‘Writing a Letter’ by Ling Shuhua

Source: The Shanghai Literary Review (July 30, 2024)
“Writing a Letter”
By Ling Shuhua, introduced and translated by Nicky Harman

Introduction and translation by Nicky Harman

Ling Shuhua (1900-1990) was a talented Chinese woman modernist writer, much admired by Chinese luminaries such as the poet Xu Zhimo and the writer and activist Lu Xun. She was also a well-regarded painter. Most of her writing was produced during the 1920s and 1930s, with almost nothing being published thereafter, with the exception of her (English-language) autobiography Ancient Melodies (Hogarth Press, 1953). After the war, she left China and lived in Singapore and the UK and, possibly for that reason, her reputation faded in her home country. Recently, however, her work has been republished there.

Ling Shuhua’s Importance as a Writer

Ling Shuhua grew up in two very different worlds: she was the daughter of the third concubine of a high-ranking Qing (Manchu) official and was taught by one of the imperial court painters; in many ways, the kind of life she lived as a child had not changed for centuries. But Ling had a modern as well as a classical education, studying in Japan and in Yenching University in Beijing. As a writer in the 1920s and 1930s, she was active in contemporary literary and artistic circles. As was the case with others of her contemporaries, she had a cosmopolitan outlook and was influenced by Western writers, in her case Katherine Mansfield and Anton Chekhov. She understood and wrote about the old society, while at the same time she had modern sensibilities. Among Chinese women writers of her time, she was unique in having close connections with the Bloomsbury Group; she was a friend of Virginia Woolf, Vanessa Bell and Vita Sackville-West. Continue reading ‘Writing a Letter’ by Ling Shuhua

“The Second Mother”

MCLC Resource Center is pleased to announce publication of Brian Yuhan Wang’s translation of “The Second Mother,” by Ba Jin. A teaser appears below. For the full translation, go to: https://u.osu.edu/mclc/online-series/the-second-mother/.

Kirk Denton, MCLC

The Second Mother 第二的母親
(La dua patrino)

By Ba Jin 巴金 [1]

Translated by Brian Yuhan Wang


MCLC Resource Center Publication (Copyright August 2024)


Ba Jin (1904-2005).

Everyone called me an orphan.

My parents died young; I don’t even remember clearly what they looked like. I was brought up by my uncle. He had no children of his own, so he treated me like a son.

My aunt had passed away, and I led a lonely life. My uncle was often away from home, leaving only a houseboy and an old nanny to look after me. There was also a middle-aged servant, who often accompanied my uncle on his errands. My home was spacious, and there was a small garden where I could play, but I didn’t have any playmates. The world of the houseboy and nanny was quite different from mine. Though only a child, I often felt lonely.

Back then, I had started studying. My uncle hired an old, stern-looking tutor to keep me disciplined. I had to spend four to five hours in the study every day. While the tutor silently pored over his books, I read out the strange words and verses in books like the Thousand Character Classic over and over in a weary voice, with my mind wandering off into unattainable fantasies. The moment the tutor abruptly announced, “All right, class is over!” in his serious tone, I couldn’t resist laughing as I rushed out of that prison-like study.

I often had dreams at night, and they always featured the tutor’s face, which would transform wildly into various guises. I occasionally had more pleasant dreams, but they were always ruined by thoughts of studying—I even found myself studying in my dreams sometimes. Anyway, the only person I feared was that tutor, who always looked so serious; the only thing I dreaded was studying. [click here for the full translation]

Routledge Handbook of Chinese Gender & Sexuality review

MCLC Resource Center is pleased to announce publication of Chris Berry’s review of Routledge Handbook of Chinese Gender & Sexuality, edited by Jamie J. Zhao and Hongwei Bao. The review appears below and at its online home: https://u.osu.edu/mclc/book-reviews/chris-berry2/. My thanks to Nicholas Kaldis, our literary studies book review editor, for ushering the review to publication.

Kirk Denton, MCLC

Routledge Handbook of Chinese
Gender & Sexuality

Edited by Jamie J. Zhao and Hongwei Bao


Reviewed by Chris Berry

MCLC Resource Center Publication (Copyright July, 2024)


Jamie J. Zhao and Hongwei Bao, eds., Routledge Handbook of Chinese Gender & Sexuality Abingdon and New York: Routledge, 2024. Xvii + 379 pp. ISBN: 978-1-032-22729-0 (cloth); 978-1-032-22733-7 (paper); 978-1-003-27394-3 (e-book).

