Search results for ""author john balcom""

Here is the perfect introduction to contemporary fiction from the world's most spoken language. These eight short stories, with parallel translations, offer students at all levels the opportunity to enjoy a wide range of contemporary literature without having constantly to refer to a dictionary. Richly diverse in themes and styles, the stories are by both new and well-established writers and range from a story by Li Rui about the honest simplicity of a Shanxi farmer to a story by Ma Yuan exposing the seamy underside of contemporary urban society. Complete with notes, these selections make excellent reading in either language.

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A seminal work from the second wave of Chinese modernism. So great is Ya Hsien's influence on younger generations of Taiwanese and Chinese writers that he is sometimes referred to simply as "The Poet." Yet he never wrote a second book after Abyss appeared in an expanded edition in 1971. This single book's variety and virtuosity have made it a modern classic and the poet something of a legend. A new documentary, "Ya Hsien: A Life that Sings," was nominated for Best Documentary at the 2015 Taipei Film Festival. Under the Barber Pole The barbers sing Always it's the same wheat-harvest festival Always an abundance of rye without ears Always it is reaped, reaped On the land of inspiration A small southern path leads to ears of grain And it's also a kind of horticultural school A kind of beauty A kind of agricultural reform A kind of taste for something other than Greek sculpture The barbers sing Ya Hsien's poetry runs the gamut from realism to surrealism, incorporating elements of folksong and modernist poetics, expressing a wide emotional range, and deftly capturing the critical spirit of the times. The sixty poems are divided into seven sections that present differing styles and themes, including "Wartime," "Songs without Music", and "Wild Water Chestnuts." The pen name Ya Hsien (his given name is Wang Ching-Lin) means "mute string." Ya Hsien lives in Vancouver, British Columbia. Award-winning translator John Balcom lives in Monterey, California.

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Unfolding in the tense years of the Cultural Revolution (1966-1976), Trees Without Wind takes place in a remote Shanxi village in which a rare affliction has left the residents physically stunted. Director Liu, an older revolutionary and local commune head, becomes embroiled in a power struggle with Zhang Weiguo, a young ideologue who believes he is the model of a true revolutionary. Complicating matters is a woman named Nuanyu, who, like Zhang Weiguo and Director Liu, is an outsider untouched by the village's disease. "Wedded" to all of the male villagers, Nuanyu lives a polyandrous lifestyle based on necessity and at odds with the puritanical idealism of the Cultural Revolution. The deformed villagers, representing the manipulated masses of China, become pawns in the Party representatives' factional infighting. Director Liu and Zhang Weiguo's explosive tug-of-war is part of a larger battle among politics, self-interest, and passion gripping a world undone by ideological extremism. A collectively told narrative powered by distinctive subjectivities, Trees Without Wind is a milestone in the fictional treatment of a horrific event.

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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 naive 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.

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Set among a remote cluster of cave dwellings in Shanxi province, There's Nothing I Can Do When I Think of You Late at Night is a genre-defying expose of rural communism. In a series of vivid, interlocking vignettes, several narrators speak of adultery, bestiality, incest, and vice, revealing the consequences of desire in a world of necessity. The Wen Clan Caves are based on an isolated village where the author, Cao Naiqian, lived during the Cultural Revolution. The land is hard and unforgiving and the people suffer in poverty and ignorance. Through the individual perspectives of the Wen Clan denizens, a complete portrait of village life takes shape. Dark yet lyrical, Cao's snapshots range from pastoral stories of childhood innocence to shocking accounts of brutality and terror. His work echoes William Faulkner's Go Down, Moses and Sherwood Anderson's Winesburg, Ohio, yet the author's depictions of elemental passions and regional mores make the book entirely his own. Celebrated for its economy of expression, flashes of humor, and an emphasis on understatement rarely found in Chinese fiction, There's Nothing I Can Do When I Think of You Late at Night is an excellent introduction to the power and craft of Cao Naiqian. His vivid personalities and unflinching realism herald the haunting work of an original literary force.

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Wu Sheng has written vivid poems about rural life and the land since the 1960s, when he became one of Taiwan’s most popular poets. His poems are rooted in the soil, embued with an unshakable affinity for the people who till it, sweat over it, and eventually are buried in it, and serve as his personal response to the industrialization, urbanization and globalization of his vanishing world.

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Xiang Yang's poetry stands as elegant testimony to the Taiwan experience. From start to finish, the collection is an articulation of Taiwan's identity imbued with salient cultural details. The range and variety of his seven books of poetry include the development of a new formalism, narrative verse forms, and a strong engagement with Taiwanese dialect poetry. Since the publication of his cycle The Four Seasons (1986) he has written little, publishing but a single collection titled Chaos in 2005. In the intervening years, he has earned a PhD in journalism and moved from journalism to academia, devoting himself primarily to teaching. Apart from writing and his academic life, Xiang Yang is an established woodblock artist.

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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. In "Running Mother," a man is torn between his fear of abandonment and his guilt over leaving his family, and therefore his symbolic home, behind. "Moon Seal" follows a woman caught between traditional and modern worlds. In "Wailing Moon," a wife learns a shocking secret after her husband's death, realizing he was never the man she thought him to be. Set in the United States and Taiwan, "Snow Blind" is a multigenerational triptych that portrays the consequences of spiritual malaise, and in "Brightly Shines the Stars Tonight," a general wrestles with issues of memory and self-perception in the final moments before his execution. Guo Songfen's stories play with the hazards of miscommunication, the malevolence of human will, the arbitrary nature of fate, and the burden of historical circumstance. As the general discovers, life is a game of chess, the outcome of which is never certain though it might be logically designed. Showcasing the best of Taiwan's modernist style, these stories are not only an indictment of the human condition but also a powerful comment on the experience of postretrocession Taiwan.

