A short story stretched into a novelette, probably better in the movie version than the original text is.
Pros: it manages to effectively build an immA short story stretched into a novelette, probably better in the movie version than the original text is.
Pros: it manages to effectively build an immersive and believable atmosphere of occupied modern China and the danger glinting lazily through apparently quiet afternoons full of games and luxury. The cruelty of the male character and his pride of possession devoid of empathy are not surprising but make a dramatic twist nonetheless.
Cons: the characters' motivations are not expanded enough to feel authentic or relatable....more
I think this is a valuable piece of social history & literature because it manages to tell a timeless beautiful story precious for its artistic qualitI think this is a valuable piece of social history & literature because it manages to tell a timeless beautiful story precious for its artistic quality but also to paint us a picture of working-class China at the beginning of the 20th century.
After reading it, I understood a lot more about living arrangements, work relations and everyday life for the poor and precarious in that particular moment of China's history. The narrative also creates a pretty slow build up of how a person can turn to good to bad, because of the roughness of his or her environment. After seeing his efforts to make something of himself and to stay honest just blow to pieces because of the unfairness of the slums, Xiangzi is beaten and decides that striving to be good simply leads nowhere. In a way, although the subject is pretty tragic, the book is also comical at many points in the plot development.
I particularly liked the way the author relates Xiangzi's thoughts, in a brilliant portrayal of how a simple boy from the countryside (or someone not particularly witty or self-aware) must probably think like. The way he contradicts himself and changes his opinions from one moment to the next is delicious. But, of course, beyond the humorous facade lies something sadder: it's the precariousness of his living conditions that impose the same kind of fleetness on his thoughts and decisions. ...more
This is the second book written by Mo Yan that I've read, and my favorite so far. I think it's been rightly called a masterpiece (and earned him the NThis is the second book written by Mo Yan that I've read, and my favorite so far. I think it's been rightly called a masterpiece (and earned him the Nobel). It also enticed me to see the movie made for it (still working on that).
Though very beautiful, it's not an easy thing to read - the horrors of war are pictured in full light; no stylistically convenient cushions will be there to soften any blows.
On the other hand, it's not a cold, brutal light-of-day style of writing either. The mythological-infused themes that made Mo Yan famous ever since his early stories is present here as well. It seems to grow stronger with the blood that feeds the narrative as the horrific war progresses.
People tend to be a little reluctant to any war story written by a country's citizen, depicting and decrying the cruelty inflicted by their enemies in some past war. It seems like the author has an agenda he's trying to push on us and naturally we don't like it. But this really isn't the case with Mo Yan, even though he spares no horror when describing the Japanese offensive and slaughter. The story just sticks through and manages to be at the same time believable and touching, without becoming obnoxious.
I also could relate to the nostalgia felt by the modern-day narrator when describing the pale and shallow color of modern bred hybrid sorghum, a poor imitation of the deep red of yonder.
If historical tales written in a slightly tragic, heroic style usually appeal to you, then you should read this one as well. It should be right up your alley. ...more
I liked the folk roots of Mo Yan's demon-reminiscent stories, and I also liked the working-class environment described and animated in his cotton factI liked the folk roots of Mo Yan's demon-reminiscent stories, and I also liked the working-class environment described and animated in his cotton factory stories.
The style of writing does tend to get a little boring (over-descriptive) now and then, but manageable. ...more
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