In their introductory essay in the Routledge Handbook of Chinese Gender and Sexuality, Jamie J. Zhao and Hongwei Bao acknowledge that there are already numerous monographs and anthologies in the field. However, they stake a claim for their book as an intervention rather than just a representative round-up of leading work. All the essays are new. Furthermore, although the editors aim for broad coverage, they also have what I see as four corrective interventions. Whereas, they claim, the field has favored the pre-1949 era, they aim to spotlight the contemporary. Whereas the roots of much work in area studies approaches China and Chineseness as a site of difference or even exceptionalism, they highlight work that is transnational in approach, understanding China and Chineseness as constant processes of becoming shaped and responding to transnational flows. In response to the proliferation of work on the peripheral areas of the larger Sinosphere favored by Sinophone scholarship, they center the volume on the People’s Republic of China (PRC). And finally, whereas the balance of existing work has tilted toward the social sciences, they emphasize arts, humanities, and cultural studies approaches, and, in particular, a “queering” approach that moves away from research that assumes fixed gender and sexual identities and toward work that questions them. In this review, I first briefly introduce the contents of this substantial volume of new writing, and then return to address some of the positions staked out by these four interventions. Continue reading Routledge Handbook of Chinese Gender & Sexuality review

When the Yellow River Floods review

MCLC Resource Center is pleased to announce publication of Robin L. Visser’s review of When the Yellow River Floods: Water, Technology, and Nation-Building in Early Twentieth-Century Chinese Literature, by Hui-Lin Hsu. The review appears below and at its online home: https://u.osu.edu/mclc/book-reviews/visser/. My thanks to MCLC literary studies book review editor, Nicholas Kaldis, for ushering the review to publication.

Kirk Denton, MCLC

When the Yellow River Floods: Water, Technology, and
Nation-Building in Early Twentieth-Century Chinese Literature

By Hui-Lin Hsu


Reviewed by Robin L. Visser

MCLC Resource Center Publication (Copyright July, 2024)


Hui-Lin Hsu, When the Yellow River Floods: Water, Technology, and Nation-Building in Early Twentieth-Century Chinese Literature Hong Kong: Hong Kong University Press, 2024, X + 163 pp. ISBN: 978-988-8842-77-3 (Hardback).

When the Yellow River Floods comprehensively analyzes polymath author Liu E’s (刘鹗, 1857-1909) popular late Qing novel, The Travels of Lao Can (老残游记, 1907), by engaging hydraulics, medicine, occult knowledge, and literary, social, and political history. Published in 2024 by Hong Kong University Press, the hardcover edition of 163 pages is comprised of an introduction, five chapters, and a brief conclusion. In his analysis, Hui-Lin Hsu challenges conventional understandings of late Qing literary history by connecting water management principles to literary nation-building, demonstrating how river engineering techniques inform the novel’s landscape descriptions and its medical, political, and national sentiment discourses. Though Liu E died in infamy after being exiled to Xinjiang on trumped-up charges, Travels was first serialized in 1903 to popular acclaim and retains scholarly relevance into the twenty-first century.[1]

The introduction pairs the frequent flooding of the Yellow River during Liu E’s lifetime to his work as a river engineer from 1888 to 1893 after a catastrophic dike breach in Zhengzhou killed over 930,000 people. Based on his surveys and mapping of the Yellow River in Henan, Zhili, and Shandong, Liu wrote Chart of the Course of the Yellow River (豫,直,鲁三省黄河图) and Five Essays on River Management (治河五说), key sources for Hsu’s analysis of The Travels of Lao Can. In them, Liu proposes a new embankment system of oblique dikes (斜提) that “defend water with water” (以水敌水), inspired by flood control methods attributed to the mythical Da Yu (大禹). Hsu argues that this pliant water management technique directly informs Liu E’s understanding of late Qing politics. Continue reading When the Yellow River Floods review

Dong Xi in the UK

For all UK-based colleagues, if you’re free on the following dates we’d love to have you!

Dong Xi 东西 (Pen name of Tian Dailin 田代琳) award-winning author (Mao Dun Prize, Lu Xun Prize) will be touring the UK for the upcoming launch of his newest book in translation Fate Rewritten (篡改的命) (Trans: John Balcom).

