ronald Egan. Taiwan Literature English Translation Series 1 (Aug. 1996).
Fang Zhi
“Taking Charge.” Tr. Margeret Decker. In Helen Siu, ed. Furrows, Peasants, Intellectuals and the State: Stories and Histories from Modern China. Stanford: Stanford UP, 1990, 134-46.
“A Traitor in the Ranks.” Tr. Howard Goldblatt and George Cheng. In Prize Winning Stories From China, 1978-1979. Beijing: Foreign Languages Press, 1981, 334-83.
Fei Dao 飞氘
“The Demon’s Head.” Tr. David Hull. Renditions 77/78 (Spring/Autumn 2012): 263-71. Rpt. in Mingwei Song and Theodore Huters, eds., The Reincarnated Giant: An Anthology of Twenty-First-Century Chinese Science Fiction. NY: Columbia University Press, 2018, 364-74.
“The Robot Who Like to Tell Tall Tales.” Tr. Ken Liu. In Ken Liu, ed/tr. Broken Stars: Contemporary Chinese Science Fiction in Translation. NY: Tor Books, 2019, 235-62.
“Science Fiction: Embarrasing No More.” Tr. Ken Liu. In Ken Liu, ed/tr. Broken Stars: Contemporary Chinese Science Fiction in Translation. NY: Tor Books, 2019, 473-.
“A Story of the End of the World.” Tr. David N. C. Hull. In Geng Song and Qingxiang Yang, eds., The Sound of Salt Forming: Short Stories by the Post-80s Generation in China. Honolulu: University of Hawaii, 2016, 227-31.
Fei Ma
Poems in: The Isle Full of Noises: Modern Chinese Poetry from Taiwan. Ed/tr. Dominic Cheung. NY: Columbia UP, 1987, 117-20.
Fei Ming (see Feng Wenbing)
Feng Jicai 冯骥才
Chrysanthemums and Other Stories. San Diego: Harcourt, Brace, Javanovich, 1985.
Faces in the Crowd: 36 Extraordinary Tales of Tianjin. Tr. Olivia Milburn. Sinoist Books, 2019.
“Fragrant Lotus” [from Three-Inch Golden Lotus]. In Geremie Barme, New Ghosts, Old Dreams: Chinese Rebel Voices. NY: Times Books, 1992, 121-30.
“Granny Drunkard.” In Loud Sparrows: Contemporary Chinese Short-Shorts. Trs. Aili Mu, Julie Chiu, and Howard Goldblatt. NY: Columbia University Press, 2006, 180-82.
Let One Hundred Flowers Bloom. Tr. Christopher Smith. London/NY: Viking, 1995.
“The Tall Woman and Her Short Husband.” Tr. Gladys Yang. In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: Foreign Languages Press, 1991, 85-98. Rpt. in Carolyn Choa and David Su Li-qun, eds., The Vintage Book of Contemporary Chinese Fiction. NY: Vintage Books, 2001, 237-48. Also tr. By Simon Johnstone. In Jianing Chen, ed. Themes in Contemporary Chinese Literature. Beijing: New World Press, 1993, 302-19.
Ten Years of Madness: Oral Histories of China’s Cultural Revolution. San Francisco: China Books, 1996.
The Miraculous Pigtail. Beijing: Panda Books, 1987.
The Three-Inch Golden Lotus. trs. David Wakefield. Honolulu: University of Hawaii Press, 1992.
Voices from the Whirlwind: An Oral History of the Cultural Revlolution. Tr. Denny Chu, Cap Hong, Cathy Cilber, and Lawrence Tedesco. NY: Pantheon, 1991.
“Winding Brook Way.” Tr. Susan Wilf Chen. In Chrysanthemums and Other Stories by Feng Jicai. San Diego: Harcourt, Brace, Jovanivich, 1985, 165-171
“A Written Testimonial: About the Cultural Revolution.” Tr. Phillip Williams. In Helmut Martin, ed., Modern Chinese Writers: Self-portrayls. Armonk, NY: M.E. Sharpe, Inc., 1992, 15-19.
Feng Keng 馮鏗
“The Child Pedlar.” In J. Anderson and T. Mumford, eds. and trs., Chinese Women Writers: A Collection of Short Stories by Chinese Women Writers of the 1920s and 1930s. SF: China Books and Periodicals, 1985, 129-36.
Feng Liang
“In Search of Musk.” Tr. Herbert Batt. In Batt, ed., Tales of Tibet: Sky Burials, Prayer Wheels, and Wind Horses. Rowman and Littlefield, 2001, 217-24.
Feng Shuluan 冯叔鸾
“The Red Chips.” Tr. Timothy C. Wong. In Wong, Stories for Saturday: Twentieth Century Chinese Popular Fiction. Honolulu: University of Hawaii Press, 2003, 29-36.
Feng Tang 冯唐
Beijing, Beijing. Tr. Michelle Deeter. Seattle: Amazon Crossing, 2015.
[Abstract: In the 1990s, as China continues to embrace—and grapple with—the global market economy, Qiu Shui and his friends attend med school, an ambition that has more to do with getting out of the country than with actually becoming doctors. Following the exploits of a young student and his classmates, from drinking binges, sex, and playing video games all night to military training, homework, and college-age high jinks, Beijing, Beijing provides an inventive, hilarious, and incisive look into how a culture—and one man—struggle to reconcile their past with the changes brought by modern times. As the years pass and friends, family, and lovers move on, Qiu Shui confronts the loneliness and confusion that define his generation.]
“Mahjong.” Tr. Brendan O’Kane. Pathlight: New Chinese Writing 2 (2012): 66-73. Rpt. Paper Republic 29 (Dec. 2015).
Feng Wenbing 冯文炳
Bridge [excerpt]. Tr. Christopher Smith. Chinese Literature (Spring 1990): 119-22.
“Caltrop Pond.” Tr. Christopher Smith. Chinese Literature (Spring 1990): 113-18. Tr. in French as “L’etang aux chataignes d’eau.” In Le fox-trot de Shanghai et autres novelles chinoises. Trs/eds. Isabelle Rabut and Angel Pino. Paris: Albin Michel, 1996, 35-41.
“Lantern.” Tr. Yilin Wang. Puritan 55 (Fall 2021).
“Little Sister.” Tr. C. C. Wang. In Contemporary Chinese Stories. New York: Columbia University Press, 1944, 127-34.
“Mr. and Mrs. Zhang.” Tr. Andrew F. Jones. Renditions 100 (2024): 131-38.
“On Modern Poetry.” In Harold Action and Chen Shih-hsiang, eds./trs., Modern Chinese Poetry. London: Duckworth, 1936.
“The Story of the Bamboo Grove.” Tr. Li Guoqing. Chinese Literature (Spring 1990): 108-12. Tr. in French as “Une histoire dans la foret de bambous.” In Le fox-trot de Shanghai et autres novelles chinoises. Trs/eds. Isabelle Rabut and Angel Pino. Paris: Albin Michel, 1996, 23-34.
“The Story of the Bamboo Grove.” Tr. Andrew Jones. Renditions 100 (2024): 123-30.
Poems in: Anthology of Modern Chinese Poetry. Ed/tr. Michelle Yeh. New Haven: Yale UP, 1992, 22-24.
Feng Xuefeng 冯雪峰
“The Cow and Her Rope.” In Hualing Nieh, ed. and co-trans., Literature of the Hundred Flowers Volume II: Poetry and Fiction. NY: Columbia University Press, 1981, 307.
“The Duckling Who Became ‘Prince in Exile’.” In Hualing Nieh, ed. and co-trans., Literature of the Hundred Flowers Volume II: Poetry and Fiction. NY: Columbia University Press, 1981, 307-308.
Fables. San Francisco: China Books and Periodicals, 1983.
“The Snake and the Hare.” In Hualing Nieh, ed., Literature of the Hundred Flowers Volume II: Poetry and Fiction, NY: Columbia UP, 1981, 308-309.
“The Young Also Need the Hundred Flowers Blooming to Help Them Grow.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume I: Criticism and Polemics. NY: Columbia UP, 1981, 58-60.
Feng Youlan 冯友兰
The Hall of Three Pines: An Account of My Life. Tr. Denis Mair. Honolulu: University of Hawaii Press, 2000.
Feng Yuanjun 冯沅君
“The Journey.” In J. Anderson and T. Mumford, eds. and trs., Chinese Women Writers: A Collection of Short Stories by Chinese Women Writers of the 1920s and 1930s. SF: China Books and Periodicals, 1985, 168-78.
An Outline History of Classical Chinese Literature. Tr. Yang Xianyi and Gladys Yang. HK: Joint Publishing Co., 1983.
“Separation.” Tr. Janet Ng. In A. Dooling and K. Torgeson, eds., Writing Women in Modern China: An Anthology of Women’s Literature from the Early Twentieth Century. NY: Columbia UP, 1998, 105-113.
Feng Zhi 冯至
Poems in: Anthology of Chinese Literature. 2 vols. Ed. Cyril Birch. NY: Grove Press, 1972, vol. 2.; Chinese Literature 3 (1963); Contemporary Chinese Poetry. Ed. Payne; Feng Chih. Ed. Dominic Cheung. Boston: Twayne, 1979; Modern Chinese Poetry. Ed. Julia Lin; The People Sing. More: Translations of Poems and Songs of the People of China. Ed. Rewi Alley; Twentieth Century Chinese Poetry: An Anthology. Ed. Kai-yu Hsu. Garden City, NY: Doubleday, 1963, 131-49.
“Much of Our Contemporary Poetry Seems Unimaginative in Its Thought Structure, Shallow in Feelings, Tedious, and Lacking in Intensity of Language.” In Hualing Nieh, ed./tr. Literature of the Hundred Flowers. 2 vols. NY: Columbia UP, 1981, II: 37-38.
Fengzi
” The Portrait.” Tr. Ann Huss. In Amy D. Dooling, ed., Writing Women in Modern China The Revolutionary Years, 1936-1976. NY: Columbia UP, 2005, 207-22.
Feng Zikai 丰子恺
“Autumn” [秋]. Tr. David Pollard. In Pollard, ed., The Chinese Essay. NY: Columbia UP, 2000, 195-99.
“Bombs in Yishan.” Tr. D. Pollard. Renditions 38 (Aut. 1992): 77-83. Also in Pollard, ed., The Chinese Essay. NY: Columbia UP, 2000, 199-205.
“Eating Melon Seeds” [吃瓜子]. Tr. David Pollard. In Pollard, ed., The Chinese Essay. NY: Columbia UP, 2000, 189-95.
“The Gradual.” Tr. Lifeng Ouyang. Renditions 89 (Spring 2018): 57-60.
“The Story of Realization.” Tr. Wai-ho Wong. Renditions 100 (2024): 165-68.
Fu Aimao
“Elope.” In Loud Sparrows: Contemporary Chinese Short-Shorts. Trs. Aili Mu, Julie Chiu, and Howard Goldblatt. NY: Columbia University Press, 2006, 155.
Fu Lin
“Stones in the Sea (Qing hai shi).” In The Sea of Regret: Two Turn of the Century Chinese Romantic Novels. Honolulu: University of Hawaii Press, 1995, 19-100
Fu Yuli 傅玉丽
“That Damn Thing She Said.” Tr. Nicky Harman. Pathlight: New Chinese Writing (Sept. 2014). Available on Free Word Centre.
Fu Yuehui 甫跃辉
“The Giant Elephant.” Tr. Darrell Darrington. In Geng Song and Qingxiang Yang, eds., The Sound of Salt Forming: Short Stories by the Post-80s Generation in China. Honolulu: University of Hawaii, 2016, 52-76.
G
Gan Tiesheng 甘鉄生
“The Get-Together.” [story]. In Helen F. Siu and Zelda Stern, eds./trs. Mao’s Harvest: Voices from China’s New Generation. NY: Oxford UP, 1983, 198-207.
Gan Yaoming 甘耀明
“Have a Bite of Ghotst B.” In Unsinkable: Short Stories from Taiwanese Writers. Serenity International, 2020.
Gao Dapeng
“Meditations in the August Sanctuary.” Tr. Jane Parish Yang. The Chinese Pen (Spring 1982): 46-65.
Gao Ertai 高尔泰
In Search of My Homeland: Memoir of a Chinese Labor Camp. NY: Ecco Press, 2009.
“My Sister Lan’s Specimen Book.” Tr. H. Batt. In Henry YH Zhao, Yanbing Chen, and John Rosenwald. Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 90-95.
“Sunset Over Barren Mountains.” Tr. Zhu Hong. Words Without Borders: The Online Magazine of International Literature.
Gao Fengge
“Paving the Way.” In I Knew All Along and Other Stories By Contemporary Chinese Writers. Peking: Foregin Languages Press, 1960, 44-48.
Gao Jianqun 高建群
Tongwan City. Tr. Eric Mu. CN Times Books, 2013.
[Abstract: Sixteen centuries ago, the last chieftain of the Xiongnu sought to unite China by force. In Tongwan City, the warlord Helian Bobo orders that an impregnable city be built. This city will be the capital of an empire that unites China. Tongwancheng (unite all nations) or Tongwan City would be built with thick outer walls made with white clay and powdered rice, giving the city the appearance of a giant ship. Helian stops at nothing to build his city and his empire, drafting 100,000 Xiongnu. Will Helian Bobo’s Tongwancheng unite China under one ruler? Meanwhile, another great man is quietly laying the groundwork for a nation. Kumarajiva is brought to the Chinese court to begin teaching the precepts of Buddhism. He embarks on a career of teaching, and of translating the basic sutras into Chinese. As his influence begins to spread and his fame grows, the seeds of a unified China are sown. Twenty years ago, Gao Jianqun’s bestselling novel The Last Hun popularized ancient Chinese legend and renewed interest in early Chinese history and culture. In Tongwan City, Gao relates an epic saga of murder and compassion in the grassland kingdom of the ancient Chinese frontier, while telling a parallel story of knowledge blooming in the center of Chinese life. Gao weaves into this tale seminal themes of Chinese history and culture: the connection between the warlike Xiongnu and their cousins the Huns. And he tells of the Great Wall that was built to separate the Xiongnu from the Han Chinese, and the philosophy that ultimately united them.]
Gao Lanting
“Huaiyiwan—A Story of the North Shensi Guerillas.” Tr. W.J.F. Jenner. In W.J.F. Jenner, ed. Modern Chinese Stories. London: Oxford UP, 1970, 139-49.
Gao Xiaosheng 高晓声
The Broken Betrothal. Beijing: Panda, 1981.
“A Gift of Land.” Tr. Howard Goldblatt. In Helen F. Siu, ed., Furrows: Peasants, Intellectuals, and the State: Stories and Histories from Modern China. Stanford: Stanford University Press, 1990, 163-80.
“Invasion of the Grassy Pond.” Trs. Ren Zhong and Yuzhi Yang. In Hometowns and Childhood. San Francisco: Long River Press, 2005, 105-108.
“Li Shunda Builds a House.” In The New Realism. ed. Lee Yee. NY: Hippocrene, 1983, 31-55. Also, Tr. Madelyn Ross. In Mason Y.H. Wang, ed., Perspectives in Contemporary Chinese Literature. University Center, MI: Green River Press, 1983, 193-228. Also, in Kwok-kan Tam, Terry Siu-Han Yip, Wimal Dissanayake, eds., A Place of One’s Own: Stories of Self in China, Hong Kong, and Singapore. NY: Oxford UP, 1999, 3-27..
“Trusts of Violent Creativity: ‘I Returned with My Hands Empty and Shame on My Face.'” Tr. Fung Mei-cheong. In Helmut Martin, ed., Modern Chinese Writers: Self-portrayals. Armonk, NY: M.E. Sharpe, 1992, 85-90.
Gao Xingjian 高行健
“The Accident.”Tr. Mabel Lee. The New Yorker (June 2, 2003). Rpt. in Buying a Fishing Rod for My Father. NY: HarperCollins, 2004.
“The Aesthetics of Creation.” Tr. Caroline Mason. China Perspectives 2 (2010): 47-52.
“Alarm Signal.” In Shiao-Ling Yu, ed., Chinese Drama after the Cultural Revolution, 1979-1989. Lewiston: Edwin Mellen Press, 1996, 159-232.
Ballade Nocturne. Tr. (from French) Claire Conceison. Lewes, UK: Sylph Editions, 2010. [Cahiers Series (italics), American University of Paris.]
“Between Life and Death.” Tr. Gilbert C. F. Fung. In The Other Shore: Plays by Gao Xingjian. HK: The Chinese University Press, 1999.
“The Bus Stop.” In Shiao-Ling Yu, ed., Chinese Drama after the Cultural Revolution, 1979-1989. Lewiston: Edwin Mellen Press, 1996, 233-90. Also in Xiaomei Chen, ed., The Columbia Anthology of Modern Chinese Drama. NY: Columbia UP, 2010, 769-804.
“Bus Stop: A Lyrical Comedy on Life in One Act.” Tr. Kimberley Besio. In Haiping Yan, ed., Theater and Society: An Anthology of Contemporary Chinese Drama. Armonk, NY: M.E. Sharpe, 1998, 3-59.
“The Bus-stop” (partial). Tr. Geremie Barmé. Renditions 19/20 (1983): 373-86.
Buying a Fishing Rod for My Grandfather. Tr. Mabel Lee. NY: HarperCollins, 2004. [comprised of “The Temple,” “In the Park,” “Cramp,” “The Accident,” “Buying a Fishing Rod for My Grandfather,” and “In an Instant”]
Calling for a New Renaissance. Trs. Mabel Lee and Yan Qian; ed. Mabel Lee. Amherst, NY: Cambria, 2022.
[Abstract: Gao Xingjian presents his primary concerns of the past decade or so. He indicts the lingering impact of ideology on contemporary literature and art, and for this reason calls for “a new Renaissance,” a result of which would be “boundary-crossing creations” such as the three cine-poems that he produced and describes in detail in this book. Of importance in this book, and not documented elsewhere, Gao offers his insights on how, despite receiving his education in the People’s Republic of China, he succeeded in educating himself in both Chinese and world literatures because of his love of reading and his disciplined approach to reading. This book also includes fifty images selected by Gao, forty-five of which are his favorite paintings from his private collection.]
“The Case for Literature: 2000 Nobel Literature Lecture.” Nobel Prize.org (2000)
The Case for Literature. Tr. Mabel Lee. London, Sydney: Fourth Estate, 2006.
[in addition to his Nobel Lecture, “The Case for Literature,” the volume contains “The Modern Chinese Language and Literary Creation,” “Without Isms,” “The Voice of the Individual,” “Another Kind of Theatre,” “The Necessity of Loneliness,” “Wilted Chrysanthemums,” “About Fleeing,” “Literature and Metaphysics: About Soul Mountain,” “Cold Literature,” “Literature as Testimony: The Search for Truth,” “Author’s Preface to Without Isms.”]
City of the Dead and Song of the Night. Trs. Gilbert C. F. Fong and Mabel Lee. HK: The Chinese University Press, 2014. [MCLC Resource Center review by Jianmei Liu]
Cold Literature: Selected Works by Gao Xingjian. Trs. Gilbert C. F. Fong and Mabel Lee. HK: Chinese University Press, 2005.
“Contemporary Technique and National Character in Fiction.” Tr. Ng Mau-sang. Renditions 19/20 (1983): 55-58.
“Dialogue and Rebuttal.” Tr. Gilbert C. F. Fung. In The Other Shore: Plays by Gao Xingjian. HK: The Chinese University Press, 1999.
Dialoguer/Interloquer. Tr. Gao Xingjian. Paris: Meet, 1994.
Escape and the Man Who Questions Death: Two Plays by Gao Xingjian. Tr. Gilbert C. F. Fong. HK: The Chinese University Press, 2007.
“Fugitives: A Modern Tragedy in Two Acts.” Tr. Gregory Lee. In Gregory Lee, ed., Chinese Writing and Exile. Chicago: Center for East Asian Studies, The University of Chicago, 1993, 89-137.
