To grasp the new spirit of this country, read this fresh, contrarian short fictionby Julia Lovell / February 22, 2012 / Leave a comment
Published in March 2012 issue of Prospect Magazine
“Hiding in the City No. 83” (2009) by artist Liu Bolin. He uses surrealism to reflect and criticise modern China, in a manner similar to the new generation of fiction writers. In these photos, Bolin “camouflages” himself, with the help of an assistant who paints him into the backdrop
Say what you like about Mao, he did make it remarkably easy to keep up with developments in Chinese fiction. Thanks to his proscriptions on creative freedom, fictional output fell precipitously during his reign. An average of eight, increasingly socialist realist novels were published each year between 1949 and 1966. That figure shrank further during the Cultural Revolution. Staying abreast of translations was simpler still: until the early 1980s, it was virtually impossible for a mainland Chinese writer to strike up an independent relationship with a western translator. Anglophone readers had to rely on translations of establishment authors published by Beijing’s Foreign Languages Press.
Those dull days are happily long gone. In the early 1980s, a new generation of novelists born in the 1950s emerged into the post-Mao thaw and transformed the imaginative landscapes of mainland writing. By around 1985, socialist realism no longer represented the mainstream. Wholesome epics featuring rosy-cheeked comrades and singing anvils had been sidelined by macabre, modernist tales of infant sociopaths, juvenile delinquents and Cultural Revolution cannibalism.