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The Paris Review - On the Distinctiveness of Writing in China

Appeasement at the Cineplex

Although Beijing and Hollywood inhabit political and cultural universes that have little in common, they are similar in one important respect: both have expended vast amounts of energy, time, and capital confecting imaginary universes. The Chinese Communist Party (CCP) has long proselytized for sundry versions of its Maoist/Marxist/Leninist revolution through state-sponsored

Bishan Harvestival

One can almost imagine Bishan in its heyday. On the evening of August 26, 2011 the village’s daytime enthusiasm gushes towards the Yi County Cinema. It’s the kind of movie theater almost every small town has had, but Bishan’s has somehow managed to hang on to a 1980s or 90s feel. Above both the exits, in extremely serious-looking script, are the words “Emergency Exit.” Both

Does This Writer Deserve the Prize?

On October 11 Peter Englund, permanent secretary of the Swedish Academy in Stockholm, announced that the Nobel Prize in Literature for 2012 will go to the fifty-seven-year-old Chinese writer Guan Moye, better known as Mo Yan, a pen name that means “don’t talk.” (The name is said to have originated in advice his parents gave him as a school-age boy during the Mao era.)The news

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