Gao Xinjian: Aesthetics and Creation. Tr. Mabel Lee. Amherst, NY: Cambria, 2012. [MCLC Resource Center review by Kwok-kan Tam]
[Abstracts: The present collection takes the title Aesthetics and Creation from the name of the Chinese collection from which most of these essays are drawn, but it also includes some of Gao’s most recent unpublished essays. University of Sydney academic Mabel Lee is the translator, and the book also includes her authoritative introductory essay that contextualizes Gao’s significant position as an independent and uncompromising voice in the noisy hype of the globalized world of the present in which creative writers and artists are forced to conform with the demands of political and other group agendas, or with market forces, in order to survive. In incisive and cogently argued essays, he exposes the political dynamics of so-called “modernity” in Western literature and art, and how this has been enthusiastically embraced in China since the 1980s. In other essays he analyses traditional and modern European and Chinese notions of fiction, theatre and art, and elaborates on what aspects of writers and artists from both cultures have informed him in developing his own aesthetics in narration, performance and the visual arts. These essays testify to the extent of the cosmopolitanism of his aesthetics that both informs and are manifested in his literary and art creations. Gao Xingjian’s Aesthetics and Creation has importance and relevance to the general reader with an interest in literature and art as a creative human pursuit that is not demarcated by national or cultural boundaries. This book is both indispensable and inspiring reading for intellectuals and informed readers who regard themselves as citizens of the world. For academics, researchers, and students engaged in the disciplines of literature and visual art studies, world literature studies, comparative literature studies, performance studies, theatre studies, cultural studies, narrative fiction studies, and studies in the history of literature and the visual arts in modern times, this book is essential and thought-provoking reading that will have many positive outcomes.]
“Gao Xingjian tan wenxue chuangzuo” 高行健談文學創作 (Gao Xingjian discusses literary creativity). Transcript in Chinese of Gao’s Lecture at City University of Hong Kong (January 31, 2001).
“Hiding From the Rain.” Tr. Tsushiu Chiu. Studies on Asia Series II, 2, 1 (2005): 1-19. [pdf download]
“The Language of Exile: A Dialogue between Gao Xingjian and Yang Lian.” Tr. Ben Carrdus. Yanglian.net.
“Leaving the Twentieth Century Behind: A Conversation between Gao Xingjian and Liu Zaifu.” Tr. Caroline Mason. China Perspectives 3 (2008): 118-22.
“A Literary Journey.” English translation of transcript of Gao’s lecture at City University of Hong Kong (January 31, 2001).
“Literature as Testimony: The Search for Truth.” Tr. Mabel Lee. Stockholm: Swedish Academy, 2001.
Nobel Laureate, Swedish Sinologist Speak (Video files of talks given in Mandarin at City University HK, Jan. 31, 2001).
“Nobel Lecture: The Case for Literature.” Tr. Mabel Lee. Stockholm: Swedish Academy, 2000.
“Nocturnal Wanderer.” Tr. Gilbert C. F. Fung. In The Other Shore: Plays by Gao Xingjian. HK: The Chinese University Press, 1999.
Of Mountains and Seas: A Tragicomedy of the Gods in Three Acts. Tr. Gilbert C. F. Fong. HK: The Chinese University of Hong Kong, 2008.
One Man’s Bible. Tr. Mabel Lee. New York: HarperCollins, 2002.
The Other Shore: Plays by Gao Xingjian. Tr. Gilbert C. F. Fong. HK: The Chinese University Press, 1999. [includes: The Other Shore (1986), Between Life and Death (1991), Dialogue and Rebuttal (1992), Nocturnal Wanderer (1993), and Weekend Quartet (1995)].
“The Other Shore.” Tr. Gilbert C. F. Fung. In The Other Shore: Plays by Gao Xingjian. HK: The Chinese University Press, 1999.
“The Other Side.” Tr. Jo Riley. In Martha Cheung and Jane Lai, eds., An Oxford Anthology of Contemporary Chinese Drama. NY: Oxford University Press, 1997, 152-183.
“Poems 1-9 from Wandering Spirit and Metaphysical Thoughts.” Tr. Mabel Lee. Portal 14, 1 (April 2017).
Snow in August: Play by Gao Xingjian. Tr. Gilbert C. F. Fong. HK: The Chinese University Press, 2003.
Le Somnambule. French version by Gao Xingjian. Carnieres-Morlawelz, Belgium: Editions Lansman, 1995.
Soul Mountain. Tr. Mabel Lee. HarperCollins, 2000.
“The Voice of the Individual.” Tr. Lena Aspfors and Torbjorn Loden. The Stockholm Journal of East Asian Studies 6 (1995): 71-81.
Wandering Mind and Metaphysical Thoughts. Tr. Gilbert C. F. Fong. HK: Chinese University Press, 2018.
[Abstract: Gao Xingjian does not write many poems, but the ones he has written are real gems; they are snippets of his reflective moods. To those of us who know the man, he is poetry incarnate, with the essential purity and density of a good poem. The present collection, his first and only poetry anthology in English translation, affords insights into Gao’s philosophy of freedom and the independence of spirit, and elucidates his ideas as a novelist, dramatist and painter. Modern art, claims Gao, is at a crisis point, under attack from all sides by onslaughts coming especially from politics and the marketplace, which results in what he calls the “annihilation” of beauty. We see Gao Xingjian as a natural, warm, and insightful thinker capable of grace, beauty, and his own brand of esoteric wisdom, at times almost honest to a fault but not without a touch of humor and wittiness. A riveting and compulsive read.]
“Weekend Quartet.” Tr. Gilbert C. F. Fung. In The Other Shore: Plays by Gao Xingjian. HK: The Chinese University Press, 1999.
“Wild Man, a Contemporary Chinese Spoken Drama.” Tr. Bruno Roubicek. Asian Theatre Journal 7, 2 (Autumn 1990): 184-249.
“Without Isms.” Trs. Winnie Lau, Deborah Sauviat, and Martin Williams. The Journal of the Oriental Society of Australia 27/28 (1995/96).
“Without Isms.” Tr. Mabel Lee. In Gao, The Case for Literature. London, Sydney: Fourth Estate, 2006, 64-77.
Gao Yang
Stories by Gao Yang: “Rekindled Love” and “Purple Jade Hairpin”. Tr. Chan Sin-wai. HK: Chinese University Press, 1989.
Gao Yihan
“The Question of People’s Rights in the Provincial Constitutions.” Contemporary Chinese Thought (Special issue on Rights and Human Rights). 31, 1 (Fall 1999): 62-63.
“The State Is Not the Final End of Life.” Contemporary Chinese Thought (Special issue on Rights and Human Rights). 31, 1 (Fall 1999): 58-61.
Gao Ying
“Dajee and Her Father.” Tr. Tang Sheng. Chinese Literature 11 (1959): 20-40.
“In the Same Boat.” Tr. Sidney Shapiro. Chinese Literature 11 (1963): 26-38.
“White-capped Waves.” Tr. Sidney Shapiro. Chinese Literature 6 (1964): 17-31.
Gao Yubao
My Childhood. Peking: Foreign Languages Press, 1960; 1975.
Gao Yunlan
Annals of a Provincial Town. Tr. Sidney Shapiro. Peking: Foreign Languages Press, 1959.
Ge Fei 格非
“A Date in Purple Bamboo Park.” The Mystified Boat and Other New Stories from China. Eds. Frank Stewart and Herbert J. Batt. Special issue of Manoa: A Pacific Journal of International Writing 15, 2 (Winter 2003). Honolulu: University of Hawaii Press, 1-7.
“Encounter.” Tr. Herbert Batt. In Batt, ed., Tales of Tibet: Sky Burials, Prayer Wheels, and Wind Horses. Rowman and Littlefield, 2001, 77-104.
Flock of Brown Birds [褐色鸟群]. Tr. Poppy Toland. Sydney: Penguin, 2016.
[Abstract: In this avant garde masterpiece, memory is a fluid concept. The protagonist, a writer, is at a publisher-sponsored retreat to finish his novel. The beauty of the location however cannot compensate for the anxiety and hallucinations he experiences while watching a flock of brown birds pass by his window, and his sense of temporal disorientation is further compounded by the appearance of a strange woman who calls him Ge Fei. Fiction and reality blend into one as the story unfolds. Ge Fei’s prose renders in exquisite detail the fragility of time.]
“Green Yellow.” Tr. Eva Shan Chou. In Jing Wang, ed., China’s Avant-garde Fiction. Durham: Duke UP, 1998, 23-42.
The Invisibility Cloak [隐身衣]. Tr. Caanan Morse. NY: New York Review of Books Classics, 2016.
[Abstract: The hero of The Invisibility Cloak lives in contemporary Beijing—where everyone is doing their best to hustle up the ladder of success while shouldering an ever-growing burden of consumer goods—and he’s a loser. Well into his forties, he’s divorced (and still doting on his ex), childless, and living with his sister (her husband wants him out) in an apartment at the edge of town with a crack in the wall the wind from the north blows through while he gets by, just, by making customized old-fashioned amplifiers for the occasional rich audio-obsessive. He has contempt for his clients and contempt for himself. The only things he really likes are Beethoven and vintage speakers. Then an old friend tips him off about a special job—a little risky but just don’t ask too many questions—and can it really be that this hopeless loser wins? This provocative and seriously funny exercise in the social fantastic by the brilliantly original Ge Fei, one of China’s finest living writers, is among the most original works of fiction to come out of China in recent years. It is sure to appeal to readers of Haruki Murakami and other fabulists of contemporary irreality.]
“The Lost Boat.” Tr. Caroline Mason. In Henry Zhao, ed., The Lost Boat: Avant-garde Fiction from China. London: Wellsweep, 1993, 77-100.
“Meetings.” Tr. Deborah Mills. In Henry Zhao and John Cayley, eds., Abandoned Wine: Chinese Writing from Today, 2. London: Wellsweep, 1996, 15-49.
“The Mystified Boat.” The Mystified Boat and Other New Stories from China. Eds. Frank Stewart and Herbert J. Batt. Special issue of Manoa: A Pacific Journal of International Writing 15, 2 (Winter 2003). Honolulu: University of Hawaii Press, 142-61.
“Oyster Shells.” Tr. Andrew F. Jones. Renditions 93 (Spring 2020): 65-86.
Peach Blossom Paradise. Tr. Canaan Morse. NY: New York Review Books, 2020.
[Abstract: In 1898, China experienced one hundred days of utopia after a cabal of reformist intellectuals persuaded the young emperor to enact sweeping changes intended to modernize the country and bring about the Great Unity. Their movement ended in blood and the crowning of two more dictators, but not before it whetted an appetite for revolution all across the country—an appetite that would eventually consume millions of lives. One such life belongs to Xiumi, the young daughter of a wealthy landowner and former government official who goes insane over a painting, then mysteriously disappears. Days later, Xiumi’s mother welcomes to the estate a young man who carries a grand but brutal vision in his heart and a gold cicada in his pocket. When his plans collapse, Xiumi inherits his vision, just as she herself begins fighting the Confucian social mores that view women as property. On her wedding day, she becomes a pawn in a series of violent transactions carried out by men who think they are building paradise; as each one fails, she attempts to repay them in kind by spearheading a movement of her own. Her campaign for change is always a fight to win control of her own body, and the cost of even that is nearly total. Ge Fei’s prizewinning novel intertwines myths of earthly perfection with a historical tale of revolution and hypocrisy, in which human agency must either be bartered for or be taken by force.]
“Remembering Mr. Wu You.” Tr. Howard Goldblatt. In Goldblatt, ed., Chairman Mao Would Not Be Amused: Fiction from Today’s China. NY: Grove Press, 1995, 236-43. Rpt. in Jing Wang, ed., China’s Avant-garde Fiction. Durham: Duke UP, 1998, 15-22.
“Ring Flower.” Tr. Eleanor Goodman. Chinese Literature Today 4, 1 (2014): 6-11.
“Song of Liangzhou.” Tr. Charles A. Laughlin. Chinese Literature Today 4, 1 (2014): 24-28.
“Time in Imagery.” Tr. Tammy Ho Lai-Ming with Ping Zhu. Chinese Literature Today 4, 1 (2014): 12-15.
“Whistling.” Tr. Victor Mair. In Jing Wang, ed., China’s Avant-garde Fiction. Durham: Duke UP, 1998, 43-68.
Ge Liang 葛亮
“Dragon Boat” [龙舟]. Tr. Karen Curtis. Paper Republic (Oct. 2016).
Genzi 根子
“Two Poems.” Tr. Nick Admussen. Renditions 74 (Autumn 2010): 40-59.
Geyang
“An Old Nun Tells Her Story.” Tr. Herbert Batt. In Batt, ed., Tales of Tibet: Sky Burials, Prayer Wheels, and Wind Horses. Rowman and Littlefield, 2001, 163-76.
Gong Liu
Poems in: Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 221-25.
Gong Shaodong
“Friendship in Late Years.” Tr. Li Guoqing. Chinese Literature (Summer 1993): 76-85.
Gong Sunyan
“Drifting Clouds.” Tr. Nancy Ing. In Nancy Ing, ed., Ivory Balls and Other Stories. Taipei: Meiya, 1970, 55-73. First Published in Orient/West 8, 2 (1963): 29-36.
Gu Cheng 顾城
“‘The Aimless I’: An Interview with Gu Cheng” (Meiyou mudi de wo: Gu Cheng fangtan lu). Interview of Gu Cheng by Suizi Zhang-Kubin. Tr. Li Xia. In Essays, Interviews, Recollections and Unpublished Material of Gu Cheng, Twentieth Century Chinese Poet: The Poetics of Death. Lewiston, NY: Mellen Press, 1999, 335-340.
“Brief Stop” [站停]. Tr. W. J. F. Jenner. In Perry Link, ed., Stubborn Weeds: Popular and Controversial Chinese Literature after the Cultural Revolution. Bloomington: Indiana UP, 1983, 1854
“Cremation” [火葬]. Tr. Stephen Haven and Wang Shouyi. Two Lines: A Journal of Translation (1999).
“Curves” [弧线]. Tr. William Tay. In Perry Link, ed., Stubborn Weeds: Popular and Controversial Chinese Literature after the Cultural Revolution. Bloomington: Indiana UP, 1983, 185.
“Far and Near.” Trs. Gordon T. Osing and De-An Wu Swihart. Salt Hill 5 (1998).
“Feeling” [感觉]. Tr. William Tay. In Perry Link, ed., Stubborn Weeds: Popular and Controversial Chinese Literature after the Cultural Revolution. Bloomington: Indiana UP, 1983, 185.
“From Walled Dreams, and an Awakening.” Tr. Joseph R. Allen. Words Without Borders: The Online Magazine of International Literature.
“Good-bye.” Trs. Gordon T. Osing and De-An Wu Swihart. Salt Hill 5 (1998).
“In Sunset’s Glow.” Trs. Gordon T. Osing and De-An Wu Swihart. Salt Hill 5 (1998).
“In the Twinkling of the Eyes.” Trs. Gordon T. Osing and De-An Wu Swihart. Salt Hill 5 (1998).
Nameless Flowers: Selected Poems of Gu Cheng. Tr. Aaron Crippen, with photographs by Hai Bo. NY: George Brazilier, 2005.
“On the Nature of Feminine Purity in A Dream of Red Mansions and Goethe’s Faust.” Marian Galik Interviews Gu Cheng in Berlin, April 24, 1992 (Fushide. Hongloumeng. Nu’erxing). Trs. Li Xia and Marian Galik. In Essays, Interviews, Recollections and Unpublished Material of Gu Cheng, Twentieth Century Chinese Poet: The Poetics of Death. Lewiston, NY: Mellen Press, 1999, 349-361.
“The Origins of the Moon and Stars.” Trs. Gordon T. Osing and De-An Wu Swihart. Salt Hill 5 (1998).
Poems, in Helen F. Siu and Zelda Stern, eds./trs. Mao’s Harvest: Voices from China’s New Generation. NY: Oxford UP, 1983, 16-18 [“A Generation,” “Shooting a Photograph,” “I Am a Willful Child”] and 178-79 [“The Two Realms of Love,” “Epigraph”]
“Poems.” Tr. Shiao-ling Yu. Bulletin of Concerned Asian Scholars 16, 3 (1984): 34-36.
Quecksilber und andere Gedichte (Mercury and Other Poems). Tr. Peter Hoffmann. Bochum: Brockmeyer, 1990.
“Question and Answers” (Dasuowen; Gu Cheng on Chinese poetry). Tr. Li Xia. In Essays, Interviews, Recollections and Unpublished Material of Gu Cheng, Twenthieth Century Chinese Poet: The Poetics of Death. Lewiston, NY: Mellen Press, 1999, 341-347.
Sea of Dreams: The Selected Writings of Gu Cheng. Tr. with introduction by Joseph R. Allen. NY: New Directions, 2005.
Selected Poems. Trs. Sean Golden and Chu Chiyu. HK: Chinese University of HK, 1990.
“This Generation.” Trs. Gordon T. Osing and De-An Wu Swihart. Salt Hill 5 (1998).
“A Whole Generation” [Yi dai ren]. Tr. William Tay. In Perry Link, ed., Stubborn Weeds: Popular and Controversial Chinese Literature after the Cultural Revolution. Bloomington: Indiana UP, 1983, 185.
(and Lei Mi) Ying’er, The Kingdom of Daughters. Tr. Li Xia. Dortmund: Projekt Verlag, 1995.
Gu Gong
“A Discussion Arising from Not Understanding Poetry.” [essay]. In Helen F. Siu and Zelda Stern, eds./trs. Mao’s Harvest: Voices from China’s New Generation. NY: Oxford UP, 1983, 9-16.
Gu Hongming 辜鴻銘
The Spirit of Chinese Civilization. Taibei: 1970 reprint of 1915 original.
Gu Hua 古华
“The ‘Green Whirlwind’.” Chinese Literature 9 (1972): 74-87.
“The Ivy-Covered Cabin.” Tr. Tam King-fai. In Helen Siu, ed. Furrows, Peasants, Intellectuals and the State: Stories and Histories from Modern China. Stanford: SUP, 1990, 181-206.
Pagoda Ridge and Other Stories. Tr. Gladys Yang. Beijing: Chinese Literature, 1985.
A Small Town Called Hibiscus. Beijing: Panda Books, 1983.
“The Sieve.” Tr. Yu Fanqin. Chinese Literature (Summer, 1988): 3-10.
“The Slow Maturation of My Craft: Tea in Cold Water Steeps Slowly.” Tr. Linda Greenhouse Wang. In Helmut Martin, ed., Modern Chinese Writers: Self-portrayals. Armonk, NY: M.E. Sharpe, 1992, 92-98.
Virgin Widows. Tr. Howard Goldblatt. Honolulu: U. of Hawaii Press, 1996.
Gu Huilong
“Puppeteer Ah-Chun.” Tr. Cheng Jun-mei. The Chinese Pen (Winter, 1981): 1-29.
Gu Long 古龍
The Eleventh Son: A Novel of Martial Arts and Tangled Love. Paramus, NJ: Homa and Sekey Books, 2005.
Gu Shi 顾适
“Chimera.” Tr. S. Qiouyi Lu and Ken Liu. Clarkesworld no. 114 (March 2016).
“City of Choice.” Tr. Ken Liu. Climate Action Almanac (Oct. 26, 2023).
“Reflection.” Tr. Ken Liu. In Ken Liu, ed/tr. Broken Stars: Contemporary Chinese Science Fiction in Translation. NY: Tor Books, 2019, 357-72.
Gu Sifan 谷斯範
The Peach Blossom Fan. Tr. T. L. Yang. HK: Hong Kong UP, 1998. [this novel, based on the Ming play, was first published in Taiwan in 1948]
Gu Xiaoyang
“Truant Days.” Tr. Duncan Hewitt. In Henry YH Zhao, Yanbing Chen, and John Rosenwald. Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 126-31.
Gu Zhaosen 顧肇森
“Husband and Wife.” Tr. Ying-tsih Hwang. The Chinese Pen (Summer 1988): 61-77.
“Ming-te Wang.” Tr. Ying-tsih Hwang. The Chinese Pen (Autumn 1988): 1-24.
“Plain Moon.” Tr. Michelle Yeh. The Chinese Pen (Autumn 1992): 145-75. Also in David Der-wei Wang, ed., Running Wild: New Chinese Writers. NY: Columbia UP, 1994, 137-57.
“To Be Continued.” Tr. Michelle Yeh. The Chinese Pen (Summer 1991): 1-21.
Guan Guan (Kuan Kuan or Kwan Kwan) 管管
“Crooked Features” [五官不正集]. Tr. Yanwing Leung. The Taipei Chinese Pen 177 (Summer 2016): 6-7.
Poems in: The Isle Full of Noises: Modern Chinese Poetry from Taiwan. Ed/tr. Dominic Cheung. NY: Columbia UP, 1987, 113-16.
