MCLC has posted Nick Admussen’s review of Gloria Bien’s Baudelaire in China: A Study in Literary Reception. Here’s how it begins:

As Chinese intellectuals of the May Fourth era were making a concerted effort to learn foreign languages and engage with foreign literature, the work of Charles Baudelaire (1821-1867) was also beginning to garner belated acclaim in and out of France. A poet, essayist, and translator best known for his collections Les Fleurs du mal and Petits Poèmes en prose, Baudelaire was an aesthetic, formal, and conceptual innovator, and poets and critics of many nations still work to understand and react to his legacy. In China, the broad and sustained circulation of Baudelaire’s poetry is visible in the many versions of his Chinese name: in her Appendix I, Gloria Bien lists forty variants spanning almost a century, from the first translators of Baudelaire’s poetry into Chinese (including Zhou Zuoren 周作人) to those found in Zhang Daming’s (张大明) 2007 work A Hundred Years of Chinese Symbolism (中国象征主义百年史). Baudelaire’s work has passed through the hands of China’s greatest writers and thinkers and makes up a persistently relevant part of the tradition of modern Chinese poetry. The works and authors that intersect with Baudelaire’s poetry, moreover, are particularly diverse, and the impact of Baudelaire’s work on Chinese writing is fundamentally multivalent. For nearly a hundred years, writers of conflicting ideologies, competing schools, and disparate methods have transformed and been transformed by Baudelaire’s work with a complexity that makes the accumulation and categorization of data—to say nothing of interpretation—a substantial task.