London – 26th July – Living A Stolen Life – Dong Xi in Conversation with Susan Trapp
Fri 26 Jul 6:00 PM – 7:30 PM at Charing Cross Library
https://buytickets.at/sinoistbooks/1287210

Edinburgh- 31st July – The Price of Tomorrow – Dong Xi in Conversation with Jenny Niven
Wed 31 Jul 4:00 PM – 6:00 PM at Abden House, University of Edinburgh
https://buytickets.at/sinoistbooks/1294053

ABOUT THE BOOK

Translated from Chinese and due to be published in English on 25th October 2024. It’s a Dickensian novel giving voice to China’s 300 million-strong migrant workforce, Telling a harrowing story about the conditions they live in, what drives them, and how it can go horribly wrong. Continue reading Dong Xi in the UK

Chinese Theories of Literary Creation

Dear colleagues and friends,

I am pleased to report that my first monograph on Chinese literary theory has come out at Duke UP. If you are interested in the book, you may place an order at the DUP or Amazon sites for the same price of $16. As Amazon needs to forward the order to DUP, it makes good sense to order directly from DUP unless you have free shipping from Amazon. Below are the DUP and Amazon links.
Thanks, Zong-qi Cai

https://www.dukeupress.edu/chinese-theories-of-literary-creation

https://www.amazon.com/Chinese-Theories-Literary-Creation-Introduction/dp/1478026995/

Description

In this monograph, Zong-qi Cai surveys the long trajectory of Chinese thinking about literary creation, from remote antiquity to the early 20th century. By uncovering the complex connections linking key critical terms, concepts, and assertions, it debunks the common perception of Chinese literary theory as vague and elusive. Instead, Cai approaches Chinese critical pronouncements as engaged in a productive dialogue with each other. Through detailed scrutiny of 184 passages, he shows how critics from different dynasties exploited the polysemy of key terms—drawn from Confucian, Daoist, and Buddhist sources as well as criticism of calligraphy and painting—to arrive at ground-breaking new perspectives on literary creation. The book concludes with a brief comparative look at Chinese and Western literary theory aimed at being mutually illuminating for both traditions. Intended for general readers as well as specialists, this monograph will be followed in the next few years by three similar studies on theories of literature, aesthetics, and interpretation.

Posted by: Prism Editorial Office <prism@ln.edu.hk>

Louis Cha’s epic tale goes global

Source: China Daily (6/21/24)
Louis Cha’s epic tale goes global
By Xu Fan

[Photo provided to chinadaily.com.cn]

Adapted from one of the best-known works by the renowned martial arts novelist Louis Cha, known as Jin Yong, The Legend of Heroes: Hot Blooded has swiftly gained international acclaim, resonating across diverse overseas markets, as confirmed by its producers.

Set in the Song Dynasty (960-1279), the narrative follows the journey of Guo Jing, a diligent yet unremarkable rural youth who evolves into a legendary swordsman through a series of adventures, intertwined with his romance with Huang Rong, the clever daughter of a daring swordsman.

The 30-episode series, Hot Blooded, premiered online on June 17 and is currently available on various overseas platforms like WeTV, Netflix, YouTube, and Rakuten Viki. The drama is either already released or scheduled for broadcast on numerous prominent local online platforms in nearly 10 countries, including South Korea, Singapore, Malaysia, Thailand, Russia and Cambodia, with plans for further screenings in the United States, France, India, Africa and the Middle East.

Part of The Legend of Heroes franchise, which commenced two years ago with a vision of five stand-alone stories, each adapted from different Jin Yong novels and entrusted to five distinct directors, Hot Blooded is the initial installment based on The Legend of the Condor Heroes. This classic tale, serialized in the Hong Kong Commercial Daily from 1957 to 1959, has seen numerous adaptations over the years, including the popular 1983 version starring Felix Wong Yat-wa and Barbara Yung Mei-ling.

Directed by Yang Lei, acclaimed for the sci-fi drama Three-Body, and featuring actors Ci Sha as Guo Jing and Bao Shang’en as Huang Rong, Hot Blooded employs a dynamic narrative style to engage a broader audience, particularly the younger generation. The script strategically balances pace and depth, aiming to highlight the chivalrous themes and explore the intricate personas of characters like Yang Kang, a pivotal figure with complex loyalties, as noted by critics. Continue reading Louis Cha’s epic tale goes global

‘Home’ series from Paper Republic

“Home”, new Paper Republic series of shorts in English translation

A refuge, a recollection, a promised land, a prison; the arms of family, or four concrete walls in the sky… Home means something different to each of us, but it means something to all of us.