“Four Poems by Kwan Kwan.” Tr. John J.S. Balcom. The Chinese Pen (Summer 1990): 41-48. .
Guo Cheng (Kuo Cheng) 郭箏
“Un loup en cavale.” Tr. Olivier Bialais. In Angel Pino and Issabelle Rabut, eds., A mes frères du village de garrison: Anthologie de nouvelles taiwanaises contemporaines. Paris: Blue de China, 2001, 155-71.
Guo Jinniu 郭金牛
“Poems.” Tr. Brian Holton. Poetry International (May 6, 2015).
“Gedichten” (Poems). Tr. Silvia Marijnissen. Poetry International (May 6, 2015).
Poems in A Massively Single Number. Ed. Yang Lian/tr. Brian Holton. Bristol: Shearsman Books, 2015, 113–60.
Guo Jing 郭晶
“Wuhan Lockdown Diary.” Tr. Hongwei Bao. Words without Borders (May 2020).
Guo Lianghui 郭良蕙 (Kuo Liang-hui)
“In the Middle of the Night.” Tr. John McLellan. The Chinese Pen (Spring 1977): 71-117.
Taipei Women. Tr. Constantine Tung and ed. by Theresa Wang. HK, Taipei: KLH New Enterprise Co., 1983.
Guo Moruo 郭沫若
Autobiographie: mes années d’enfance. Tr. P. Ryckmans. Paris: Gallimard, 1970.
“The Champions of Chi” (Qi yongshi bi wu). Tr. G.I. Begley. Eastern World 3, 9 (1949): 28-29.
“Cho Wen-chun.” In Harold Isaacs, ed., Straw Sandals: Chinese Short Stories, 1918-1933. Cambridge: MIT Press, 1974, 45-67.
Chu Yuan: A Play in Five Acts. Trs. Yang Hsien-yi and Gladys Yang. Beijing: Foreign Languages Press, 1978.
“The Dilemma” (Shizi jia). In Edgar Snow, ed. Living China. New York: Reynal and Hitchcock, 1937.
“Double Performance.” Tr. W.J.F. Jenner. In Jenner, ed., Modern Chinese Stories. London: Oxford University Press, 1970, 69-74.
“The First Emperor of Qin Approaches Death.” Tr. Anthony J. Barbieri-Low. Renditions 100 (2024): 147-54.
“La passe du ravin encaisse” (Hangu guan). Tr. P. Demieville. In Etienne Balazs ed., Aspects de la Chine. Paris: Presses Universitaires de France, 1962, 630-35.
“Marx Enters the Confucian Temple.” Trs. Timothy Wixted and Matthew Finkbeiner. Renditions 51 (1999): 77-86.
“Nirvana of the Feng and Huang.” Chinese Literature website.
“Oh, Earth, My Mother.” Chinese Literature website.
“On Nationalizing and Popularizing Poetry.” Tr. Kai-yu Hsu. In Hsu, ed. The Chinese Literary Scene: A Writers’ Visit to the People’s Republic. NY: Vintage Books, 1975, 32-35.
“On the Problems of Poetry.” In Hualing Nieh, ed./tr. Literature of the Hundred Flowers. 2 vols. NY: Columbia UP, 1981, II: 30-36.
Poems in: Modern Chinese Poetry. Ed. Julia Lin; The People Speak Out. Translations of Poems and Songs of the People of China. Ed. Rewi Alley; Twentieth Century Chinese Poetry: An Anthology. Ed. Kai-yu Hsu. Garden City, NY: Doubleday, 1963, 26-39.
“Preface to The Sorrows of Young Werther.” Tr. Kirk A. Denton. In Denton, ed., Modern Chinese Literary Thought. Stanford: Stanford UP, 1996, 204-212.
“Rebirth of the Goddesses.” Chinese Literature website.
The Resurrection of Fêng-Huang. Trs. Harold Acton and Ch’en Shih-Hsiang. [Music by] Robert Sherlaw Johnson. London, Oxford University Press, 1972.
“The Return of the Master.” Trs. B. Krebsova and R. Samsour. New Orient 1, 6 (1960): 22-24.
“Romanticism and Realism.” In Meserve and Meserve, eds., Modern Literature from China. NY: New York UP, 1974, 315-24.
Selected Poems from The Goddesses. Trs. John Lester and A. C. Barnes. Beijing: Foreign Languages Press, 1958, 1978.
Selected Works of Guo Moruo: Five Historical Plays. Tr. Bonnie McDougall, et. al. Beijing: Foreign Languages Press, 1984. [“Qu Yuan,” “Cai Wenji,” “The Tiger Tally,” “Twin Flower,” and “Wu Zetian”]
“The Struggle for the Creation of New China’s Literature.” The People’s New Literature: Four Reports at the First All-China Conference of Writers and Artists. Beijing: Cultural Press, 1950, 41-56.
“Under the Moonlight” (Yueguang xia). In Chi-chen Wang, ed., Stories of China at War. NY: Columbia UP, 1947, 152-58.
“Wang Zhaojun–Act II” (1923). Tr. Tommy McClellan. Renditions 59-60 (Nov. 2003): 199-209 [includes synopsis of Act I and introduction by Eva Hong].
Guo Qiangsheng
“He Is My Brother.” Tr. Michelle Yeh. The Chinese Pen (Autumn 1991): 1-28.
Guo Qiusheng 郭秋生
[芥舟] “Manifesto.” Tr. Michelle Yeh. In Yung-sheng Yvonne Chang, Michelle Yeh, and Ming-ju Fan, eds., The Columbia Sourcebook of Literary Taiwan. New York: Columbia University Press, 2014, 83-85.
“A Proposal on the Construction of a Taiwanese Vernacular Writing.” Tr. Chien-hsin Tsai. In Yung-sheng Yvonne Chang, Michelle Yeh, and Ming-ju Fan, eds., The Columbia Sourcebook of Literary Taiwan. New York: Columbia University Press, 2014, 67-72.
Guo Shixing 过士行
“Birdmen: A Drama in Three Acts.” Tr. Jane Lai. In Martha Cheung and Jane Lai, eds., An Anthology of Contemporary Drama. NY: Oxford UP, 1997, 295-350.
Guo Shuitan 郭水潭
“Poets of Roses.” Tr. Michelle Yeh. In Yung-sheng Yvonne Chang, Michelle Yeh, and Ming-ju Fan, eds., The Columbia Sourcebook of Literary Taiwan. New York: Columbia University Press, 2014, 83.
Guo Songfen 郭松棻
Running Mother and Other Stories. Tr. John Balcolm. NY: Columbia UP, 2008. [MCLC Resource Center book review by Chien-hsin Tsai]
[Guo Songfen’s short stories are masterful psychological portraits that play with the echoes of history and the nature of identity. One of the few modernists to truly capture the fallout from such events as the February 28th Incident and the White Terror, Guo Songfen illuminates the quiet core of his characters through a spare and immediate style that is at once a symptom and an allegory of the trauma in which they live–CUP blurb]
Guo Xiaolu 郭小橹
A Concise Chinese-English Dictionary for Lovers. London: Chatto and Windus, 2007.
I Am China. London: Chatto and Windus, 2014.
Lovers in the Age of Indifference. London: Chatto and Windus, 2010.
Twenty Fragments of a Ravenous Youth. Trs. Rebecca Morris and Pamela Casey. London: Chatto and Windus, 2008.
Village of Stone. Tr. Cindy Carter. London: Chatto and Windus, 2004. Reprint: New York: Vintage, 2005.
[Abstract: Coral and her slacker boyfriend live on the ground floor of a tower block in twenty-first century China. One day, someone sends her a dried eel through the post. As the smell of the sea floods her small flat, she is transported back to the fishing village where she grew up, the Village of Stone she has tried so hard to forget. This haunting and beautiful novel tells the story of one little girl’s struggle to build a life for herself against all odds. At the same time, it is an incisive portrait of China’s new urban youth, who have hidden behind their modern lifestyle all the poverty and cruelty of their past.]
Guo Xuebo 郭雪波
The Desert Wolf. Panda Books, 1996.
“The Mongol Would-be Self-Immolator: Excerpted from Chapter 4 of Moŋgoliya.” Tr. Bruce Humes. The Asia Pacific Journal 16, 3, 1 (2018).
“The Sand Fox.” Tr. Yu Fanqin. Chinese Literature (Winter, 1987): 108-23.
Guo Zheyou (Kuo Che-yu) 郭哲佑
“Sketched from Life” [寫生]. Tr. John Balcom. The Taipei Chinese Pen (Winter 2016): 16-17.
Guo Zheng
“King of the Pool Players.” Tr. Ying-tsih Hwang. The Chinese Pen (Summer, 1991): 25-53
Guo Zhengwei 郭正偉 (Kuo Cheng-wei)
“A Lady without Poetry” [無詩的女人]. Tr. Linda Wong. The Taipei Chinese Pen 172 (Spring 2015): 41-46.
H
Hai Fan 海凡
Delicious Hunger [可口的饥饿]. Tr. Jeremy Tiang. Tilted Axis Press, 2024.
[Abstract: From 1976 to 1989, Hai Fan was part of the guerrilla forces of the Malayan Communist Party. These short stories are inspired by his experiences during his thirteen years in the rainforest. Struggling through an arduous trek, two comrades pine for each other but don’t know how to declare their love; a woman who has annoyed all her comrades finally wins their approval when she finds a mythical mousedeer; improvising around the lack of ingredients, a perpetually hungry guerrilla makes delicious cakes from cassava and elephant fat. The rainforest may be a dangerous place where death awaits, but so do love, desire and hope. Delicious Hunger is a book about the moments in and between warfare, when hunger is so palpable it can be tasted, and the natural world becomes an extension of the body. Deftly translated by Jeremy Tiang, Hai Fan’s stories are about a group of people who chose to fight for a better world and, in the process, built their own.]
Hai Xin
“Night Revels.” tr. Gu Yaxing. In Michael S. Duke, ed., Worlds of Modern Chinese Fiction. Armonk, NY: M.E. Sharpe, 1991, 305-310.
Hai Ying
“Outsized Feet.” Tr. K.C. Tu and Robert Backus. Taiwan Literature English Translation Series 5 (1999): 71-72.
Haizi (or Hai Zi) 海子
Alexseev, Ivan. Inside the Flame: Poetry of Hai Zi, with translation, commentary and foreword [in Russian]. St. Petersburg Centre for Oriental Studies, 2021.
An English Translation of Poems of the Contemporary Chinese Poet Hai Zi. Tr. Hong Zeng, Lewiston: Edwin Mellen Press, 2005.
“Dunhuang.” Tr. Ye Chun. Cerise Press 1, 1 (2009).
“Excerpts from Wheat Has Ripened.” Tr. Ye Chun. Asymptote (Jan. 2014).
Over Autumn Rooftops. Tr. Dan Murphy. NY: Host Publications, 2010. [MCLC Resource Center review by Michelle Yeh]
“Poetry Book.” Tr. Ye Chun. Cerise Press 1, 1 (2009).
Ripened Wheat: Selected Poems of Hai Zi. Tr. Ye Chun. Fayetteville, NY: The Bitter Oleander Press, 2015.
“Song: Light Strikes the Ground.” Tr. Ye Chun. Cerise Press 1, 1 (2009).
“Sun: Regicide.” Tr. Simon Schuchat. Renditions 86 (Autumn 2016): 7-73
“Wine Cup: A Bouquet of Love Poems. Tr. Ye Chun. Cerise Press 1, 1 (2009).
Han Bangqing 韓邦慶
The Sing-Song Girls of Shanghai. Trs. Eileen Chang and Eva Hung. NY: Columbia UP, 2005. [CUP abstract]
Han Chunxu
“Rejecting Fate.” Tr. Diana B. Kingsbury. In I Wish I Were a Wolf: The New Voice in Chinese Women’s Literature. Beijing: New World Press, 1994, 235-47.
Han Dong 韩东
Banished! A Novel. Tr. Nicky Harman. Honolulu: University of Hawaii Press, 2008. [MCLC Resource Center review by Mingwei Song]
[Abstract: It is 1969 and China is in the throes of the Cultural Revolution. The Tao family is banished to the countryside, forced to leave comfortable lives in Nanjing to be reeducated in the true nature of the revolution by the peasants of Sanyu village. The parents face exile with stoicism and teach their son to embrace reeducation wholeheartedly. Is this simple pragmatism, an attempt to protect the boy and ensure his future? Or do the banished cadres really cling to their belief in their leaders and the ideals of the Revolution? These questions remain tantalizingly unanswered in this prize-winning first novel.]
“The Bathtub–Scene of a Struggle.” Tr. Nicky Harman. Read Paper Republic 48.
“Brand New World” (崭新世). Trs. Helen Wang and Nicky Harman. Paper Republic (25 March 2012).
“The Cry of the Deer.” Tr. Nicky Harmon. Pathlight (Spring 2016).
“The Duck Prophet.” Tr. Yanbing Chen. In Henry YH Zhao, Yanbing Chen, and John Rosenwald, eds., Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 281.
“Four Poems.” Tr. Nicky Harman. Renditions 74 (Autumn 2010): 60-66.
“Five Poems.” Trs. Tony Prince and Tao Naikan. Renditions 57 (2002): 112-121.
“Gu Jieming–a Life.” Tr. Nicky Harman. Read Paper Republic 52.
“Han Dong’s Poems.” Tr. Nicky Harman. Chinese Arts and Letters 2, 1 (April 2015): 183-90.
“Interview: ‘Inflaming Readers Isn’t a Good Thing; I Want to Entice Them.” Conducted by Philip Hand. Granta: The Online Edition (October 5, 2012).
“Learning to Write with a Brush.” Tr. Michael Day. PRISM International (Vancouver) 36, 3 (Spring 1998).
“Love Song,” “Essay Fragment.” Tr. Nicholas Kaldis. Dirty Goat 24 (2011): 181-83.
“This Moron Is Dead” [此呆已死]. Tr. Nicky Harman. In Liu Ding, Carol Yinghua, and Ra Page, eds., Shi Cheng: Short Stories from Urban China. Manchester, UK: Comma Press, 2012.
“Mourning the Cat.” Tr. Yanbing Chen. In Henry Y. H. Zhao, Yanbing Chen, and John Rosenwald. Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 280.
A Phone Call from Dalian: Selected Poems of Han Dong. Ed and Tr. by Nicky Harman, with contributions from Maghiel van Crevel, Michael Day, Tao Naikan, Tony Prince, and Yu Yan Chen. Introduction by Maghiel van Crevel. Brookline, MA : Zephyr Press, 2012. [MCLC Resource Center review by Lucas Klein]
“Someone in a Riot of Stones, There Is a Darkness, Mountain People, Of the Wild Goose Pagoda, A Phone Call from Dalian, Gregorian Chant, Night Flight.” Pathlight: New Chinese Writing 2 (2012): 180-85.
“Taking Advantage.” Tr. Desmond Skeel. In Henry Y. H. Zhao, Yanbing Chen, and John Rosenwald, eds., Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 183-211.
“This Moron Is Dead.” Tr. Nicky Harman. In Liu Ding, Carol Yinghua Lu, and Ra Page, eds., Shi Cheng: Short Stories from Urban China. Manchester, UK: Comma Press, 2012.
“Your Hand,” “Grey,” “O.” Trs. George O’Connell and Diana Shi. Atlanta Review xiv, 2 (Spring/Summer 2008): 61-63.
Han Han 韩寒
The Generation: Dispatches from China’s Most Popular Literary Star (and Race Car Driver). Tr. Alan Barr. NY: Simon and Schuster, 2012.
[Abstract: For those who follow Chinese affairs, Han Han is as controversial as they come—an irreverent singer, sports celebrity, and satirist whose brilliant blogs and books have made him a huge celebrity with more than half a billion readers. Now, with this collection of his essays, Americans can appreciate the range of this rising literary star and get a fascinating trip through Chinese culture. This Generation gathers his essays and blogs dating from 2006 to the present, telling the story of modern China through Han Han’s unique perspective. Writing on topics as diverse as racing, relationships, the Beijing Olympics, and how to be a patriot, he offers a brief, funny, and illuminating trip through a complex nation that most Westerners view as marching in lockstep. As much a millennial time capsule as an entertaining and invaluable way for English readers to understand our rising Eastern partner and rival, This Generation introduces a dazzling talent to American shores.]
“Kids, You’re Spoiling the Old Men’s Fun” [孩子们,你们扫了爷爷的兴]. Tr. C. Custer. ChinaSmack (May 4, 2010).
The Problem with Me and Other Essays About Making Trouble in China Today. Tr. Alice Xin Liu and Joel Martinsen. NY: Simon and Schuster, 2016.
[Abstract: Satirical essays from China’s most popular young troublemaker about growing up millennial and causing social and political scandal today. Han Han is the most influential (and provocative) young person in China, equally beloved and reviled for the satirical wit with which he takes on everyone from corrupt politicians to ludicrous protestors. In this collection of essays, he tackles everything from Internet culture in a country that censors the Internet to his own escapades driving around with fake police IDs and a megaphone, and from whether China is ready for democracy to going back for one incredibly awkward middle school reunion. Humorous, daring, and unexpectedly inspiring, The Problem with Me will appeal to both those looking to understand twenty-first century China and those looking to laugh at human ridiculousness—wherever they may find it.]
1988: I Want to Talk with the World. Tr. Howard Goldblatt. Seattle: Amazon Crossing, 2015.
[Abstract: After a long day of driving, Lu Ziye just wants a good night’s sleep and decides to stop at The Golden Triangle, a seedy but convenient motel. There he meets Shanshan, a pregnant prostitute with an open heart and a traumatic past. After surviving a strange night together and a run-in with the police, the two hit the open road, on the lam and intent on a mysterious quest. Traveling along China’s scenic byways, Shanshan and Lu Ziye find that they have more in common than it first appeared. Capturing the candor that only occurs during road trips with strangers,1988 offers the reckless a hope of healing from the scars of life.]
Han Hsiu (Buczaki, Teresa)
“Upstairs, Downstairs.” Tr. Lily Liu. The Chinese Pen (Spring 1992): 26-45.
Han Lihu (Hon Lai-chu) 韓麗珠
“Dummies” [木偶]. Tr. Karen Curtis. Paper Republic (March 10, 2016)).
“Hong Kong’s Sickness.” Tr. Andrea Lingenfelter. China Channel, LA Review of Books (Dec. 13, 2019)
The Kite Family. Tr. Andrea Lingenfelter. Hong Kong: Muse, 2015.
[Abstract: A patient escapes from an asylum, to spend his life as the perfect mannequin in a department store display; when living alone is outlawed, a woman who resides quietly with her cat is assigned by bureaucrats to a role in an artificially created “family;” a luckless man transforms himself into a chair so people can, literally, sit on him. These are just a few of the inhabitants of Hon Lai-chu’s stories, where surreal characters struggle to carve out space for freedom and individuality in an absurd world. The Chinese version of The Kite Family won the New Writer’s Novella first prize from Taiwan’s Unitas Literary Association, was one of 2008’s Books of the Year according to Taiwan’s China Times, was selected as one of the Top 10 Chinese Novels Worldwide, and was awarded a Translation Grant from the U.S. National Endowment for the Arts.]
“My Fur Rabbit.” Tr. Jaqueline Leung. Nashville Review (Aug. 1, 2022).
“Puma.” Tr. Andrea Lingenfelter. Words without Borders (June 2018).
Han Shaogong 韓少功
“After the ‘Literature of the Wounded’: Local Cultures, Roots, Maturity, and Fatigue.” Tr. David Wakefield. In Helmut Martin, ed., Modern Chinese Writers: Self-portrayals. Armonk, NY: M.E. Sharpe, 1992, 148-55.
“Blue Bottlecap.” Tr. Michael S. Duke. In Duke, ed., Worlds of Modern Chinese Fiction. Armonk, NY: M.E. Sharpe, 1991, 3-12.
Bruits dans la montagne et autres nouvelles. Tr. Annie Curien. Paris: Gallimard, 2000.
“Creating the Old in Literature.” Tr. Xu Chenmei. Chinese Literature Today 5, 2 (2016): 8-15.
“Deaf Mute and his Old Suona.” Chinese Literature 1 (1983.): 7-33.
“Deja Vu.” Tr. Margaret Decker. In Helen Siu, ed. Furrows, Peasants, Intellectuals and the State: Stories and Histories from Modern China. Stanford: SUP, 1990, 223-37.