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--While stationed in southern Taiwan in 1954, Lo Fu co-founded the Epoch Poetry Society with Zhang Mo and Ya Xian and served as editor of the association’s Epoch Poetry Quarterly for more than a decade. --Lo Fu has been a controversial figure in many literary debates that shaped the evolution of modern Chinese poetry. His poetry has been immensely influential in Taiwan and China. --He is the author of thirteen volumes of poetry; an equal, if not larger, number of personal anthologies and reprints published in Taiwan, Hong Kong, and mainland China; five collections of essays; five volumes of literary criticism; and four book-length translations.

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Traces of Rilke are unearthed in Lo Fu’s long poem sequence, Driftwood, along with his affection for surrealism and the early modernists such as Baudelaire, Rimbaud, Apollinaire and the more contemporary verse of Wallace Stevens. On New Year’s Day 2001, the poem appeared in the literary supplement to the Liberty Times in Taiwan and was serialized for three months straight. Lo Fu has won almost every literary award in Taiwan and has published more than three dozen volumes of poetry, essays, criticism and translations. Despite his prolific output, Lo Fu considers Driftwood to be the book that sums up his experience of exile, his artistic explorations and his metaphysics; Driftwood is a personal epic and the greatest achievement of his old age. Lo Fu is the pen name of Mo Luofu, who was born in Hengyang, Hunan Province, in 1928. He joined the military during the Sino-Japanese War (1937-1945) and moved to Taiwan in 1949. While stationed in southern Taiwan in 1954, he founded the Epoch Poetry Society with Zhang Mo and Ya Xian, serving as the editor of the Epoch Poetry Quarterly for more than a decade. He immigrated to Vancouver in 1996, where he still lives. John Balcom has published more than a dozen books into English from Chinese. He is associate professor and Chinese program head at the Monterey Institute. Balcom previously collaborated with Lo Fu on the translation of his book of poetry Death of a Stone Cell (Taoran Press).

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Hualien, on the Pacific coast of eastern Taiwan, and its mountains, especially Mount Qilai, were deeply inspirational for the young poet Yang Mu. A place of immense natural beauty and cultural heterogeneity, the city was also a site of extensive social, political, and cultural change in the twentieth century, from the Japanese occupation and the American bombings of World War II to the Chinese civil war, the White Terror, and the Cold War. Taken as a whole, these evocative and allusive autobiographical essays provide a personal response to history as Taiwan transitioned from a Japanese colony to the Republic of China. Yang Mu recounts his childhood experiences under the Japanese, life in the mountains in proximity to indigenous people as his family took refuge from the American bombings, his initial encounters and cultural conflicts with Nationalist soldiers recently arrived from mainland China, the subsequent activities of the Nationalist government to consolidate power, and the island's burgeoning new manufacturing society. Nevertheless, throughout those early years, Yang Mu remained anchored by a sense of place on Taiwan's eastern coast and amid its coastal mountains, over which stands Mount Qilai like a guardian spirit. This was the formative milieu of the young poet. Yang Mu seized on verse to develop a distinct persona and draw meaning from the currents of change reshuffling his world. These eloquent essays create an exciting, subjective realm meant to transcend the personal and historical limitations of the individual and the end of culture, "plundered and polluted by politics and industry long ago."

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Unfolding in the tense years of the Cultural Revolution (1966-1976), Trees Without Wind takes place in a remote Shanxi village in which a rare affliction has left the residents physically stunted. Director Liu, an older revolutionary and local commune head, becomes embroiled in a power struggle with Zhang Weiguo, a young ideologue who believes he is the model of a true revolutionary. Complicating matters is a woman named Nuanyu, who, like Zhang Weiguo and Director Liu, is an outsider untouched by the village's disease. "Wedded" to all of the male villagers, Nuanyu lives a polyandrous lifestyle based on necessity and at odds with the puritanical idealism of the Cultural Revolution. The deformed villagers, representing the manipulated masses of China, become pawns in the Party representatives' factional infighting. Director Liu and Zhang Weiguo's explosive tug-of-war is part of a larger battle among politics, self-interest, and passion gripping a world undone by ideological extremism. A collectively told narrative powered by distinctive subjectivities, Trees Without Wind is a milestone in the fictional treatment of a horrific event.

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An epic spanning more than half a century of Taiwan's history, this breathtaking historical novel traces the fortunes of the Pengs, a family of Hakka Chinese settlers, across three generations from the 1890s, just before Taiwan was ceded to Japan as a result of the Sino-Japanese war, through World War II. Li Qiao brilliantly re-creates the dramatic world of these pioneers-and the colonization of Taiwan itself-exploring their relationships with the aboriginal peoples of Taiwan and their struggle to establish their own ethnic and political identities. This carefully researched work of fiction draws upon Li's own experiences and family history, as well as oral and written histories of the era. Originally published in Chinese as a trilogy, this newly translated edition is an abridgement for English-speaking readers and marks the work's first appearance in the English-speaking world. It was well-received in Taiwan as an honest-and influential-recreation of Taiwan's history before the relocation of the Republic of China from the mainland to Taiwan. Because Li's saga is so deeply imbued with the unique culture and complex history of Taiwan, an introduction explaining the cultural and historical background of the novel is included to help orient the reader to this amazingly rich cultural context. This informative introduction and the sweeping saga of the novel itself together provide an important view of Taiwan's little known colonial experience.

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