Paper Republic’s newest Read Paper Republic series of online short story and poem translations, themed around HOME, will commence publication on June 6, 2024. Read the pieces, completely free, online at https://paper-republic.org/pubs/read/series/home/.

The tenth series since Read Paper Republic was first published in 2015, HOME includes four short stories and two poems, each adopting a different point of view on the all-important question of belonging. At a time when Chinese society is wrestling with generational gaps, real-estate crises, and the outfall of pandemic, these meditations on love and security (or lack thereof) deliver a powerful testament to the variety of human experience.

We’re giving away brand-new novels translated from Chinese completely free to people who help us grow our mailing lists with the most names. What you have to do to win a novel (or collection of short stories or poetry):

  • Send this email to any friends you think would be interested.
  • Ask if they will agree to have their names added to our mailing list. (They’ll get a couple of emails and a couple of free newsletters from Paper Republic per year, no more.)
  • Send us their names and emails by 31 July 2024.
  • Wait to hear from us! We’ll ask you for your mailing address if you’re one of the lucky winners

Continue reading ‘Home’ series from Paper Republic

Shangyuan Art Museum to be demolished

They say the mayor’s office of Beijing city has made this decision to demolish the Shangyuan Art Museum. No reason given, no plan, no date. Could be tomorrow. Please tell anyone you can think of, ask anyone and ask people to ask about this. Thank you!

Martin Winter

没心情写诗
反正要拆
拆艺术馆
拆工作室
拆画廊
拆图书馆
拆国际交流
二十年来
所建立的
统统都拆
没说理由
没说日期
没说计划
一直这样
今天通知
非常适合

2024.6.4

DEMOLISH

What is the opposite
of soft power?
Burning bridges?
Beijing Shangyuan Art Museum
has been a bridge
for international relations
in art and culture
for twenty years.
Yesterday and today
here at the museum
people came to measure buildings
slated for demolition.
Everything must go!
Everyone!
This hill is for goats
anyway.
No reason given,
no exact date.
Nothing new in this country.
Today’s date
fits rather well.

MW June 4th, 2024

Theater and Politics in Socialist China: A Review Essay

MCLC Resource Center is pleased to announce publication of Letizia Fusini’s review essay, “Theater and Politics in Socialist China,” which treats recently published books on modern Chinese drama by Maggie Greene, Siyuan Liu, and Xiaomei Chen. The review appears below and at its online home: https://u.osu.edu/mclc/book-reviews/fusini/. My thanks to Jason McGrath, our soon-to-be-former book review editor for media, film, and drama studies, for ushering the review to publication.

Kirk Denton, MCLC

Theater and Politics in Socialist China:
A Review Essay

Resisting Spirits, by Maggie Greene
Transforming Tradition, by Siyuan Liu
Performing the Socialist State, by Xiaomei Chen


Reviewed by Letizia Fusini
MCLC Resource Center Publication (Copyright May, 2024)


Maggie Greene, Resisting Spirits: Drama Reform and Cultural Transformation in the PRC Ann Arbor: University of Michigan Press, 2019. 260pp ISBN: 9780472074303 (hardcover)

Siyuan Liu, Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s Ann Arbor: University of Michigan Press, 2021. 472pp. ISBN: 9780472132478 (hardcover); 9780472128723 (ebook)

Xiaomei Chen, Performing the Socialist State: Modern Chinese Theater and Film Culture New York: Columbia University Press, 2023. 384pp. ISBN: 9780231197762 (hardcover); 9780231552332 (ebook)