A Dictionary of Maqiao. Tr. Julia Lovell. New York: Columbia UP, 2003.
“Embers.” Tr. Thomas Moran. In Henry YH Zhao, Yanbing Chen, and John Rosenwald. Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 263-79.
“Flames” (Huoyan). Tr. Simon Patton. Two Lines: A Journal of Translation (1999).
Homecoming? and Other Stories. HK: Renditions, 1992. [includes “Homecoming,” “The Blue Bottle-cap,” “Pa Pa Pa,” “Woman, Woman, Woman”]
“The Homecoming”. Tr. Jeanne Tai. In Tai, ed., Spring Bamboo: A Collection of Contemporary Chinese Short Stories. NY: Random House, 1989, 19-40. Also in Kwok-kan Tam, Terry Siu-Han Yip, Wimal Dissanayake, eds., A Place of One’s Own: Stories of Self in China, Hong Kong, and Singapore. NY: Oxford UP, 1999, 126-42..
“The Leader’s Demise”. In Joseph Lau, Howard Goldblatt, eds. The Columbia Anthology of Modern Chinese Literature. NY: Columbia UP., 1995, 387-98.
“Legacy of a Laugh.” Chinese Literature (Spring 1995): 171-177.
“Mountain Songs from the Heavens.” Tr. Lucas Klein. Chinese Literature Today 5, 2 (2016): 8-15. Rpt. In Charles A. Laughlin, Liu Hongtao, and Jonathan Stalling, eds., By the River: Seven Contemporary Chinese Novellas. Norman: University of Oklahoma Press, 2016, 85-150.
“Old Acquaintance.” Tr. Long Xu. In Long Xu, ed., Recent Fiction From China 1987-1988: Selected Stories and Novellas. Lewiston: The Edwin Mellen Press, 1991, 55-64.
Pa, Pa, Pa (French). Tr. Noel Dutrait and Hu Sishe. Aix-en-Provence: Alinea, 1990.
“The Return.” Chinese Literature 2 (1989): 29-44.
Seduction (French). Tr. Annie Curien. Paris: Philippe Picquier, 1990.
“Why Did the Cultural Revolution End?” Tr. Gao Jin. boundary 2 35, 2 (2008): 93-106.
Han Song 韩松
“Earth is Flat.” Tr. Nathaniel Isaacson. Chinese Literature Today 7, 1 (2018): 16-19.
“Finished.” Tr. Nick Stember. Pathlight (Spring 2016). Republished on The China Channel, LARB]
“The Fundamental Nature of the Universe.” Tr. Nathaniel Isaacson. Chinese Literature Today 7, 1 (2018): 12-15.
“The Great Wall.” Tr. Nathaniel Isaacson. Chinese Literature Today 7, 1 (2018): 6-11.
Hospital, Exorcism, and Dead Souls (a trilogy). Tr. Michael Berry. Seattle: Amazon Crossing, 2023-24. [MCLC Resource Center review (of Hospital) by Mingwei Song]
“The Last Subway.” Tr. Joel Martinsen. Pathlight (Winter, 2013): 117-32.
“The Passenger and the Creator.” Tr. Nathaniel Isaacson. Renditions 77/78 (Spring /Autumn 2012): 144-72. Rpt. in Mingwei Song and Theodore Huters, eds., The Reincarnated Giant: An Anthology of Twenty-First-Century Chinese Science Fiction. NY: Columbia University Press, 2018, 279-312.
A Primer to Han Song. Ed. Eric J. Guignard; trs. Michael A. Arnzen and Nathaniel Isaacson. Dark Moon Books, 2020. [includes: “Earth Is Flat,” “Transformation Subway,” “The Wheel of Samsara,” “Two Small Birds,” “Fear of Seeing,” and “My Country Does Not Dream”]
“Regenerated Bricks.” Tr. Theodore Huters. In Mingwei Song and Theodore Huters, eds., The Reincarnated Giant: An Anthology of Twenty-First-Century Chinese Science Fiction. NY: Columbia University Press, 2018, 3-44.
“Salinger and the Koreans.” Tr. Ken Liu. In Ken Liu, ed/tr. Broken Stars: Contemporary Chinese Science Fiction in Translation. NY: Tor Books, 2019, 125-34.
“SARS Survivor’s Association.” Tr. Nathaniel Isaacson. Chinese Literature and Thought Today 53, 1/2 (2022): 62-72.
“Submarines.” Tr. Ken Liu. In Ken Liu, ed/tr. Broken Stars: Contemporary Chinese Science Fiction in Translation. NY: Tor Books, 2019, 113-24.
Han Xiaohui
“Gender Roles in Commercials.” In Hui Wu, ed., Once Iron Girls: Essays on Gender by Post-Mao Chinese Literary Women. Lanham, MD: Lexington Books, 2010, 51-54.
“I Don’t Want to Be a Woman.” In Hui Wu, ed., Once Iron Girls: Essays on Gender by Post-Mao Chinese Literary Women. Lanham, MD: Lexington Books, 2010, 55-61.
“Three Autumnal Phases in a Day.” In Hui Wu, ed., Once Iron Girls: Essays on Gender by Post-Mao Chinese Literary Women. Lanham, MD: Lexington Books, 2010, 63-73.
“Women Don’t Cry.” In Hui Wu, ed., Once Iron Girls: Essays on Gender by Post-Mao Chinese Literary Women. Lanham, MD: Lexington Books, 2010, 75-78.
Hang Cheng 杭程
New Youth. Trs. Jonathan Noble. MCLC Resource Center Publications, 2006.
Hao Jingfang 郝景芳
“Folding Beijing.” Tr. Ken Liu. Uncanny Magazine no. 2 (2015). Rpt. in Ken Liu, Invisible Planets: An Anthology of Contemporary Chinese SF in Translation. NY: Tor Books, 2016, 219-61.
“I Want to Write a History of Inequality.” Tr. Ken Liu. Uncanny 11 (2016).
“Invisible Planets.” Tr. Nathaniel Isaacson. In Geng Song and Qingxiang Yang, eds., The Sound of Salt Forming: Short Stories by the Post-80s Generation in China. Honolulu: University of Hawaii, 2016, 239-54. Rpt. in Invisible Planets: An Anthology of Contemporary Chinese SF in Translation. Tor Books, 2016.
“Invisible Planets.” Tr. Ken Liu. In Ken Liu, Invisible Planets: An Anthology of Contemporary Chinese SF in Translation. NY: Tor Books, 2016, 219-61.
“Interview: Hao Jingfang, by Deborah Stanish.” Tr. Ken Liu. Uncanny 11 (2016).
Jumpnauts. Tr. Ken Liu. Saga Press, 2024.
[Abstract: In a future where the world is roughly divided into two factions, the Pacific League of Nations and the Atlantic Division of Nations, tensions are high as each side waits for the other to make a move. But neither side is prepared for a powerful third party that has apparently been an influential presence on Earth for thousands of years—and just might be making a reappearance very soon. With the realization that a highly intelligent alien race has been trying to send them messages, three rising scientists within the Pacific League of Nations form an uneasy alliance. Fueled by a curiosity to have their questions answered and a fear that other factions within their rival Atlantic Division of Nations would opt for a more aggressive and potentially disastrous military response, the three race to secure first contact with this extraterrestrial life they aren’t quite convinced is a threat. Bolstered by recent evidence of alien visitations in the distant past, the three scientific minds must solve puzzles rooted within human antiquity, face off with their personal demons, and discover truths of the universe.]
“The Last Brave Man” [最后一个勇敢的人]. Tr. Poppy Toland. Pathlight (Spring 2013).
“Limbo.” Tr. Ursula D. Friedman. MCLC Resource Center Publication (July 2020).
“The New Year Train.” Tr. Ken Liu. In Ken Liu, ed/tr. Broken Stars: Contemporary Chinese Science Fiction in Translation. NY: Tor Books, 2019, 225-32.
Vagabonds. Tr. Ken Liu. Saga Press, 2020.
[Abstract: A century after the Martian war of independence, a group of kids are sent to Earth as delegates from Mars, but when they return home, they are caught between the two worlds, unable to reconcile the beauty and culture of Mars with their experiences on Earth in this spellbinding novel from Hugo Award–winning author Hao Jingfang. This genre-bending novel is set on Earth in the wake of a second civil war, not between two factions in one nation, but two factions in one solar system: Mars and Earth. In an attempt to repair increasing tensions, the colonies of Mars send a group of young people to live on Earth to help reconcile humanity. But the group finds itself with no real home, no friends, and fractured allegiances as they struggle to find a sense of community and identity, trapped between two worlds.]
Hao Ran 浩然
“At Dusk.” Tr. Richard King. MCLC Resource Center Publication (August 2018).
“Aunt Hou’s Courtyard.” Tr. Kate Sears. In Helen Siu, ed., Furrows–Peasants, Intellectuals, and the State: Stories and Histories From Modern China. Stanford: Stanford University Press, 1990, 147-55.
Bright Clouds. Beijing: Foreign Languages Press, 1974.
[Contents: “The Lean Chestnut Horse,” “Shepherd’s Apprentice,” “Sending in Vegetable Seed,” “Visit on a Snowy Night,” “Bright Clouds,” “Rain in Apricot Blossom Village,” “Honeymoon,” “Jade Spring”]
“The Bright Road.” Chinese Literature 9 (1975): 4-66.; 10 (1975): 4-59.
The Call of the Fledglings and Other Children’s Stories. Beijing: Foreign Languages Press, 1974.
“Date Orchard.” Tr. Marsha Wagner. Chinese Literature 4 (1974): 36-48. Available as a pdf download from Asia for Educators, Columbia University.
“Debut.” Tr. Wong Kam-ming. Bulletin of Concerned Asian Scholars 8, 2 (1976): 24-29.
“The Eve of Her Wedding.” Tr. Gladys Yang. Chinese Literature 6 (1965): 20-33.
“Firm and Impartial.” Tr. Kate Sears. In Helen Siu, ed. Furrows, Peasants, Intellectuals and the State: Stories and Histories from Modern China. Stanford: SUP, 1990, 147-55.
“First and Last.” Chinese Literature 12 (1973): 3-21.
The Golden Road: A Story of One Village in the Uncertain Days After Land Reforms. Tr. Carma Hinton and Chris Gilmartin. Beijing, 1981.
“A Happy Life and the Art of Writing.” Tr. Tam King-fai. In Helen Siu, ed., Furrows, Peasants, Intellectuals and the State: Stories and Histories from Modern China. Stanford: SUP, 1990, 293-96.
Little Pebble is Missing. Hong Kong: Chao Yang Publishing Company, 1973.
“Moonlight in the Eastern Wall.” Tr Yu Fan-chin. Chinese Literature 11 (1959): 41-49.
“A Sea of Happiness.” Chinese Literature 1 (1975): 3-52.
“Sisters-in-law.” Tr. Gladys Yang. Chinese Literature 2 (1965): 48-60.
“Sons and Daughters of Hsisha.” Excerpts in Chinese Literature 10 (1974): 3-66.
“Spring Rain.” Tr. Sidney Shapiro. Chinese Literature 8 (1964): 3-16.
“The Stockman.” [excerpts from The Sun Shines Bright] Chinese Literature 3 (1972): 3-48.
“Two Buckets of Water.” Chinese Literature 4 (1974): 23-35.
“The Vegetable Seeds.” Tr. Zhang Su. Chinese Literature 6 (1966): 3-12.
“Writing–for Whom?” China Reconstructs (May 1972): 14-17.
“A Young Hopeful.” Chinese Literature 5 (1973): 45-56.
He An
“Andante.” Tr. Patricia Sieber. In Patricia Sieber, ed., Red Is Not the Only Color: Contemporary Chinese Fiction on Love and Sex between Women, Collected Stories. Lanham, MD: Rowman and Littlefield, 2001, 169-81.
He Furen 何福仁 (Ho Fuk Yan)
“Love in the Time of Coronavirus.” Tr. Teresa Shen. Chinese Literature and Thought Today 53, 3-4 (2022): 114-117.
He Gutian
“Land of Snow.” In Harold Isaacs, ed., Straw Sandals: Chinese Short Stories, 1918-1933. Cambridge: MIT Press, 1974, 405-25.
He Guyan
“Maple Leaves.” Tr. W.J.F. Jenner. In W.J.F. Jenner, ed. Modern Chinese Stories. London: Oxford University Press, 1970, 209-29.
He Haiming 何海鸣
“For the Love of Her Feet.” Tr. Timothy C. Wong. In Wong, Stories for Saturday: Twentieth Century Chinese Popular Fiction. Honolulu: University of Hawaii Press, 2003, 61-72.
He Huaihong 何怀宏
Social Ethics in a Changing China – Moral Decay or Ethical Awakening? Tr. Philip Hand. Brookings Institution Press, 2015.
[Abstract: Over the past half-century, China has experienced some incredible human dramas, ranging from Red Guard fanaticism and the loss of education for an entire generation during the Cultural Revolution, to the Tiananmen tragedy, the economic miracle, and its accompanying fad of money worship and the rampancy of official corruption. Social Ethics in a Changing China: Moral Decay or Ethical Awakening?provides a rich empirical narrative and thought-provoking scholarly arguments, highlighting the imperative for an ethical discourse in a country that is increasingly seen by many as both a materialistic giant and a spiritual dwarf. Professor He Huaihong was not only an extraordinary firsthand witness to all of these dramas, he played a distinct role as a historian, an ethicist, and a social critic exploring the deeper intellectual and sociological origins of these events. Incorporating ethical theories with his expertise in culture, history, religion, literature, and politics of the country, He reviews the remarkable transformation of ethics and morality in the People’s Republic of China and engages in a global discourse about the major ethical issues of our time. The book aims to reconstruct Chinese social ethics in an innovative philosophical framework, reflecting China’s search for new virtues.]
He Jiping 何冀平
“The First House of Beijing Duck.” In Shiao-Ling Yu, ed., Chinese Drama after the Cultural Revolution, 1979-1989. Lewiston: Edwin Mellen Press, 1996, 423-88.
“The World’s Top Restaurant.” Tr. Edward Gunn. In Xiaomei Chen, ed., Reading the Right Text: An Anthology of Contemporary Chinese Drama. Honolulu: University of Hawai’i Press, 2003, 134-222.
He Jiahong 何家弘
Back from the Dead: Wrongful Convictions and Criminal Justice in China. Honolulu: University of Hawaii, 2016, 2-16.
[Abstract: China’s party-run courts have one of the highest conviction rates in the world, with forced confessions remaining a central feature. Despite recent prohibitions on evidence obtained through coercion or torture, forced confessions continue to undermine the Chinese judicial system. Recounting some harrowing cases of wrongful conviction, acclaimed legal scholar and novelist He Jiahong analyzes many problems in China’s justice system. In one such case, Teng Xingshan was convicted in 1988 and later executed for murdering his mistress, but almost six years later it was discovered that the supposed victim, Shi Xiaorong, was still alive. In 2005, Teng’s children submitted a complaint to the Hunan High People’s Court, which then issued a revised judgment. In another case, She Xianglin was convicted of murdering his wife in 1994 and was sentenced to death, but this sentence was later commuted to fifteen years’ imprisonment. In 2005, She’s wife, presumed dead for over eleven years, “returned to life”; She was released from prison two weeks later, retried and found not guilty. With riveting examples, the author surveys the organization and procedure of criminal investigation, the lawyering system for criminal defense, the public prosecution system, trial proceedings, as well as criminal punishments and appeals. In doing so, He highlights the frequent causes of wrongful convictions: investigators working from forced confessions to evidence; improperly tight deadlines for solving criminal cases; prejudicial collection of evidence; misinterpretation of scientific evidence; continued use of torture to extract confessions; bowing to public opinion; nominal checks among the police, prosecutors and the courts; the dysfunction of courtroom trials; unlawfully extended custody with tunnel vision; and reduced sentencing in cases of doubt.]
Black Holes. Penguin Books China, 2016.
[Abstract: When Xia Zhe, an ambitious trader at a state-owned securities company, is indicted for corporate fraud, lawyer Hong Jun takes on the case at the request of the young man’s father. But as the trial date looms, it becomes clear that this case of avarice and ill-gotten gains is far from black and white. Hong Jun discovers a web of family secrets and hidden motives leading back to the turbulence of the Cultural Revolution. What he doesn’t count on is that, in dredging up these long-dormant histories, he must face the shadows of his own past to get to the truth.]
Crimes et délits à la bourse de Pékin. La quatrième enquête de Maître Hong. Paris: Editions de l’aube, 2005.
Crime du sang [Feng nu]. Tr. Marie-Claude Cantournet. Paris: Edition de l’Aube, 2011
L’Enigme de la pierre oeil de dragon [龙眼石之谜]. Tr. Marie-Claude Cantournet. Paris: Edition de l’Aube, .2003.
Hanging Devils. Tr. Duncan Hewitt. Penguin, 2012.
[Abstract: When Hong Jun returns to China from studying and working as a lawyer in the US, he opens the doors to his new practice in Beijing intent on helping ordinary people defend their rights, but he soon finds himself embroiled in a case which is anything but ordinary. Ten years earlier, in 1984, on a state farm in the brutally icy, rural northeast of China, local beauty Li Hongmei was raped and murdered. There were two suspects and whilst one disappeared, the other confessed making it a seemingly open and shut case. But now it looks like the wrong man may have been sent down for the crime. His newly-rich brother is prepared to pay whatever it takes to clear his name and he thinks Hong Jun is the right man for the job. In a quest for justice, Hong Jun returns to the sins of the past and delves deep into the sleazy underbelly of China’s corrupt legal system. When he stumbles upon what appears to be official complicity in a cover-up he must challenge those who hold the rule of law secondary to personal ambition and the whims of local officials to solve a case shrouded in both mystery and treachery and one that ambiguously alludes to the ancient legends of the Heilongjiang Mountains where the murder took place.]
Les Mysterieux tableuax ancien [神秘的古画]. Tr. Marie-Claude Cantournet. Paris: Edition de l’Aube, 2002.
“Return to the Great Northern Wilderness.” Tr. Emily Jones. Read Paper Republic 49.
He Jingzhi 贺敬之
“Return to Yenan.” Tr. Kai-yu Hsu. In Hsu, ed. The Chinese Literary Scene: A Writers’ Visit to the People’s Republic. NY: Vintage Books, 1975, 184-87.
The White-haired Girl: An Opera in Five Acts. With Ding Yi. Tr. Hsien-yi Yang and Gladys Yang. Peking: Foreign Languages Press, 1954.
He Li
“Modernism and China: A Summary from the People’s Daily.” Tr. Geremie Barme. Renditions 19/20 (1983): 44-54.
He Qifang 何其芳
“Elegy” [Aige]. Tr. David Pollard. In Pollard, ed., The Chinese Essay. NY: Columbia UP, 2000, 271-75.
“Elegy.” Tr. Canaan R. O. Morse. The Kenyon Review (Summer 2010).
Poems in:
Contemporary Chinese Poetry. Ed. Robert Payne. London, Routledge, 1947.
Paths in Dreams: Selected Prose and Poetry of Ho Ch’i-fang. Ed. and Tr. Bonnie S. McDougall. St. Lucia, Queensland: University of Queensland Press, 1976.
Twentieth Century Chinese Poetry. Ed. Kai-yu Hsu. Anchor Books, 1964.
Anothology of Modern Chinese Poetry. Ed/tr. Michelle Yeh. New Haven: Yale UP, 1992, 60-66.
“Clouds.” Tr. Bonnie McDougall. Stand (Newcastle) 15, 3 (1974).
Paths in Dreams: Selected Prose and Poetry of Ho Ch’i-Fang. Tr. Bonnie McDougall. St. Lucia, Queensland: University of Queensland Press, 1976.
“Streets.” Tr. Canaan Morse. Chinese Literature Today (Summer 2010): 76-79.
“The Weeping Yangtze.” Tr. Canaan Morse. Chinese Literature Today (Summer 2010): 71-75.
He Qiantong (Ho Sin Tung) 何倩彤
“Square Moon.” Tr. Petula Parris-Huang. In Liu Ding, Carol Yinghua Lu, and Ra Page, eds., Shi Cheng: Short Stories from Urban China. Manchester, UK: Comma Press, 2012.
He Wei
“My Old House in Shanghai.” Trs. Ren Zhong and Yuzhi Yang. In Hometowns and Childhood. San Francisco: Long River Press, 2005, 69-80.
He Weiping
“Returning Home on a Stormy Night.” In Loud Sparrows: Contemporary Chinese Short-Shorts. Trs. Aili Mu, Julie Chiu, and Howard Goldblatt. NY: Columbia University Press, 2006, 45-46.
He Xiangning
Soaring: Poems of Liao Chung-k’ai and Ho Hsiang-ning. Tr. Wen-yee Ma. HK: Joint Publishing, 1980.
He Xin
“On Superfluous People.” In G. Barme, ed., New Ghosts, Old Dreams: Chinese Rebel Voices. NY: Times Books, 1992, 260-64.
“What’s New: A Letter from He Xin.” In Geremie Barme, ed., New Ghosts, Old Dreams: Chinese Rebel Voices. NY: Times Books, 1992, 408-09.
He Zhen (He-Yin Zhen) 何震
The Birth of Chinese Feminism: Essential Texts in Transnational Theory. Eds. Lydia H. Liu, Rebecca E. Karl, and Dorothy Ko. NY: Columbia University Press, 2013.
[Abstract: He-Yin Zhen (ca. 1884-1920?) was a theorist who figured centrally in the birth of Chinese feminism. Unlike her contemporaries, she was concerned less with China’s fate as a nation and more with the relationship among patriarchy, imperialism, capitalism, and gender subjugation as global historical problems. This volume, the first translation and study of He-Yin’s work in English, critically reconstructs early twentieth-century Chinese feminist thought in a transnational context by juxtaposing He-Yin Zhen’s writing against works by two better-known male interlocutors of her time. The editors begin with a detailed analysis of He-Yin Zhen’s life and thought. They then present annotated translations of six of her major essays, as well as two foundational tracts by her male contemporaries, Jin Tianhe (1874-1947) and Liang Qichao (1873–1929), to which He-Yin’s work responds and with which it engages. Jin, a poet and educator, and Liang, a philosopher and journalist, understood feminism as a paternalistic cause that liberals like themselves should defend. He-Yin presents an alternative conception that draws upon anarchism and other radical trends. Ahead of her time, He-Yin Zhen complicates conventional accounts of feminism and China’s history, offering original perspectives on sex, gender, labor, and power that remain relevant today.]
He Zhihe (Horace Ho) 何致和
“Putting to the Test” (代驗). Tr. Thilo Diefenbach. Taipei Chinese Pen 199 (Winter 2021): 23-62.
Tree Fort over Carnation Lane. Tr. Darryl Sterk. London: Balestier, 2016.
[Abstract: They were the kids from the wrong side of the temple, kids who grew up in the night market and next to the red light district. Their parents didn’t like them visiting the market by themselves and expressly forbade them from taking a single step into Carnation Lane. But the appearance of a chained orangutan in a night market spectacle the year the three friends turned twelve convinced them to defy the parental ban. While the adults were away at a protest against the Martial Law, they stole into the banned zone, released the beast from bondage and led it upstream, on a quest to find the fabled zoo. The memory of this all-but-forgotten childhood experience comes back after news of his friend’s suicide. It seems to Daniel Fang that the two events must somehow be connected. A cryptologist by training, he decides to investigate, hoping to solve the mystery of his friend’s death and decode the message contained within the memory that has shaped, even warped, their later lives.]
He Zhong
Poems in New Generation: Poems from China Today. Ed. Wang Ping. Brooklyn, NY: Hanging Loose Press, 1999, 49-62.
Hei Dachun
The Songs of Geese … Or Of the Travellings of Men. Tr. Michael Day. Peterborough, UK: Spectacular Diseases, 1996.
Hei Ying 黑婴
“Elegy for the Southern Isles.” Tr. Josh Stenberg. Renditions 95 (Spring 2021): 79-83.
“Huilixian 回力線 Hai Alai Scenes.” Tr. Paul Bevan. In Bevan, Intoxicating Shanghai–An Urban Montage: Art and Literature in Pictorial Magazines during Shanghai’s Jazz Age. Leiden, Brill, 2020, 82-95.
“Spring in the Southern Isles.” Tr. Josh Stenberg. Renditions 95 (Spring 2021): 84-92.
“When Spring Arrives.” Tr. May-lee Chai. Modern Chinese Literature 9, 1 (Spring 1995): 31-38.
Heng Chen
Blackjack. Taipei: Unitas, 1994. [Set in Las Vagas gambling casinos]
Ho, Horace (see He Zhihe)
Hon Lai-chu, see Han Lizhu
Hong Feng 洪峰
“The Stream of Life.” Tr. Michael Day. In Michael S. Duke, ed., Worlds of Modern Chinese Fiction. Armonk: M. Sharpe, 1991, 63-75.
Hong Hong 鴻鴻 (Hung Hung)
“The Earth Is Flat, Only that Some Places Are Flatter” [地球是平的,只不過有些地方特別平]. Tr. Yanwing Leung. The Taipei Chinese Pen 172 (Spring 2015): 33.
“In the Distant Galaxy” [在銀河系]. Tr. Yanwing Leung. The Taipei Chinese Pen 172 (Spring 2015): 30.
“More Resolute, This Life–an epithalanium” [這輩子更加決定]. Tr. Yanwing Leung. The Taipei Chinese Pen 172 (Spring 2015): 34-35.
“Portrait of a Fish–the last fish in my stomach” [魚生-給我吃的最後一條魚]. Tr. Yanwing Leung. The Taipei Chinese Pen 172 (Spring 2015): 28-29.
“A Soft Chamber–notes on Peng Yiping’s Heroom” [軟房間-彭怡平《女人的房間》讀後]. Tr. Yanwing Leung. The Taipei Chinese Pen 172 (Spring 2015): 31-32
Hong Ling
“Fever.” Tr. Paola Zamperini. In Patricia Sieber, ed., Red Is Not the Only Color: Contemporary Chinese Fiction on Love and Sex between Women, Collected Stories. Lanham, MD: Rowman and Littlefield, 2001, 149-52.
“Poem from the Glass Womb.” Tr. Fran Martin. In Martin, ed., Angelwings: Contemporary Queer Fiction from Taiwan. Honolulu: University of Hawaii Press, 2003, 189-212.
Hong Shen 洪深
“The Contemporary Chinese Theatre.” Theatre Arts Magazine 4 (1920): 238–243.
“The Wedded Husband.” Poet Lore 32, 1 (Spring 1921). [written in English]
“The Wedded Husband.” In Kirk A. Denton, ed., Hong Shen and The Wedded Husband. Columbus: Foreign Language Publications, 2014, 19-49.
“Wei zhi you shi” 為之有室 (The Wedded Husband). Tr. Man He. In Kirk A. Denton, ed., Hong Shen and The Wedded Husband. Columbus: Foreign Language Publications, 2014, 50-72. [Chinese translation of Hong Shen’s English-language play The Wedded Husband]
“Yama Chao” (Zhao Yanwang). Tr. Carolyn Brown. In E. Gunn, ed., Twentieth-Century Chinese Drama: An Anthology. Bloomington: IUP, 1983, 10-40. Also in Xiaomei Chen, ed., The Columbia Anthology of Modern Chinese Drama. NY: Columbia UP, 2010, 66-96.
Hong Suli (Su-Li Hung) 洪素麗
Taiwan Rice (臺灣米). Taibei: Yunchen, 2014 [new poetry and art by Su-Li Hung; includes forty-four poems translated by Tommy McClellan, and six poems translated by the author herself].
Trees of Takao (打狗樹仔). Taibei: Yunchen, 2010, 217-227 [ten of the poems translated by T.M.McClellan].
Hong Xingfu
“Dark Face Kieng-ah.” Tr. Hwang Ying-tsih. The Chinese Pen (Spring, 1980): 1-26.
“My Land.” Tr. Cathy Chiu. Taiwan Literature: English Translation Series 4 (1999): 23-50.
“The Play’s Over.” Tr. Michael Duke. The Chinese Pen (Spring, 1980): 55-89.
Hong Ying 虹影
“Bridge.” Tr. John Cayley. In Under-Sky Underground. London: Wellsweeep, 1994, 80.
“The Bridge with a Secret.” Trs. Herbert Batt and Henry Zhao. In A Lip Stick Called Red Pepper, Fiction About Gay and Lesbian Love in China. Bochum: Ruhr-University Press, 1999, 19-28.
“Butterfly and Butterfly.” Tr. Henry Y.H. Zhao. In Abandoned Wine. London: Wellsweep, 1996, 184.
“Carnation Club.” Tr. Desmond Skeel. In A Lip Stick Called Red Pepper, Fiction About Gay and Lesbian Love in China. Bochum: Ruhr-University Press, 1999, 88-151.
The Concubine of Shanghai. London: Marion Boyars, 2008.
Daughter of the River. Tr. Howard Goldblatt. London: Bloomsbury, 1998.
“The Dirty Finger on the Bottle Lid.” Tr. Jenny Putin. Trafika 5 (Autumn 1995): 170-79. Also in A Lip Stick Called Red Pepper, Fiction About Gay and Lesbian Love in China. Bochum: Ruhr-University Press, 1999, 29-41.
“The Field.” Tr. Susan McFadden. In Howard Goldblatt ed., Chairman Mao Would Not Be Amused: Fiction from Today’s China. NY: Grove Press, 1995, 18-24.
“Fluttering.” Tr. Janine Nicole. In A Lip Stick Called Red Pepper, Fiction About Gay and Lesbian Love in China. Bochum: Ruhr-University Press, 1999, 42-47.
“Gas.” Tr. Henry Y.H. Zhao. In Abandoned Wine. London: Wellsweep, 1996, 144-45.
“Gay Capital: Homosexual Mores in China.” Index on Censorship 2 (2008).
“The Green Peach.” Tr. Henry Y.H. Zhao. In Abandoned Wine. London: Wellsweep, 1996, 142-43.
“How to Become a Fish.” Tr. John Cayley. In Under-Sky Underground. London: Wellsweeep, 1994, 80.
I Too Am Salammbo. Tr. Mabel Lee. Newtown, NSW: Vagabond Press, 2015.
[Abstract: Since 1988 Hong Ying has published six major collections of poetry, her most recent being I Too Am Salammbo, a retrospective collection of poems that she has selected and arranged in rough chronological order. As in her novels Hong Ying does not baulk at exploring female sexuality. She, as author, can only re-present the characters of her novels in accordance with how she perceives them: as a woman. However her poetry is highly personal, shedding light on her personal life, including her own sexuality and sexual experiences. Female sexuality and experiences are addressed with spontaneity and naturalness, authenticating the fact that such experiences are natural human behaviour. For Hong Ying’s cult followers, her poetry is as important as her novels.]
K: The Art of Love. Trs. Henry Zhao and Nicky Harman. Marion Boyars, 2002.
A Lipstick Called Red Pepper: Fiction about Gay and Lesbian Love in China. Compiled by Henry Zhao. Trs, Herbert Batt, Janine Nicol, Jenny Putin, Desmond Skeel, Henry Zhao.
Bochum: Ruhr University Press, 1999.
“Little Sixth the Orphan.” Tr. Janine Nicole. In A Lip Stick Called Red Pepper, Fiction About Gay and Lesbian Love in China. Bochum: Ruhr-University Press, 1999, 48-53.
Peacock Cries at the Three Gorges. Trs. Marks Smith and Henry Zhao. London: Marion Boyars, 2004.
Poems of Hong Ying, Zhai Yongming and Yang Lian. Ed. Mabel Lee. Trs. Mabel Lee, Naikan Tao, and Tony Prince. Newtown, NSW: Vagabond Press, 2014.
“Preparing His Biography.” Tr. John Cayley. In Henry YH Zhao, Yanbing Chen, and John Rosenwald. Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 57.
“Recent Research on Yu Hong.” Tr. Desmond Skeel. In A Lip Stick Called Red Pepper, Fiction About Gay and Lesbian Love in China. Bochum: Ruhr-University Press, 1999, 54-73. Also in Henry YH Zhao, Yanbing Chen, and John Rosenwald. Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 224-43.
“The Saddled Deer.” Tr. Herbert Batt and Henry Zhao. In A Lip Stick Called Red Pepper, Fiction About Gay and Lesbian Love in China. Bochum: Ruhr-University Press, 1999, 75-87. Also in The Mystified Boat and Other New Stories from China. Eds. Frank Stewart and Herbert J. Batt. Special issue of Manoa: A Pacific Journal of International Writing 15, 2 (Winter 2003). Honolulu: University of Hawaii Press, 29-56.
“The Snuff Bottle.” Tr Jenny Putin. In A Lip Stick Called Red Pepper, Fiction About Gay and Lesbian Love in China. Bochum: Ruhr-University Press, 1999, 1-18. Also in Henry YH Zhao, Yanbing Chen, and John Rosenwald. Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 148-67.
Summer of Betrayal. Tr. Martha Avery. NY: Farrar Straus and Giroux, 1997; London: Bloomsbury, 1997.
“Winter Horror.” Tr. Henry Y.H. Zhao. In Abandoned Wine. London: Wellsweep, 1996, 183.
Hou Ma
“Bloodsucking Rapture,” and “A Wolf? In Sheep’s Clothing?” Tr Canaan Morse. “Subway,” and “Li Hong’s Kiss.” Trs. Hai An and Denis Mair. Pathlight: New Chinese Writing 1 (2011): 119-20.
Hou Zhongsheng
“Fireside Chat.” In Nieh Hua-ling, ed. and tr., Eight Stories By Chinese Women. Taipei: Heritage Press, 1962, 115-28.
Hou Zhen
“Three Years of Carefree Happiness.” Tr. David Steelman. In Nancy Ing, ed., Winter Plum: Contemporary Chinese Fiction. Taipei: Chinese Materials Center, 1982, 121-36. Also in The Chinese Pen (Summer 1975): 23-32.
Hu Dong
“Bodhidharma Hesitates on the Banks of the Yellow River,” “Curing a Cough.” Tr. Nicholas Kaldis. Dirty Goat 24 (March 2011): 176-79.
“The Death of Zilu.” Tr. Jenny Putin. In Henry Y.H. Zhao, Yanbing Chen, and John Rosenwald, eds., Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 64-89.
“From the Sorcerer’s Book.” Tr. Yanbing Chen. In Henry Y.H. Zhao, Yanbing Chen, and John Rosenwald, eds., Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 167-69.
Hu Fayun 胡发云
“Chapter 51.” Ruyan@sars.come. EastSouthWestNorth.
Such Is This World@sars.come. Tr. A. E. Clark. Dobbs Ferry, NY: Ragged Banner Press, 2011. [MCLC Resource Center Publications review by Brian Bernards] [response to Bernards’ review by A. E. Clark]
Hu Fayun, “Old Fool: Elegy for a Monkey.” Tr. Paul E. Festa. MCLC Resource Center Publication (Aug. 2017).
Hu Fang
Garden of Mirrored Flowers. Tr. Melissa Lim. Berlin: Sternberg Press; Guangzhou: Vitamin Creative Space, 2010.
[Abstract: Fang’s novel tells the story of a man in the process of designing a theme park, called Garden of Mirrored Flowers, and is an adaptation and transformation of the classical Chinese novel Jin Hua Yuan, or Flowers in the Mirror, from the Qing Dynasty. Beginning as a pictorial journey through myriad advertisements and the way they allow for many different entries into reality, Fang depicts parallels between the park’s actual construction and how it has been imagined, or how it has evolved out of history. For Garden of Mirrored Flowers is less the vision of one author (Fang) and more the result of reality writing itself through this author; that is, a script, or documentary, of life. “It’s a book,” Fang states, “written by a ghost writer. Me? Just a traveler floating within the wave of globalization.” Culminating with the park’s opening ceremony, Fang creates a space where history seems to have been completely consumed and absorbed by contemporary social movements. It is both a labyrinth to get lost in and a pavilion made of reflective glass. Hu Fang is a novelist, art critic, and the co-founder and artistic director of Vitamin Creative Space, a project and gallery space dedicated to contemporary art exploration and searching for an independent working mode, specifically geared to the contemporary Chinese context. He lives and works in Beijing and Guangzhou. ]
“New Species of Spaces.” E-Flux 11 (Dec. 2009).
“Wittgenstein’s House.” E-Flux 24 (April 2011).
“Wu Yongfang, the Hunger Artist.” E-Flux 16 (May 2010)
Hu Feng 胡风
“My Self-Criticism.” In Gibbs, guest ed. Chinese Studies in Literature 1 (1979): 65-89.
Poems in: Kai-yu Hsu, Twentieth Century Chinese Poetry, 349-57.
“Preface to Mountain Spirit.” Tr. Edward M. Gunn. In Yung-sheng Yvonne Chang, Michelle Yeh, and Ming-ju Fan, eds., The Columbia Sourcebook of Literary Taiwan. New York: Columbia University Press, 2014, 97-98.
“Realism: A ‘Correction’.” Tr. Catherine Pease Campbell. In Denton, ed., Modern Chinese Literary Thought. Stanford: Stanford UP, 1996, 345-55.
“Realism Today.” Tr. Paul Pickowicz. In Denton, ed., Modern Chinese Literary Thought. Stanford: Stanford UP, 1996, 485-90.
“What Do the Broad Masses Demand of Literature?” Tr. Richard King. In Kirk A. Denton, ed., Modern Chinese Literary Thought. Stanford: Stanford UP, 1996, 415-17.
“What the Grass Said to the Sun.” Chinese Literature 6 (Jun 1981): 96-99.
Hu Ko
Locust Tree Village. A Play in Five Acts. Beijing: Foreign Languages Press, 1961.
Hu Jiujiu 胡赳赳
“Six Poems.” Trs. Matt Turner and Haiying Weng. Chinese Literature Today 8, 1 (2019): 83-85.
Hu Lanqi 胡兰畦
“In a German Women’s Prison.” Tr. Hu Mingliang. In Amy D. Dooling, ed., Writing Women in Modern China The Revolutionary Years, 1936-1976. NY: Columbia UP, 2005, 70-80.
Hu Ping 胡平
“The Eyes of China.” In Thomas E. Moran, ed., Unofficial Histories: Chinese Reportages from the Era of Reform. Boulder: Westview Press, 1997.
The Thought Remolding Campaign of the Chinese Communist Party-State. Trs/eds. Philip F. Williams and Yenna Wu. Amsterdam: Amsterdam University Press, 2012.
[Abstract: This authoritative work on the Chinese Communist party’s practices of reeducation and indoctrination, supersedes all previous works by bringing into account recent events. Hu Ping has provided a rich and rigorous study based not only in historical research and numerous compelling case studies of Chinese intellectuals, but also in a first person account of his own experience of Maoist thought “remolding.” The Thought Remolding Campaign of the Chinese Communist Party-State is an important history not only of the reeducation programs, but of the interrogation processes of the Party, and the strategies of either evasion or rebellion that released prisoners adopted.
Hu Qiu (Hu Chiu)
“Day the New Director Came.” In Saturday Afternoon at the Mill and Other One-Act Plays. Beijing: Foreign Languages Press, 1957, 50-78.
Hu Qiuyuan 胡秋原
“Do Not Encroach upon Literary Art.” Tr. Jane Parish Yang. In Kirk A. Denton, ed., Modern Chinese Literary Thought. Stanford: Stanford UP, 1996, 363-66.
Hu Shi 胡适
“The Biography of Li Chao” [1919]. Chinese Studies of History 31, 2 (Winter 1997/98): 36-47.
“A Chinese Declaration of the Rights of Women.” Chinese Social and Political Science Review 8, 2 (April 1924): 100-09.
The Chinese Renaissance. Chicago: University of Chicago Press, 1934.
A Collection of Hu Shi’s English Writings. Ed. Chou Chih-p’ing. Taibei: Yuanliu, 1995.
“Conflicts of Cultures.” In Frank Rawlinson, ed., China Christian Yearbook, 1929. Shanghai: 1930, 112-21.
“The Greatest Event in Life” [Zhongshen dashi]. In E. Gunn, ed., Twentieth-Century Chinese Drama: An Anthology. Bloomington: IUP, 1983, 1-9. Also in A.E. Zucker ed., The Chinese Theater. Boston: Little Brown, 1925, 119-28. Aslo in Xiaomei Chen, ed., The Columbia Anthology of Modern Chinese Drama. NY: Columbia UP, 2010, 57-65.
“Ibsenism.” In Elizabeth Eide, China’s Ibsen: From Ibsen to Ibsenism. London: Curzon Press, 1980, 155-68.