Nearly a decade ago, in Autumn 2016, I had the opportunity and the privilege to teach an undergraduate survey course on the history of Chinese theater, the only one of its kind in the UK back then. I was a freshly minted PhD graduate and that was my first teaching post. Aside from developing my lecturing skills, the main challenge was to find creative strategies to make the subject more accessible to students who were majoring in theater studies and knew almost nothing about Chinese culture and history. The task became even more daunting when, due to time constraints, I had to condense the history of the rise of modern drama (huaju 话剧) and the transformations of classical theater (xiqu 戏曲) throughout the late-Qing, Republican and early socialist epochs within the space of a couple of hours. Since I wanted to avoid information overload, I began to look for a unifying thread that could hthelp me connect these three periods and, in my research, I came across an excerpt from a text written by Chen Duxiu 陈独秀 in 1904, where the future founder of the CCP eulogizes theater as the best “vehicle for social reform” (120), tracing the paternity of this idea to Confucius, who once said that “nothing is better than yue [乐, the performing arts lato sensu] at transforming social conventions” (118). These thoughts, written just before the dawn of the Republican period and yet rooted in the Confucian tradition, prefigured the Zeitgeist of the New Culture and May Fourth Movements, which, in turn, would be lauded by Mao Zedong in his essay “On New Democracy” as “having pioneered an unprecedentedly great and thoroughgoing cultural revolution” (361) whose only fault was that it failed to serve the interests of the masses of workers, peasants, and soldiers. Through these connections, I was able to visualize the (r)evolution of Chinese theater in the first half of the twentieth century as a tree growing out of Confucian roots and projecting its branches and foliage in a Marxist direction culminating with the Cultural Revolution of 1966-1976. My goal was to convey to my students the impression I had gotten vis-à-vis that short statement by Chen Duxiu about the power of theater to effect social change. The fact that in China, the attribution of a pedagogic and political function to theater is a traditional concept rather than a twentieth-century novelty, hence not an exclusive prerogative of the Communist period or of the Cultural Revolution, was the unifying thread I was looking for. What was initially a mere perception on my part, found confirmation in Richard Schechner’s foreword to the collection in which I originally found Chen Duxiu’s text, where he notes that “the roots of Mao’s attitude—that theater is an excellent educator and that rulers ought to use it as such—go deep in Chinese history. From an early date, theater was seen as a way of reaching ordinary people who could not read” (x). Continue reading Theater and Politics in Socialist China: A Review Essay

Comparative Literature and China

NEW PUBLICATION
Comparative Literature and China: Methods and Perspectives, special issue of Journal of World Literature guest edited by Zhang Longxi and Sheldon Lu, Volume 9 (2024): Issue 2 (May 2024).

Table of Contents:

Introduction, by Zhang Longxi and Sheldon Lu

Facing Challenges and Opportunities: Chinese-Western Comparative Literature and Poetics, by Zhang Longxi

Some Under Heaven: World Literature and the Deceptiveness of Labels, by Haun Saussy

East-West Cross-Cultural Encounters of the Lyric: Horace (BCE 65-8) and Tao Yuanming (CE 365-427), by Elisabeth Harper

The Early Modern Period, Dream of the Red Chamber, and World Literature, by Sheldon Lu

Confrontation and Withdrawal: The Literature of ‘Denitiation’, by Jian Guo

Understanding ‘World Literature’ in China Today, by Liu Yan

Comparative Literature in Taiwan in the Age of World Literature, by Chung-An Chang

Manipulated Translation, Politicized Canon: Reception of The Gadfly in China, by Zhen Zhang

A Re-deliberation of Minzu Literature and World Literature: The Literary World in Alai’s Writing, by Haomin Gong

Mo Yan’s ‘Crocodile’ premieres in Suzhou

Source: China Daily (5/8/24)
Nobel laureate Mo Yan’s debut drama ‘Crocodile’ premieres in Suzhou
By Chinadaily.com.cn

A still from the play, Crocodile, May 3, 2024. [Photo provided to chinadaily.com.cn]

The much-anticipated stage version of Nobel laureate Mo Yan’s inaugural drama, Crocodile, premiered at the Suzhou Bay Grand Theatre in Suzhou, East China’s Jiangsu province, on May 3.

Crocodile is the first original drama script penned by Mo Yan, which was published in June 2023. Celebrated for his imaginative and humanistic fiction, Mo Yan won the Nobel Prize for Literature in 2012.