(Hu Suh). “Intellectual China in 1919.” Chinese Social and Political Science Review 5, 4 (Dec. 1919): 345-55.
“The Literary Renaissance.” In Sophia H. Chen Zen ed., Symposium on Chinese Culture. Shanghai: China Institute of Pacific Relations, 1931, 150-64.
(Hu Suh). “The Literary Revolution in China.” Chinese Social and Political Science Review 6, 2 (1922): 91-100.
“My Autobiographical Account at Forty.” Tr. Li Yu-ning. In Li Yu-Ning, ed., Two Self-Portraits: Liang Ch’i-ch’ao and Hu Shih. Bronxville, NY: Outer Sky Press, 1992, 32-188.
“On Constructive Literary Revolution.” In Margaret Hillenbrand and Chloe Starr, eds., Documenting China: A Reader in Seminal Twentieth-Century Texts. Seattle: University of Washington Press, 2011, 1-14.
“On Hong Kong.” Tr. Zhu Zhiyu. Renditions 29/30 (Spring/Aut. 1988): 45-46.
“Literature.” In Sophia H. Chen Zen ed., Symposium on Chinese Culture. Shanghai: China Institute of Pacific Relations, 1931, 129-41.
Poems in: Twentieth Century Chinese Poetry: An Anthology. Hsu Kai-yu, ed. Garden City, N.Y.: Doubleday, 1963, 1-3; Anthology of Modern Chinese Poetry. Ed/tr. Michelle Yeh. New Haven: Yale UP, 1992, 1.
“Religion and Philosophy in Chinese History.” In Sophia H. Chen Zen ed., Symposium on Chinese Culture. Shanghai: China Institute of Pacific Relations, 1931, 31-58.
“The Reminiscences of Dr. Hu Shih.” Tr. Li Yu-ning. In Li Yu-Ning, ed., Two Self-Portraits: Liang Ch’i-ch’ao and Hu Shih. Bronxville, NY: Outer Sky Press, 1992, 189-241.
“The Renaissance in China.” Journal of the Royal Institute of International Affairs 5, 6 (Nov. 1926): 265-83.
“The Social Message in Chinese Poetry.” Chinese Social and Political Science Review 7, 1 (Jan. 1923): 66-79.
“Some Modest Proposals for the Reform of Literature.” Tr. Kirk A. Denton. In Denton, ed., Modern Chinese Literary Thought. Stanford: Stanford UP, 1996, 123-39.
“The Significance of the New Thought” (partial). In J. Mason Gentzler, ed., Changing China: Readings in the History of China From the Opium War to the Present. NY: Praeger, 1977, 177-80.
“A Systematic Study of China’s Cultural Heritage.” Tr. Li Yu-ning. In Li Yu-Ning, ed., Two Self-Portraits: Liang Ch’i-ch’ao and Hu Shih. Bronxville, NY: Outer Sky Press, 1992, 242-49.
“Two Wings of One Bird: A Chinese Attitude Toward Eastern and Western Civilization.” Pacific Affairs 1, 1 (May 1928): 1-8.
Hu Shituo 胡士托
“Reading in Vain” [空閱讀]. Tr. John J. S. Balcom. The Taipei Chinese Pen 177 (Summer 2016): 20-21.
Hu Shuwen 胡淑雯
“A Cat Floating in Blood” [浮血貓]. Tr. Billy Beswick. Taiwan Literature: English Translation Series 49 (2022): 113-52.
“Dividing Line” [界線]. Tr. Hu Ying. Taiwan Literature: English Translation Series 49 (2022): 153-62.
Hu Wanchun 胡万春
Man of a Special Cut. Beijing: Foreign Languages Press, 1963. [contains “Spot of Red in the Sky,” “Man of a Special Cat,” “Instructor Chiang,” “It Happened at the Steel Mill,” “Flesh and Blood,” “Waht Instructor Pu-Kao Thought,” “The Road”]
“Twilight Years.” Tr. Michael Gotz. In Kai-yu Hsu, ed., Literature of the People’s Republic of China. Bloomington: Indiana University Press, 1980, 620-27.
Hu Xin
“A Pink Humor.” In Hui Wu, ed., Once Iron Girls: Essays on Gender by Post-Mao Chinese Literary Women. Lanham, MD: Lexington Books, 2010, 85-87.
“My View on Women.” In Hui Wu, ed., Once Iron Girls: Essays on Gender by Post-Mao Chinese Literary Women. Lanham, MD: Lexington Books, 2010, 89-94.
“Women’s Footprint of Pain: Preface for the Reprint of Four Women of Forty.” In Hui Wu, ed., Once Iron Girls: Essays on Gender by Post-Mao Chinese Literary Women. Lanham, MD: Lexington Books, 2010, 83-84.
Hu Xudong 胡续冬
“Five Poems.” Tr. Eleanor Goodman. Chinese Literature and Thought Today 53, 1/2 (2022): 84-88.
“A Short Chapter,” “Tibetan Medicine,” “Written at Waterside.” Trs. George O’Connell and Diana Shi. Atlanta Review xiv, 2 (Spring/Summer 2008): 54-57.
Hu Yepin 胡也频
“Living Together.” Tr. George Kennedy. In Harold Isaacs, ed., Straw Sandals: Chinese Short Stories, 1918-1933. Cambridge: M.I.T. Press, 1974, 207-214.
“A Poor Man.” In Chinese Stories from the Thirties, vol. 1.
Hua Tong 华彤
“Yan’an Seed.” Tr. Mark Caltonhill. Renditions 50 (1999): 24-35. Rpt. in Joseph S. M. Lau and Howard Goldblatt, eds., The Columbia Anthology of Modern Chinese Literature. NY: Columbia UP, 2007, 251-61.
Hua Yan
Daughter of Autumn. Tr. Wen Ha Hsiung. Taipei: The Woman Magazine, 1978.
Lamp of Wisdom. Tr. Nancy C. Ing. Taipei: The Woman Magazine, 1974.
“Poor Soul.” Tr. Faye Peng Shen. The Chinese Pen (Autumn, 1973): 54-76. Republished in Chinese Women Writers’ Association, eds., The Muse of China: A Collection of Prose and Short Stories. Taipei: Chinese Women Writers’ Association, 1974, 37-59.
Huanzhulouzhu 还珠楼主
Blades from the Willows Trilogy. Tr. Robert Chard. London: Wellsweep, 1997. Vol 1: Blades fnd Masters of the Way. [marital arts fiction]
Huan Fu
Poems in: The Isle Full of Noises: Modern Chinese Poetry from Taiwan. Ed/tr. Dominic Cheung. NY: Columbia UP, 1987, 99-103.
Huang Beijia 黄蓓佳
“Family Members” (excerpt). Tr. Josh Stenberg. Chinese Arts and Letters 1, 2 (2014): 8-54.
Huang Biyun (Wong Bik Wan) 黃碧雲
“Losing the City” (Shi cheng). Tr. Martha Cheung. In Martha P.Y. Cheung, ed., Hong Kong Collage: Contemporary Stories and Writing. HK: Oxford University Press, 1998, 205-32.
“Plenty and Sorrow.” Tr. Janice Wickeri. In Renditions 47/48 (Spring/Autumn 1997): 53-72. Also in Hong Kong Stories: Old Themes and New Voices. HK: Renditions, 1999, 126-158.
“She’s Woman, I’m Woman.” In Kwok-kan Tam, Terry Siu-Han Yip, and Wimal Dissanayake, eds., A Place of One’s Own: Stories of Self in China, Hong Kong, and Singapore. NY: Oxford UP, 1999, 287-300.
“She’s a Young Woman and So Am I.” Tr. Naifei Ding. In Patricia Sieber, ed., Red Is Not the Only Color: Contemporary Chinese Fiction on Love and Sex between Women, Collected Stories. Lanham, MD: Rowman and Littlefield, 2001, 37-48.
Huang Canran 黄灿然
Poems in: Qingping Wang, ed. Push Open the Window: Contemporary Poetry from China. Port Townsend, WA: Copper Canyon Press, 2012.
Huang Chengcong 黃呈聰
“On the New Mission to Promote Vernacular Writing.” Tr. Chien-hsin Tsai. In Yung-sheng Yvonne Chang, Michelle Yeh, and Ming-ju Fan, eds., The Columbia Sourcebook of Literary Taiwan. New York: Columbia University Press, 2014, 45-48.
Huang Chunming (Hwang Ch’un-ming) 黄春明
“Ah-Ban and the Cop.” Tr. Howard Goldblattt. The Chinese Pen (Summer, 1981): 94-98. Also in Huang Chunming: Stories. Tr. Howard Goldblatt. HK: Renditions Paperbacks, 2013, 81-84.
“Dead Again?” In Huang Chunming: Stories. Tr. Howard Goldblatt. HK: Renditions Paperbacks, 2013, 21-26.
The Drowning of an Old Cat and Other Stories. Tr. Howard Goldblatt. Bloomington: Indiana UP, 1980.
“Father’s Writings Have Been Republished, Or, The Sexuality of Women Students in a Taibei Bookstore.” Tr. Raymond N. Tang. In Helmut Martin, ed., Modern Chinese Writers: Self-portrayals. Armonk, NY: M.E. Sharpe, 1992, 204-208.
“The Fish.” Tr. Linda Wu. In Nancy Ing, ed., Winter Plum: Contemporary Chinese Fiction. Taipei: Chinese Materials Center, 1982, 165-77. Also in The Drowning of an Old Cat and Other Stories, 1-11. Also in:Huang Chunming: Stories. Tr. Howard Goldblatt. HK: Renditions Paperbacks, 2013, 11-20.
“A Flower in the Rainy Night.” Tr. Earl Wieman. In Joseph S.M. Lau, ed., Chinese Stories From Taiwan: 1960-1970. NY: Columbia UP, 1976, 195-241.
“Four Poems.” Tr. Tze-lan Sang. Chinese Literature Today 8, 1 (2019): 91-96.
Le Gong [French tr. of Luo; The Gong]. Trs. Emmanuelle Pechenart and Anne Wu. Arles: Actes Sud, 2001.
“His Son’s Big Doll.” Tr. John Hu. In Chi Pang-yuan, et al., eds., An Anthology of Contemporary Chinese Literature. Taipei: National Institute for Compilation and Translation, 1975, II, 321-42. Also in The Drowing of an Old Cat and Other Stories. 37-60. Also in Kwok-kan Tam, Terry Siu-Han Yip, Wimal Dissanayake, eds., A Place of One’s Own: Stories of Self in China, Hong Kong, and Singapore. NY: Oxford UP, 1999, 143-64.
Huang Chunming: Stories. Tr. Howard Goldblatt. HK: Renditions Paperbacks, 2013. [“The Fish,” “Dead Again?,” “The Pocket Watch,” “Set Free,” “Ah-ban and the Cop,” “No Talking to the Driver,” “Two Sign Painters,” “I Love Mary”]
“Hung T’ung, the Mad Artist.” Tr. Jack Langlois. In Wai-lim Yip, ed., Chinese Arts and Literature: A Survey of Recent Trends. Occasional Papers/Reprint Series in Contemporary Asian Studies. Baltimore, 1977, 117-26.
The Last Phoenix: Collection of Short Stories by Huang Chunming. Tr. Howard Goldblatt. London: Balestier, 2017.
[Contents: The Street Sweeper’s Son (1956), Northgate Avenue (1962), Young Bach (1957), Playing with Fire (1962), Raise the Bottles (1963), Got a Light? (1963), Fat Auntie (1963), A Man and His Pocketknife (1965), Damn—It’s, Misery! (1965), Follow My Feet (1966), The Face in the Mirror (1966), A Headless Wasp (1967), Uncle Gan Geng at Dusk (1971), Bright Red Shrimps—An Anecdote about Limp Dick Le-zai (1974), Mr. Presently (1986), Blind Ah-mu (1986), Swatting Flies (1986), The Ghost-eater Is Here (1998), A Story of Nine Fingers (1998), The Last Phoenix (1999), Listen to Me, All You Deities (2002), Variations on a Canary’s Lament (2002), A Platform with No Timetable (2005), Dragon-eye Well (2005)]
“I Love Mary.” Tr. Howard Goldblatt. In Joseph S.M. Lau, ed., The Unbroken Chain: An Anthology of Taiwan Fiction Since 1926. Bloomington: IUP, 1983, 133-74. Also in: Huang Chunming: Stories. Tr. Howard Goldblatt. HK: Renditions Paperbacks, 2013, 121-70.
“No Talking to the Driver.” In Huang Chunming: Stories. Tr. Howard Goldblatt. HK: Renditions Paperbacks, 2013, 85-90.
A Platform with No Timetable. Tr. Howard Goldblatt. London: Balestier, 2021.
[Abstract: A Taiwanese businessman is forced to serve as a pimp for a group of seven Japanese men in his home village of Chiao-hsi. The formerly well-respected Ah-Le and his wife bear the weight of shame that his impotence has brought upon them. A young man drives his sister and her friends along the treacherous Taipei-Yilan high-way, as they hunger for the ghost stories surrounding Muddy-Water River… Taking us deep into Taiwan’s rural villages beyond the bustling cities of Kaohsiung and Taipei, Huang Chun-ming introduces us to a cast of characters, at once eccentric and familiar. With his trademark blend of cynicism and warmth, Huang’s stories combine national consciousness with humor and heart, offering a candid look into Taiwan’s rural lives. From portraits of ordinary people, to modern-day folk tales, to heartfelt contemplations on the Taiwanese identity, this collection showcases the astute compassion of one of Taiwan’s most celebrated literary minds.]
“The Pocket Watch.” Tr. Howard Goldblatt. Asymptote (July 2012). Also in Huang Chunming: Stories. Tr. Howard Goldblatt. HK: Renditions Paperbacks, 2013, 27-38.
Raise the Bottles. Tr. Howard Goldblatt. London: Balestier, 2021.
[Abstract: From trains to classrooms to mountains, in this collection of short stories, Huang Chunming traverses across the Taiwan island to deliver his readers bewitching stories of love, loss, and family. Each story crafts a poignant snapshot depicting private minds in public spaces. A young man has an obsessive desire to dissect the world with his pocket knife; an uneducated father struggles to understand what it means when his son gets expelled for lack of national consciousness; a beautiful young woman bewitches men for sport. As each of Huang’s characters struggles with their individual sorrows, they are surrounded by a collection of people and places just as complex as they are. Huang Chunming’s mournful, yet beautiful portraits of Taiwanese society bring us into a world both unsettling and enticing. With his fluid prose, he depicts the common humanity that unites us all. Contents: The Street Sweeper’s Son (1956), Northgate Avenue (1962), Young Bach (1957), Playing with Fire (1962), Raise the Bottles (1963), Got a Light? (1963), Fat Auntie (1963), A Man and His Pocketknife (1965), Damn—It’s, Misery! (1965), Follow My Feet (1966), The Face in the Mirror (1966), A Headless Wasp (1967), The Gong (1970), Uncle Gan Geng at Dusk (1971)]
“Sayonara, Tsai Chien.” Tr. Howard Goldblatt. Renditions 7 (1977): 133-60. Also in The Chinese Pen (Autumn 1975): 1-66, and in The Drowning of an Old Cat, 217-70.
“Set Free.” In Huang Chunming: Stories. Tr. Howard Goldblatt. HK: Renditions Paperbacks, 2013, 39-80.
The Taste of Apples. Tr. Howard Goldblatt. NY: Columbia UP, 2001. [includes: “The Fish,” “The Drowning of an Old Cat,” “His Son’s Big Doll,” “The Gong,” “Ringworms,” “The Taste of Apples,” “Xiaoqi’s Cap,” “The Two Sign Painters,” “Sayonara, Zaijian”]
“Two Sign Painters.” Tr. David Steelman. The Chinese Pen (Winter, 1977): 48-87. Also in The Drowning of an Old Cat and Other Stories, 185-216. Also in Huang Chunming: Stories. Tr. Howard Goldblatt. HK: Renditions Paperbacks, 2013, 91-120.
“Waiting for a Flower’s Name” [等待一朵花的名字]. Tr. David Pollard. In Pollard, ed., The Chinese Essay. NY: Columbia UP, 2000, 345-49.
“We Cant’ Bring Back the Past” [往事只能回味]. Tr. David Pollard. In Pollard, ed., The Chinese Essay. NY: Columbia UP, 2000, 340-45.
“Young Widow.” In Rosemary Haddon, tr./ed , Oxcart: Nativist Stories from Taiwan, 1934-1977. Dortmund: Projekt Verlag, 1996, 221-304.
Huang Chunqing 黃純青
“On Reforming the Taiwanese Vernacular.” Tr. Chien-hsin Tsai. In Yung-sheng Yvonne Chang, Michelle Yeh, and Ming-ju Fan, eds., The Columbia Sourcebook of Literary Taiwan. New York: Columbia University Press, 2014, 70-72.
Huang Deshi 黃得時
“Foreword: Understanding Folk Literature.” Tr. Yingtsih Hwang. In Yung-sheng Yvonne Chang, Michelle Yeh, and Ming-ju Fan, eds., The Columbia Sourcebook of Literary Taiwan. New York: Columbia University Press, 2014, 85-86.
“On Building a Literary Scene in Taiwan.” Tr. Michelle Yeh. In Yung-sheng Yvonne Chang, Michelle Yeh, and Ming-ju Fan, eds., The Columbia Sourcebook of Literary Taiwan. New York: Columbia University Press, 2014, 117-20.
Huang Fan (PRC) 黄梵
“Emotional Phenomena.” Tr. Zhen Zhen and Jeffrey Twitchell-Waas. Facture 1 (2000): 209-210. Also in “Emotional Phenomenon.” Interpoetics: Poetry of Asia and the Pacific Rim 1, 2 (Spring 1998).
“Go Toward.” Tr. Chang Hui and Jeffrey Twitchell. World Literature Today 71:1 (1997): 38.
Poems in: Original: Chinese Language-Poetry Group, A Writing Anthology. Tr. Jeff Twitchell. Afterword by J.H. Prynne. Brighton, England: Parataxis Press, 1995. 90-93.
“Poetry’s New Shore: Language.” Tr. Yunte Huang. boundary 2 26, 1 (1999): 145-146.
“Recollection,” “The Drama of Our Growth,” “Indicator.” Tr. Jeff Twitchell. Exact Change Yearbook No. 1. Ed. Peter Gizzi. Boston: Exact Change-Carcanet, 1995. 33-34.
Huang Fan (Taiwan) 黃凡
“Everybody Needs Ch’in Te-fu.” Tr. Yuan-lin Huang. In Ching-Hsi Perng and Chiu-kuei Wang, eds., Death in a Cornfield and Other Stories from Taiwan. Hong Kong: Oxford University Press, 1994, 163-80.
“From Taibei’s Suburbs, Into the Hubbub of Taiwan’s Economic Miracle.” Tr. Ellen Lai-shan Yeung. In Helmut Martin, ed., Modern Chinese Writers: Self-portrayals. Armonk, NY: M.E. Sharpe, 1992, 247-52.
“The Intelligent Man.” Tr. Hwang Ying-tsih. The Chinese Pen (Summer 1990): 71-81.
“Lai Suo.” Tr. Robert anc Candice P. Eno. The Chinese Pen (Autumn 1985): 47-84. Also trans. by Eric B. Cohen. In Michael S. Duke, Worlds of Modern Chinese Fiction. Armonk, NY: M.E. Sharpe, 1991, 76-98.
“Lai Suo.” [French translation]. Tr. Marc Gilbert. In Angel Pino and Issabelle Rabut, eds., A mes frères du village de garrison: Anthologie de nouvelles taiwanaises contemporaines. Paris: Blue de China, 2001, 11-54..
“A Man of Scruples, Shu-ming Fan, The Just and the Fair.” Tr. Chen I-djen. The Chinese Pen (Autumn 1988): 59-82.
“Night-time Frolics.” Tr. Chen-lai Lu. In Ching-Hsi Perng and Chiu-kuei Wang, eds., Death in a Cornfield and Other Stories from Taiwan. Hong Kong: Oxford University Press, 1994, 152-62.
“A Rainy Night.” Tr. Chou Chang Jun-mei and Eva Shan Chou. The Chinese Pen (Spring 1983): 1-26.
“Tung-pu Street.” Tr. Yuan-lin Huang. In Ching-Hsi Perng and Chiu-kuei Wang, eds., Death in a Cornfield and Other Stories from Taiwan. Hong Kong: Oxford University Press, 1994, 181-200.
Zero and Other Fictions. Tr. John Balcolm. NY: Columbia University Press, 2011.
[Abstract: Huang Fan burst onto Taiwan’s literary scene in the 1980s, publishing pointed urban portraits and political satires that captured the reading public’s attention. After decades of innovative work, he is now one of Asia’s most celebrated authors, crucial to understanding the development of Taiwanese literature over the past fifty years. The first collection of Huang Fan’s work to appear in English, this anthology includes Zero, a prize-winning dystopian novella echoing George Orwell’s chilling 1984. Set in a postapocalyptic world, Zero features Xi De, a young man raised in an elite community who risks everything to challenge his society’s charismatic leader and technocratic rule. Huang Fan’s novella poignantly illustrates the quandary of an idealistic man trapped among conflicting claims to truth, unsure whether to think of himself as heroic or foolish in his ultimate choice of resistance and sacrifice. This anthology also features three critically acclaimed short stories: “Lai Suo,” which established Huang Fan’s reputation as a groundbreaking author; “The Intelligent Man”; and “How to Measure the Width of a Ditch.” In “Lai Suo,” a naïve individual becomes the pawn of powerful men intent on political advancement. In “How to Measure the Width of a Ditch,” an unreliable narrator spins an absurdist, metafictional tale of his childhood in Taipei, and in “The Intelligent Man,” Huang Fan weaves an allegorical satire about political reunification set against a backdrop of Taiwanese migration to the United States, with a trenchant look at expanding business interests in mainland China and Southeast Asia. All together, these remarkable works portray the tensions and aspirations of modern Taiwan. ]
Huang Gang
“Wang Jingwei devant le camera.” Tr. Noel Dutrait. In Dutrait, ed., Ici respire la vie aussi: litterature de reportage, 1926-1982. Aix-en-Provence: Alinea, 1986, 75-95.
Huang Guobin (Huang Kuo-pin)
“Eight Selected Poems.” Tr. Huang Kuo-pin. Renditions 29/30 (Spring/Aut. 1988): 199-209.
Huang Hengqiu 黃恆秋 (Huang Heng-ch’iu)
Poems, trs. K.C. Tu and Robert Backus, in Taiwan Literature: English Translation Series 16 (2005): 149-52.
“Reflections on Hakka Literature in Taiwan.” Tr. Yingtsih Huang. Taiwan Literature: English Translation Series 16 (2005): 171-84.
Huang Jisu, Zhang Guangtian, and Shen Lin
“Che Guevara.” Tr. Jonathan S. Noble. MCLC Resource Center Publication (2006). Also in Xiaomei Chen, ed., The Columbia Anthology of Modern Chinese Drama. NY: Columbia UP, 2010, 927-65.
Huang Jianhua
“‘Iron Arhat’ and ‘Jade Guanyin’.” Tr. Wang Chiying. Chinese Literature (Summer 1997).
Huang Jinming 黄金明
“A Corner of Milky Way Park, In Pearl Square, A Building’s History of Collapse.” Tr. Chris Song Zijiang. Pathlight (Winter, 2013): 177-80.
Huang Jinshu 黄金樹 (Ng Kim Chew)
Slow Boat to China and Other Stories.Tr. Carlos Rojas. New York: Columbia University Press, 2016.
[Abstract: “Dream and Swine and Aurora,” “Deep in the Rubber Forest,” “Fish Bones,” “Allah’s Will,” “Monkey Butts, Fire, and Dangerous Things”–Ng Kim Chew’s stories are raw, rural, and rich with the traditions of his native Malaysia. They are also full of humor and spirit, demonstrating a deep appreciation for human ingenuity in the face of poverty, oppression, and exile. Known for writing in a Chinese that incorporates English, Japanese, Malay, and the Chinese dialect of Hokkien, Ng Kim Chew creatively captures the riot of cultures that roughly coexist on the Malay Peninsula and its surrounding archipelago. Their creative interplay is heightened by the encroaching forces of globalization, which bring new opportunities for cultural experimentation, but also an added dimension of alienation. In prose that is intimate and atmospheric, these stories, selected from several Ng Kim Chew collections, depict the struggles of individuals torn between their ancestral and adoptive homes, communities pressured by violence, and minority Malaysian Chinese in dynamic tension with an Islamic Malay majority. Told through relatable characters, Ng Kim Chew’s tales show why he has become a leading Malaysian writer of Chinese fiction, representing in mood, voice, and rhythm the dislocation of a people and country in transition.]
Huang Juan
“A Marriage Has Been Arranged.” In Nieh Hua-ling, ed. and trans., Eight Stories by Chinese Women. Taipei: Heritage Press, 1962, 3-22.
Huang Liqun 黃麗群
“Cat Sickness” [貓病]. Tr. Erin Y. Huang. Taiwan Literature: English Translation Series 49 (2022): 97-112.
Huang Meishu
“Cathay Visions (The Empty Cage).” Tr. by the Author. In Martha Cheung and Jane Lai, eds., An Anthology of Contemporary Chinese Drama. NY: Oxford UP, 1997, 455-99.
Huang Qingyun
“Annals of a Fossil.” Tr. Graham E. Fuller. In Perry Link, ed., Roses and Thorns: The Second Blooming of the Hundred Flowers in Chinese Fiction, 1979-80. Berkeley: University of California Press, 1984, 194-205.
Huang Qiuyun 黄秋耘
“Do Not Close Your Eyes to the Suffering of the People.” Tr. John Balcom. In Helen Siu, ed., Furrows, Peasants, Intellectuals and the State: Stories and Histories from Modern China. Stanford: SUP, 1990, 289-92.
“Do Not Close Your Eyes to the Suffering of the People.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume I: Criticism and Polemics. NY: Columbia UP, 1981, 72-74.
“Java Bull Takes Sick Leave.” In Hualing Nieh, ed. and co-trans., Literature of the Hundred Flowers Volume II: Poetry and Fiction. NY: Columbia University Press, 1981, 337-51.
“Self-Criticism.” In Hualing Nieh, ed. and co-trans., Literature of the Hundred Flowers Volume II: Poetry and Fiction. NY: Columbia University Press, 1981, 352-63.
“Where Are the Thorns?” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume I: Criticism and Polemics. NY: Columbia UP, 1981, 75-80.
Huang Shi
“Fang Wan’s Paradise.” Tr. Yanbing Chen. In Henry YH Zhao, Yanbing Chen, and John Rosenwald. Fissures: Chinese Writing Today. Brookline, MA: Zephyr Press, 2000, 282-301.
Huang Shihui 黃石輝
“Why Not Promote Nativist Literature?” Tr. Chien-hsin Tsai. In Yung-sheng Yvonne Chang, Michelle Yeh, and Ming-ju Fan, eds., The Columbia Sourcebook of Literary Taiwan. New York: Columbia University Press, 2014, 63-66.
Huang Shizhong 黃世仲
The Big Cheat (Da ma bian): A Late Qing Novel by Huang Shizhong on Kang Youwei [大馬扁]. Tr. Luke S.K. Kwong. Leiden: Brill, 2023.
[Abstract: Contrary to the usual sympathetic image of Kang Youwei found in historical studies, The Big Cheat offers a starkly negative portrayal of Kang. Its author, Huang Shizhong, a late Qing revolutionary and prolific author of over 20 novels, depicts Kang as a lifelong master fraud. His attack on Kang sheds light on the reform-revolution divide featured in every narrative about the rise of modern China. Huang’s novel stands as a period testimony to the political and ideological struggles for China’s future during the last years of the Qing dynasty before it fell in 1912. This is the first English language edition of the novel, translated by Luke S. K. Kwong, who offers an extensive introduction contextualizing Huang’s novel in historical perspective.]
Huang Sicheng
“The Graduation Banquet.” Tr. Howard Goldblatt. The Chinese Pen (Autumn, 1974): 23-32.
“The THC Tab.” Tr. Jon Solomon. Renditions 29-30 (1988): 102-107.
Huang Weikang 黄伟康
“The Future of Ma Lei” [马累的明日]. Tr. Antonia Yanxi Wu. Journal of Languages, Text, and Society 5 (2022): 1-18.
Huang Xiang 黄翔
A Bilingual Edition of Poetry Out of Communist China by Huang Xiang. Tr. Andrew G. Emerson. Lewiston, NY: Mellen Press, 2004. [MCLC Resource Center review by Dian Li]
“9 Poems.” Tr. Andrew G. Emerson. MCLC Resource Center Publication (Dec. 2000).
[Abstract: “Dry Bones,” “Singing Alone,” “China, You Can’t Remain Silent,” “Solitary Confinement,” “Guitar,” “I See a War,” “Silent Grainfield in the Distance,” “We’ve Been Kept Apart for So Long,” “Womb”]
“Confessions of the Great Wall.” In Roger Garside, Coming Alive: China After Mao. NY: McGraw Hill, 1981, 291-93.
“I See a War.” In Roger Garside, Coming Alive: China After Mao. NY: McGraw Hill, 1981, 287-88.
A Lifetime Is a Promise to Keep. Tr. Michelle Yeh. Berkeley, CA: University of California at Berkeley, Institute of East Asian Studies, 2009.
“No, You Have Not Died.” In Roger Garside, Coming Alive: China After Mao. NY: McGraw Hill, 1981, 293-96.
Poet on Fire: Inside Communist China. Trs. Lisu Zavidny with William Rock. Century Mountain Press, 2011.
[Abstract: Huang Xiang is considered to be one of the greatest poets of twentieth century China. This is the first english edition of his autobiography. Huang Xiang spent twelve years in Chinese prisons, was tortured and put on death row twice for writing his free-spirited poetry and for his pioneering advocacy of human rights and democracy in communist China. In 1978, his posting of big character posters in Tiananmen Square, criticizing the cultural revolution and Chairman Mao brought worldwide attention to human rights, democracy and freedom of speech issues in China. This is Huang Xiang’s story in his words as he risks his life to create poetry, champion human rights and follow his dreams. “POET ON FIRE inside Communist China” casts light on what it is like to be a dissident artist in China today.]
“Song of the Torch.” In Roger Garside, Coming Alive: China After Mao. NY: McGraw Hill, 1981, 289-91.
The Thunder of Deep Thought: “House of the Sun Notebooks,” Number Two. Tr. Teresa Zimmerman-Liu. Pittsburgh: Sampsonia Way, 2014.
Huang Yaomian 黄药眠
“Away with All Taboos Regarding Literary Criticism.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume I: Criticism and Polemics. NY: Columbia UP, 1981, 97-100.
“Thoughts from the Hundred Flowers Blooming.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume I: Criticism and Polemics. NY: Columbia University Press, 1981, 101-4.
Huang Ying
“My House is for Sale.” Tr. Chen I-djen. The Chinese Pen (Autumn, 1990): 1-26. Also trans. as “Selling House and Home” by Cathy Poon. Renditions 35-36 (1991): 87-102. Rpt. in Eva Hung, ed., City Women. HK: Renditions, 2001.
Huang Yongmei 黄咏梅
“Level A.” Tr. Erin Yu-tien Huang. Words without Border (Dec. 2008).
Huang Youde
“Ah Yi the Madman and Ah Zhu the Saint.” Tr. Janice Wickeri. Renditions 35-36 (1991): 171-87.
Huang Yunde
“Farewell to Farewell.” Tinfish 4 (1997).
“Tofu Your Life.” Tinfish 4 (1997).
Huang Zunxian 黃遵憲
“Hong Kong.” Tr. T.C. Lai. Renditions 29/30 (Spring/Aut. 1988): 63.
“Preface to Poems from the Hut in the Human World.” Tr. Michelle Yeh. In K. Denton, ed., Modern Chinese Literary Thought: Writings on Literature, 1893-1945. Stanford: SUP, 1996, 69-70.
“Selections from Huang Zunxian’s Writings on Japan.” Trs. Jack W. Chen and Yunshuang Zhang. Renditions 79 (Spring 2013); 59-70.
Huang Zuolin 黄作霖
“On Mei Lanfang and Chinese Traditional Theater.” In Faye Chunfang Fei, ed./tr., Chinese Theories of Theater and Performance from Confucius to the Present. Ann Arbor: University of Michigan Press, 1999, 154-58.
J
Ji Dawei (Chi Tawei) 纪大伟
“Howl.” Yahia Zhengtang Ma. In Howard Chiang, ed., Queer Taiwanese Literature: A Reader. Amherst, NY: Cambria, 2021, 109-38.
“I’m Not Stupid.” Tr. Fran Martin. antiThesis 9, 1 (1998): 141-51.
“On Ku’er: Reflections on Ku’er and Ku’er Literature in Contemporary Taiwan.” Tr. Michelle Yeh. In Sung-sheng Yvonne Chang, Michelle Yeh, and Ming-ju Fan, eds., The Columbia Sourcebook of Taiwan Literature. NY: Columbia University Press, 2014, 409-12.
The Membranes. Tr. Ari Larissa Heinrich. New York: Columbia University Press, 2021.
[Abstract: It is the late twenty-first century, and Momo is the most celebrated dermal care technician in all of T City. Humanity has migrated to domes at the bottom of the sea to escape devastating climate change. The world is dominated by powerful media conglomerates and runs on exploited cyborg labor. Momo prefers to keep to herself, and anyway she’s too busy for other relationships: her clients include some of the city’s best-known media personalities. But after meeting her estranged mother, she begins to explore her true identity, a journey that leads to questioning the bounds of gender, memory, self, and reality. First published in Taiwan in 1995, The Membranes is a classic of queer speculative fiction in Chinese. Chi weaves dystopian tropes—heirloom animals, radiation-proof combat drones, sinister surveillance technologies—into a sensitive portrait of one young woman’s quest for self-understanding. Predicting everything from fitness tracking to social media saturation, this visionary and sublime novel stands out for its queer and trans themes. The Membranes reveals the diversity and originality of contemporary speculative fiction in Chinese, exploring gender and sexuality, technological domination, and regimes of capital, all while applying an unflinching self-reflexivity to the reader’s own role. Ari Larissa Heinrich’s translation brings Chi’s hybrid punk sensibility to all readers interested in books that test the limits of where speculative fiction can go.]
“The Scent of HIV.” Tr. Fran Martin. antiThesis 9, 1 (1998): 141-51.
“A Stranger’s ID.” Tr. Fran Martin. In Martin, ed., Angelwings: Contemporary Queer Fiction from Taiwan. Honolulu: University of Hawaii Press, 2003, 213-220. Reprinted as “A Stranger’s ID.” Asymptote (Jan. 2012).
Ji Dongliang
“Black Hen, White Hen.” In Loud Sparrows: Contemporary Chinese Short-Shorts. Trs. Aili Mu, Julie Chiu, and Howard Goldblatt. NY: Columbia University Press, 2006, 84-86.
Ji Geng
“Five Lyrics.” Tr. Andrew F. Jones. Renditions 100 (2024): 275-86.
Ji Ji
“Beyond Transient Applause.” Trs. Eva Hung and D.E. Pollard, D. E. Renditions 35/36 (1991): 299-304.
“Death in an Alien Land.” Tr. Christopher M. Lupke. The Chinese Pen (Autumn, 1986): 66-91.
“The Jade Bracelet.” Tr. Stephen Harder. The Chinese Pen (Spring, 1979): 1-31.
Ji Xian (Chi Hsien) 纪弦
Poems in: China, China: Contemporary Poetry from Taiwan, Republic of China. Eds. Germain Groogenbroodt and Peter Stinson. Ninove, Belgium: Point Books, 1986.
Ji Xianlin 季羨林
The Cowshed: Memories of the Chinese Cultural Revolution. Tr. Chengxin Jiang. New York: New York Review of Books, 2016.
[Abstract: The Chinese Cultural Revolution began in 1966 and led to a ten-year-long reign of Maoist terror throughout China, in which millions died or were sent to labor camps in the country or subjected to other forms of extreme discipline and humiliation. Ji Xianlin was one of them. The Cowshed is Ji’s harrowing account of his imprisonment in 1968 on the campus of Peking University and his subsequent disillusionment with the cult of Mao. As the campus spirals into a political frenzy, Ji, a professor of Eastern languages, is persecuted by lecturers and students from his own department. His home is raided, his most treasured possessions are destroyed, and Ji himself must endure hours of humiliation at brutal “struggle sessions.” He is forced to construct a cowshed (a makeshift prison for intellectuals who were labeled class enemies) in which he is then housed with other former colleagues. His eyewitness account of this excruciating experience is full of sharp irony, empathy, and remarkable insights into a central event in Chinese history. In contemporary China, the Cultural Revolution remains a delicate topic, little discussed, but if a Chinese citizen has read one book on the subject, it is likely to be Ji’s memoir. When The Cowshed was published in China in 1998, it quickly became a bestseller. The Cultural Revolution had nearly disappeared from the collective memory. Prominent intellectuals rarely spoke openly about the revolution, and books on the subject were almost nonexistent. By the time of Ji’s death in 2009, little had changed, and despite its popularity, The Cowshed remains one of the only testimonies of its kind. As Zha Jianying writes in the introduction, “The book has sold well and stayed in print. But authorities also quietly took steps to restrict public discussion of the memoir, as its subject continues to be treated as sensitive. The present English edition, skillfully translated by Chenxin Jiang, is hence a welcome, valuable addition to the small body of work in this genre. It makes an important contribution to our understanding of that period.]
Jia Baoquan
“An Offering Gathered from That Cherished Homeland.” Tr. Chen Hong and Thelma Jones. In Jianing Chen, ed. Themes in Contemporary Chinese Literature. Beijing: New World Press, 1993, 77-85.
Jia Pingwa 贾平凹
“Artemesia.” Tr. Yu Fanqin. Chinese Literature (Summer 1987): 3-26.
“Blackflow River” [倒河流]. Tr. Nicky Harman. Paper Republic (Feb. 25, 2016).
Broken Wings. Tr. Nicky Harman. London: ACA Publishing, 2019.
[Abstract: Despite her humble rural beginnings, Butterfly regards herself as a sophisticated young woman. So, when offered a lucrative job in the city, she jumps at the chance. But instead of being given work, she is trafficked and sold to Bright Black, a desperate man from a poor mountain village. Trapped in Bright’s cave home with her new “husband”, she plans her escape… not so easily done in this isolated and remote village where she is watched day and night. Will her tenacity and free spirit survive, or will she be broken?]
La capitale dechue. Tr. Genevieve Imbot-Bichet. Stock, 1997.
The Castle. Tr. Shao-Pin Luo. Toronto: York Press, 1997.
“Chess Players” [Yi ren]. Trs. Qian Jin and Zhao Jingyan. In Martin Woesler, ed., 20th Century Chinese Essays in Translation. Bochum: Bochum UP, 2000, 1195-99.
“The Country Wife.” Tr. Hu Zongfeng and Liu Xiaofeng. New Letters 77, 1 (2010-11). Rpt. in Chen Zhongshi and Jia Pingwa, eds., Old Land, New Tales: Twenty Short Stories of the Shaanxi Region in China. Amazon Crossing, 2014, 41-94.
“Duan Yang.” Chinese Literature 6 (June 1979): 79-82.
“Drinking.” Tr. Dylan Levi King. Rice Paper Magazine 4 (2017).
“Family Chronicle of a Wooden Bowl Maker.” Tr. Zhu Hong. In Zhu Hong, ed., The Chinese Western. NY: Ballantine, 1988, 100-17. Also in Spring of Bitter Waters: Short Fiction from China Today. London: W.H. Allen and Co., 1989.
“The Good Fortune Grave.” Tr. Ling Yuan. In Heavenly Rain. Beijing: Panda Books, 1996, 124-98.
“Floodtime.” Tr. Margaret H. Decker. In Helen F. Siu, ed., Furrows: Peasants, Intellectuals, and the State: Stories and Histories from Modern China. Stanford: Stanford University Press, 1990, 238-61.
“Greasy Moon.” Tr. John Balcolm. In New Penguin Parallel Text Short Stories in Chinese. Ed. John Balcolm. NY: Penguin Books, 2013, 167-202.
“Happy and Me.” Tr. Nicky Harman. LA Review of Books, China Channel (Feb. 16, 2018).
Happy Dreams. Tr. Nicky Harman. Amazon Crossing, 2017.