The plot of Crocodile revolves around the protagonist, Shan Wudan, and a crocodile he received as a gift for his birthday. Through an infinitely growing crocodile, the story delves into the complexity of human nature and explores the theme of “desire”. Continue reading Mo Yan’s ‘Crocodile’ premieres in Suzhou

Utopian Fiction in China review

MCLC Resource Center is pleased to announce publication of Hang Tu’s review of Utopian Fiction in China: Genre, Print Culture and Knowledge Formation, 1902-1912, by Shuk Man Leung. The review appears below and at its online home: https://u.osu.edu/mclc/book-reviews/hang-tu/. My thanks to Nicholas Kaldis, our literary studies book review editor, for ushering the review to publication.

Kirk Denton, MCLC

Utopian Fiction in China:
Genre, Print Culture and Knowledge Formation, 1902-1912

By Shuk Man Leung


Reviewed by Hang Tu

MCLC Resource Center Publication (Copyright May, 2024)


Shuk Man Leung, Utopian Fiction in China: Genre, Print Culture and Knowledge Formation, 1902-1912 Leiden: Brill, 2023, Xiii + 306 pp. ISBN: 978-90-04-68038-8 (Hardcover).

May 1, 2024 was a strange day to reflect on the theme of utopianism. On university campuses across America, anger and frustration was rife among participants of protests and counter-protests. The violence of the Middle East crisis spilled over into the American public, sharpening partisan divisions in an already polarized country. In such an atmosphere of mutual recriminations and accusations of political crimes, many would dismiss any utopian vision as naïvely, if not recklessly, pedantic, a pale intellectual legacy discussed in seminar rooms. Indeed, throughout the post-pandemic world, regional wars, power rivalries, and the law of the jungle have been taking over. East and West, dystopian sentiment was ascendant—the shared affect of those confronting various failed utopian projects with bitter resignation and cynicism. A second decade into the twenty-first century, to borrow from Enzo Traverso’s apt phrase, we find ourselves in an era that suffers the “eclipse of utopia,” one without visible, thinkable, or imaginable alternatives. Hence, isn’t it simply anachronistic to still be speaking about utopia today? Continue reading Utopian Fiction in China review

Liao Yiwu on two poems and four years of detention

Source: The Guardian (5/9/24)
Two poems, four years in detention: the Chinese dissident who smuggled his writing out of prison
My poems were written in anger after Tiananmen Square. But what motivates most prison writing is a fear of forgetting. Today I am free, but the regime has never stopped its war on words
By (Translated by Michael Martin Day)

Liao Yiwu in Paris in 2019. Photograph: Yoan Valat, EPA/EFE.

Most of my manuscripts are locked up in the filing cabinets of the ministry of security, and the agents there study and ponder them repeatedly, more carefully than the creator himself. The guys working this racket have superb memories; a certain chief of the Chengdu public security bureau can still recite the poems I published in an underground magazine in the 1980s. While the literati write nostalgically, hoping to go down in literary history, the real history may be locked in the vaults of the security department.

The above is excerpted from my book June 4: My Testimony, published in Taiwan in 2011. I wrote that book three times, the later drafts on paper much better than the paper I used for writing in prison, which was so soft and brittle I had to write very lightly. Paper outside prison is solid and flexible enough that you don’t have to worry about puncturing it with the tip of a pen. Thus, I restrained myself and filled in a page of paper, and then how many thousand – ten thousand? More? How many ant-sized words can be packed on to a page? Who knows.

I spent four years in prison for two poems, Massacre and Requiem, both of which railed against the Tiananmen massacre that began in the early hours of 4 June 1989. Fuelled by extreme anger, I recited Massacre and made it into an audiotape, which was distributed to more than 20 cities across China. I worked with the Canadian sinologist Michael Martin Day, who was living in my home at the time. After mustering a mob of sorts, we made Requiem into a performance art film. On 16 March 1990, I was arrested and imprisoned. About two dozen underground poets and writers were detained and interrogated, but only eight would be named as defendants in the first indictment in the case against this “counter-revolutionary clique”.

I passed through an interrogation centre, a detention centre, No 2 prison and No 3 prison in Sichuan province. During the two years and two months I spent in the detention centre, I wrote and preserved 28 short poems and eight letters, which I hid in the spine of a hardcover edition of the medieval novel Romance of the Three Kingdoms. I used paste to “repair” and restore it, before it was eventually taken out of the prison after passing through many hands. In the last prison, No 3 prison in north-east Sichuan, I secretly wrote more than 200 pages of manuscripts. These were published after my release in a four-volume book with the title Go on Living. Continue reading Liao Yiwu on two poems and four years of detention