[Abstract: From one of China’s foremost authors, Jia Pingwa’s Happy Dreams is a powerful depiction of life in industrializing contemporary China, in all its humor and pathos, as seen through the eyes of Happy Liu, a charming and clever rural laborer who leaves his home for the gritty, harsh streets of Xi’an in search of better life. After a disastrous end to a relationship, Hawa “Happy” Liu embarks on a quest to find the recipient of his donated kidney and a life that lives up to his self-given moniker. Traveling from his rural home in Freshwind to the city of Xi’an, Happy brings only an eternally positive attitude, his devoted best friend Wufu, and a pair of high-heeled women’s shoes he hopes to fill with the love of his life. In Xi’an, Happy and Wufu find jobs as trash pickers sorting through the city’s filth, but Happy refuses to be deterred by inauspicious beginnings. In his eyes, dusty birds become phoenixes, the streets become rivers, and life is what you make of it. When he meets the beautiful Yichun, he imagines she is the one to fill the shoes and his Cinderella-esque dream. But when the harsh city conditions and the crush of societal inequalities take the life of his friend and shake Happy to his soul, he’ll need more than just his unrelenting optimism to hold on to the belief that something better is possible.]
The Heavenly Hound. Beijing: Panda, 1991. [stories of the Shanxi countryside]
“Heavenly Hound.” Tr. Li Rui. In Jianing Chen, ed. Themes in Contemporary Chinese Literature. Beijing: New World Press, 1993, 244-59.
Heavenly Rain (Wan yu). Beijing: Panda Books, 1996. [contains four novellas, “Heavenly Rain,” “The Good Fortune Grave,” “The Regrets of the Bride Carrier,” and “The Monk King of Tiger Mountain”]
“Heavenly Rain.” Tr. Richard Seldin. In Heavenly Rain. Beijing: Panda Books, 1996, 1-123.
“A Helping Hand.” Chinese Literature 3 (Mar. 1978): 41-47.
“How Much Can a Man Bear?” Tr. Zhu Hong. In Zhu Hong, ed., The Chinese Western. NY: Ballantine, 1988, 1-52. Also in Spring of Bitter Waters: Short Fiction from China Today. London: W.H. Allen and Co., 1989.
“The Hunter.” Pathlight: New Chinese Writing 2 (2012).
The Lantern Bearer. Tr. Carlos Rojas. CN Times Books, 2017.
“Life Is Changing, Even In Hilly Shangzhou.” Tr. Peter Li. In Helmut Martin, ed., Modern Chinese Writers: Self-portrayals. Armonk: M.E. Sharpe, 1992, 100-105.
“A Little Peach Tree.” Tr. Eileen Cheng-yin Chow. Chinese Literature (Summer 1993): 142-46.
“The Monk King of Tiger Mountain.” Tr. Josephine A. Matthews. In Heavenly Rain. Beijing: Panda Books, 1996, 305-416.
“Moon Traces” [Yue ji]. Tr. Martin Woesler. In Martin Woesler, ed., 20th Century Chinese Essays in Translation. Bochum: Bochum University Press, 2000, 178-80.
The Mountain Whisperer. Tr. Christopher Payne. Sinoist Books, 2021.
“Portrait of a Writer.” Tr. Eileen Cheng-yin Chow. Chinese Literature (Summer 1993): 162-70.
“Qinqiang” [excerpt]. Tr. Eileen Cheng-yin Chow. Chinese Literature (Summer 1993): 146-56.
“Qiqiao’er.” Tr. Shen Zhen. Chinese Literature 7 (1983): 5-25.
“Reading the Mountain” [读山]. Tr. Martin Woesler. In Martin Woesler, ed., 20th Century Chinese Essays in Translation. Bochum: Bochum UP, 2000, 183-85.
“The Regrets of the Bride Carrier.” Tr. Josephine A. Matthews. In Heavenly Rain. Beijing: Panda Books, 1996, 199-304.
“Ruined City” (excerpt). Tr. Howard Goldblatt. Chinese Literature Today 6, 1 (2017): 8-13.
Ruined City [废都]. Tr. Howard Goldblatt. Norman: University of Oklahoma Press, 2016.
[Abstract: When originally published in 1993, Ruined City (廢都) was promptly banned by China’s State Publishing Administration, ostensibly for its explicit sexual content. Since then, award-winning author Jia Pingwa’s vivid portrayal of contemporary China’s social and economic transformation has become a classic, viewed by critics and scholars of Chinese literature as one of the most important novels of the twentieth century. Howard Goldblatt’s deft translation now gives English-speaking readers their first chance to enjoy this masterpiece of social satire by one of China’s most provocative writers. While eroticism, exoticism, and esoteric minutiae—the “pornography” that earned the opprobrium of Chinese officials—pervade Ruined City, this tale of a famous contemporary writer’s sexual and legal imbroglios is an incisive portrait of politics and culture in a rapidly changing China. In a narrative that ranges from political allegory to parody, Jia Pingwa tracks his antihero Zhuang Zhidie through progressively more involved and inevitably disappointing sexual liaisons. Set in a modern metropolis rife with power politics, corruption, and capitalist schemes, the novel evokes an unrequited romantic longing for China’s premodern, rural past, even as unfolding events caution against the trap of nostalgia. Amid comedy and chaos, the author subtly injects his concerns about the place of intellectual seriousness, censorship, and artistic integrity in the changing conditions of Chinese society. Rich with detailed description and vivid imagery, Ruined City transports readers into a world abounding with the absurdities and harshness of modern life.]
“Shasha and the Pigeons.” Tr. Hu Zhihui. Chinese Literature 7 (July 1983): 26-39.
“Shanxi Opera” [秦腔]. Tr. Martin Woesler. In Martin Woesler, ed., 20th Century Chinese Essays in Translation. Bochum: Bochum UP, 2000, 186-94.
“Shaanxi Opera” (excerpt). Tr. Dylan Levi King. Chinese Literature Today 6, 1 (2017): 29-37.
“The Song of the Forest.” Chinese Literature 11 (1980): 100-107.
“The Sounds of Night.” Tr. Eileen Cheng-yin Chow. Chinese Literature (Summer 1993): 156-62.
“Spring.” Trs. Ren Zhong and Yuzhi Yang. In Hometowns and Childhood. San Francisco: Long River Press, 2005, 193-98.
“Touch Paper.” Tr. David Pattinson. In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: Foreign Languages Press, 1991, 112-48.
Turbulence [浮躁]. Tr. Howard Goldblatt. Baton Rouge: Louisiana State Press, 1987.
“Two Sisters.” Chinese Literature 4 (Apr. 1979): 64-74.
“The Ugly Rock” [醜石]. Trs. Qian Jin and Zhao Jingyan. In Martin Woesler, ed., 20th Century Chinese Essays in Translation. Bochum: Bochum UP, 2000, 181-82.
“The Young Man and His Apprentice.” Chinese Literature 3 (Mar. 1978): 34-40.
Jia Wei
“Edge,” “Black Rails,” and “Scene A.” In Wang Ping, ed., New Generation: Poems from China Today. New York: Hanging Loose Press, 1999, 63-68.
Jian Minzhen
“A Silver Needle Falls on the Ground.” Tr. Nancy C. Ing. The Chinese Pen (Summer, 1990): 82-94.
Jiang Bo 江波
“The Wings of Earth.” Tr. Andy Dudak. Clarkesworld 139 (April 2018).
Jiang Guangci 蒋光慈
“Hassan.” In Harold Isaacs, ed., Straw Sandals: Chinese Short Stories, 1918-1933. Cambridge: M.I.T. Press, 1974, 170-173.
Jiang Gui 姜貴
“The Swallows of Hu-kuo Temple.” Tr. Carlos G. Tee. The Chinese Pen (Winter 1993): 68-83.
A Translation of the Chinese Novel Chung-yang (Rival Suns) by Chiang Kuei (1908-1980). Tr. by Timothy A. Ross. Lewiston, NY: The Edwin Mellen Press, 1999.
The Whirlwind. Tr. Timothy Ross, San Francisco: Chinese Materials Center, 1977. Chapter 9 of the novel was published as “The Whirlwind.” Tr. Timothy Ross. Renditions 2 (1974): 118-25. Another extract is published as “Snakes and Ghosts” in Lucian Wu, ed., New Chinese Writing. Taipei: Heritage Press, 1962, 103-120.
Jiang Kanghu 江亢虎
On Chinese Studies. Taibei: 1976 rpt. of 1934 original.
Jiang Rong 姜戎
Wolf Totem. Tr. Howard Goldblatt. NY: Penguin, 2008. [MCLC Resource Center review by Howard Y. F. Choy]
Jiang Qing 江青
On the Revolution of Peking Opera. Beijing: Foreign Languages Press, 1968.
“On the Revolution in Peking Opera (Tan Jingju geming).” Tr. Jessa Ka Yee Chan. The Opera Quarterly 26, 2-3 (Spring-Summer 2010): 455-59.
“Revolutionizing Beijing Opera.” In Faye Chunfang Fei, ed./tr., Chinese Theories of Theater and Performance from Confucius to the Present. Ann Arbor: University of Michigan Press, 1999, 166-69.
“Why I Parted with T’ang Na.” In Yu-ning Li, ed., Chinese Women Through Chinese Eyes. Armonk, NY: M.E. Sharpe, 1992, 216-26.
Jiang Tao 姜涛
For a Splendid Sunny Apocalyse. Tr. Josh Stenberg. Zephyr Press, 2023.
[Abstract: In these melancholy and self-mocking poems — populated with youths and elders, cellphones and televisions — Jiang Tao presents and dissects a discontent with the state of the world. He employs his profound wit and poetic mastery to explore the passage of time, rural-urban migration, change and impermanence, and the difficulties of human communication and connection. Jiang Tao’s verse is, as translator Josh Stenberg has written, “a quintessential expression of urban malaise in contemporary China.” This is his first book to appear in English and is presented bilingually on facing pages.]
“Four Poems by Jiang Tao.” Tr. Josh Stenberg. Harvard Review (Oct. 6, 2022).
Jiang Weishui (Chiang Wei-shui) 蔣渭水
“Clinical Notes.” Tr. Steven L. Riep. Taiwan Literature: English Translation Series no. 20 (2007): 125-28.
“Random Notes from Prison.” Tr. Fanc Shelton and Liu Heng-hsing. Taiwan Literature: English Translation Series no. 20 (2007): 129-38.
Jiang Xiaoyun
“A Day For Losing Umbrellas.” Tr. David Steelman. The Chinese Pen (Spring, 1978): 1-54.
“Floret.” Tr. Norma Liu Hsiao. The Chinese Pen (Spring, 1989): 68-107.
“Journey To Mount Bliss.” Tr. Helena Chang Hsu. The Chinese Pen (Autumn, 1983): 27-59. Also in Ann C. Carver and Sung-sheng Yvonne Chang, eds., Bamboo Shoots After the Rain: Contemporary Stories by Women Writers of Taiwan. NY: The Feminist Press, 1990, 188-209.
“My Fair Gentleman.” Tr. Michelle Yeh. The Chinese Pen (Autumn, 1990): 63-83.
“Niu Teh-kuei.” Tr. Candice Pong. The Chinese Pen (Autumn, 1979): 1-17.
“Siu Yuan: Complying With Fate.” Tr. Candice Pong. The Chinese Pen (Winter, 1980): 1-20.
“Tears.” Tr. Hua-yuan Li Mowry. The Chinese Pen (Autumn, 1982): 79-97.
Jiang Xuefeng 蒋雪峰
Li Bai is Afrikaner 李白是非洲人 (Li Bai Is an African) (bilingual, Chinese–German). Tr. Martin Winter. Vienna: fabrik.transit, 2022.
Jiang Xun (Chiang Hsun) 蔣勳
Poems in: The Isle Full of Noises: Modern Chinese Poetry from Taiwan. Ed/tr. Dominic Cheung. NY: Columbia UP, 1987, 201-11.
“My Covenant with Mountains” [山盟]. Tr. Michelle Wu. The Taipei Chinese Pen 174 (Aut. 2015): 69-74.
Jiang Yitan 蒋一谈
“China Story.” Tr. Eric Abrahamsen. Pathlight: New Chinese Writing 1 (2011): 51-70.
“Convince Me” [说服]. Tr. Alexander Clifford. China Channel, Los Angeles Review of Books (Dec. 1, 2017).
Jiang Yun 蔣韵
“The Beloved Tree.” Tr. Charles A. Laughlin. In Charles A. Laughlin, Liu Hongtao, and Jonathan Stalling, eds., By the River: Seven Contemporary Chinese Novellas. Norman: University of Oklahoma Press, 2016, 3-44.
“Lanterns for the Dead.” Tr. John Balcolm. In New Penguin Parallel Text Short Stories in Chinese. Ed. John Balcolm. NY: Penguin Books, 2013, 139-66.
“The Red Detachment of Women.” Tr. Annelise Finegan Wasmeon. Pathlight: New Chinese Writing (Summer 2013).
Jiang Zidan 蒋子丹
“Blackie: A Dog Elegy” (狗殇:黑孩儿). Tr. Mei Li Inouye and Haiyan Lee. MCLC Resource Center Publication, Dec. 2014.
“Waiting for Dusk.” Tr. Ronald de Sousa. In Shu-ning Sciban and Fred Edwards, eds., Dragonflies: Fiction by Chinese Women in the Twentieth Century (East Asia Series 115). Ithaca: East Asia Program, Cornell University, 2003, 136-71.
Jiang Zilong 蒋子龙
All the Colours of the Rainbow. Beijing: Panda, 1983.
Empires of Dust. Trs. Christopher Payne and Olivia Milburn. London: ACA Publishing, 2019.
[Abstract: Amidst the maelstrom of Communist China’s rocky beginnings, Guojiadian, a tiny hamlet situated on salty ground in the rural northeast where nothing grows, must forge a path through the turbulence – both physical and political – threatening to return the windswept village to the dust from which it emerged. Amongst the long-suffering village inhabitants lives Guo Cunxian, a man of rare ability trapped in an era of limitations. His quest for a better future for him and his family pits him against the jealousy of his peers, the indifference of his superiors and even the seemingly cursed earth upon which he resides. In a decades-long journey filled with frustration and false starts, they eventually rise to dizzy heights built upon foundations as stable as the dust beneath their feet and the mud walls which shelter them. But will their sacrifices along this tortuous path be in vain…?]
“Foundation.” Tr. Dennis Mair. In Pery Link, ed., Stubborn Weeds: Popular and Controversial Chinese Literature after the Cultural Revolution. Bloomington: Indiana University Press, 1983, 142-61.
“The Foundation.” In Helen F. Siu and Zelda Stern, eds./trs. Mao’s Harvest: Voices from China’s New Generation. NY: Oxford University Press, 1983, 128-46.
“Master Qiao Assumes Office.” In Lee Yee, ed., The New Realism: Writings from China after the Cultural Revolution. New York: Hippocrene, 1983, 56-85.
Jiao Juyin 焦菊隐
“Spoken Drama: Learning from the Traditional Theater.” In Faye Chunfang Fei, ed./tr., Chinese Theories of Theater and Performance from Confucius to the Present. Ann Arbor: University of Michigan Press, 1999, 159-65.
Jiao Tong
Erotic Recipes: A Complete Menu for Male Potency Enhancement. København, Los Angeles: Green Integer, 2000.
Jidi Majia 吉狄马加
“Five Poems.” Tr. Denis Mair. Chinese Literature Today 2, 2 (2012): 78-81.
“For Vladimir Mayakovsky.” Tr. Denis Mair. Pathlight (Spring 2016).
Rhapsody in Black: Poems. Tr. Denis Mair. Norman: University of Oklahoma Press, 2014.
Jie Chen
“Kangkang’s Gonna Kill that Fucker Zhao Yilu.” Tr. Josh Stenberg. In Liu Ding, Carol Yinghua Lu, and Ra Page, eds., Shi Cheng: Short Stories from Urban China. Manchester, UK: Comma Press, 2012.
Jin He
“Reencounter.” Tr. Michael Duke. In Perry Link, ed., Roses and Thorns: The Second Blooming of the Hundred Flowers in Chinese Fiction, 1979-80. Berkeley: University of California Press, 1984, 221-43.
“Second Encounter.” In Helen F. Siu and Zelda Stern, eds./trs. Mao’s Harvest: Voices from China’s New Generation. NY: Oxford University Press, 1983, 179-98.
Jin Jian
“Zhao Xiaolan.” In The Women’s Representative: Three One-Act Plays. Beijing: Foreign Languages Press, 1956, 1-43.
Jin Qingmai
“Break With Self and Foster Devotion to the Public and Write for the Revolution.” Chinese Literature 2 (Feb. 1967); 92-112.
“How I Conceived and Wrote The Song of Ouyang Hai.” Chinese Literature 11 (Nov. 1966): 105-19.
The Song of Ou-yang Hai. Trs. Sidney Shapiro and Tung Chen-sheng. Beijing: Foreign Languages Press, 1966.
Jin Renshu
“Skylark.” Pathlight: New Chinese Writing 2 (2012): 144-57.
Jin Tianhe 金天翮
The Women’s Bell (女界鐘, 1903). Tr. Michael H. Hill and edited from the Chinese by Tze-lan D. Sang. In Lydia H. Liu, Dorothy Ko, and Rebecca Karl, ads., The Birth of Chinese Feminism. New York: Columbia University Press, 2013, 207-85.
Jin Yong 金庸 (aka Zha Liangyong 查良鏞, or Louis Cha)
“Against the Authors of ‘Foreign Books in Chinese Language’: An Interview with China’s Most Popular Writer of Adventure Novels–Jin Yong.” In Helmut Martin and Jeffrey Kinkley, eds., Modern Chinese Writers: Self-portrayals. Armonk, NY: M.E. Sharpe, 1992, 171-80.
The Book and the Sword. Tr. Graham Earnshaw. Hong Kong: Oxford UP, 2004.
The Deer and the Cauldron: A Martial Arts Novel. Tr. John Minford. New York: Oxford University Press, 1997.
Foxy Volant of the Snowy Mountain. Tr. Olivia Mok. Hong Kong: Hong Kong University Press, 1996.
A Hero Born: Legends of the Condor Heroes: Volume 1. Tr. Anna Holmwood. London: MacLehose Press, 2018. [MCLC Resource Center review by David Hull]
A Bond Undone: Legends of the Condor Heroes: Volume 2. Tr. Gigi Chang. MacLehose Press, 2019.
[Louis Cha]. Return of the Condor Heroes. Tr. Eileen Zhong. Singapore: Asiapac, 1997.
“Sword of the Yueh Maiden.” [posted on the Heroic-Cinema.com website, but translator is not indicated]
Jin Yun 锦云
“Uncle Doggie’s Nirvana.” Tr. Ying Ruocheng. In Martha Cheung and Jane Lai, eds., An Oxford Anthology of Contemporary Chinese Drama. NY: Oxford UP, 1997, 92-147. Also tr. as “The Nirvana of Grandpa Doggie.” In Shiao-Ling Yu, ed., Chinese Drama after the Cultural Revolution, 1979-1989. Lewiston: Edwin Mellen Press, 1996, 349-422.
Uncle Doggie’s Nirvana [bilingual edition]. Tr. Ying Ruocheng. Beijng: China Translation and Publishing Corp, 1999.
Jin Zhao
“A Memorable Memorial Service.” Tr. Samuel Ling. The Chinese Pen (Winter, 1982): 35-56.
“The Struggle Over Tests.” Tr. Mark Friedman. The Chinese Pen (Autumn, 1981): 61-87.
Jing Ji
“The Twilight Years.” Tr. Michelle Yeh. The Chinese Pen (Winter, 1991): 32-49.
Jing Xianghai 鯨向海 (Ching Hsiang Hai)
“The Bus Driver’s Face.” Tr. Lee Yew Leong. Asymptote (Jan. 2012).
“The Girl Who Gives Weight to Taste” [重口味少女]. Tr. John Balcom. The Taipei Chinese Pen 172 (Spring 2015): 9-10.
“The Girl Who Keeps the Pot Boiling” [不斷炊的少女]. Tr. John Balcom. The Taipei Chinese Pen 172 (Spring 2015): 7-8.
Jiu Dan 九丹
Crows. Tr. Alan Chong. Lingzi Media, 2001.
The Embassy’s China Bride [大使先生]. Tr. Bruce Humes. Hong Kong: Yat Yuet Publication Company, 2018. [Extract on Bruce-Humes.com]