{"id":1521,"date":"2013-01-28T10:30:52","date_gmt":"2013-01-28T02:30:52","guid":{"rendered":"http:\/\/xichuanpoetry.com\/?p=1521"},"modified":"2013-01-25T20:51:10","modified_gmt":"2013-01-25T12:51:10","slug":"still-mo-yan","status":"publish","type":"post","link":"https:\/\/xichuanpoetry.com\/?p=1521","title":{"rendered":"Still Mo Yan"},"content":{"rendered":"

\"\"<\/a>Salman Rushdie writes in response to Pankaj Mishra<\/a>‘s criticism of Rushdie’<\/a>s criticism of Mo Yan, calling Mishra’s a “satanic view of human society<\/a>,” to which Mishra responds that it’s easy “to upbraid a Chinese writer from afar<\/a>.”<\/p>\n

Hock G. Tjoa reviews Mo Yan’s Red Sorghum<\/em><\/a>: “Some people love Goya’s paintings, especially those he did of Spanish royalty … But it is difficult to pay heed when there is a Guernica<\/em> in the same room.”<\/p>\n

At BBC Radio <\/a>“Howard Goldblatt and novelist and film maker Xiaolu Guo discuss the nature of Chinese literature and how much Mo Yan and his fellow contemporary Chinese novelists can teach us about life inside this emerging world force.”<\/p>\n

James Kidd at SCMP reviews Sandalwood Death<\/em><\/a> and says, “Like so many of its characters and indeed China itself, the moral of the story is often hard to grasp … Those like Salman Rushdie who dismiss Mo as simply a ‘patsy’ of an authoritarian government would do well to read this complex, and subtle novel that illuminates the darkest corners of power, control and political violence.”<\/p>\n

Yunte Huang \u9ec3\u8fd0\u7279 reviews Pow!<\/em><\/a>: “While the jury is still out as to whether the Chinese writer Mo Yan, who is said to have been toeing the party line, truly deserves the Nobel Prize for Literature, there is little doubt that his novel POW!<\/em>\u2014with its Rabelaisian carnivalesque language and surrealist narration\u2014rightly belongs among the best of world literature.”<\/p>\n

The Complete Review<\/em> reviews Sandalwood Death<\/em><\/a>, giving it an A and calling it “sensational (in every sense of the word) storytelling.”<\/p>\n

The Boston Globe<\/em> reviews Pow!<\/em> and <\/a>Sandalwood Death<\/a><\/em>, praising Mo Yan’s work as “not realistic. It is magical, Rabelasian, satirical, steeped in blood, and obsessed with food in uncomfortable ways,” but they don’t know how to refer to Chinese people by their family name.<\/p>\n

Chad Post of Three Percent<\/em> <\/a>is excited to read Sandalwood Death<\/em> and gushes over the trailer.<\/p>\n

And Dylan Suher reviews Pow!<\/em> and Sandalwood Death<\/em><\/a>: “There are those who are blessed with an unerring (and to others, infuriating) faith in their own view of the world … For us\u2014the rest of us\u2014there is literature.”<\/p>\n","protected":false},"excerpt":{"rendered":"

Salman Rushdie writes in response to Pankaj Mishra‘s criticism of Rushdie’s criticism of Mo Yan, calling Mishra’s a “satanic view of human society,” to which Mishra responds that it’s easy “to upbraid a Chinese writer from afar.” Hock G. Tjoa … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[3],"tags":[119,656,913,888,907,19,912,924,189,911,910],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p8srwF-ox","jetpack-related-posts":[{"id":1899,"url":"https:\/\/xichuanpoetry.com\/?p=1899","url_meta":{"origin":1521,"position":0},"title":"No End of Mo Yan","author":"Lucas Klein","date":"June 3, 2013","format":false,"excerpt":"\"Mo Yan's new book 'Grand Ceremony,' written about his trip to Sweden to receive the [Nobel Prize], made its debut on Friday at the opening of a national book fair.\" But he spent half his spoils on \"a 200 sq metre (2,152 sq foot) property outside Beijing's fifth ring road.\"\u2026","rel":"","context":"In "Links"","block_context":{"text":"Links","link":"https:\/\/xichuanpoetry.com\/?cat=3"},"img":{"alt_text":"mo-yan2.png","src":"https:\/\/i0.wp.com\/shanghaiist.com\/attachments\/jamesgriffiths\/mo-yan2.png?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/shanghaiist.com\/attachments\/jamesgriffiths\/mo-yan2.png?resize=350%2C200 1x, https:\/\/i0.wp.com\/shanghaiist.com\/attachments\/jamesgriffiths\/mo-yan2.png?resize=525%2C300 1.5x"},"classes":[]},{"id":1484,"url":"https:\/\/xichuanpoetry.com\/?p=1484","url_meta":{"origin":1521,"position":1},"title":"Mo Yan & Liu Xiaobo: Another Nobel Roundup","author":"Lucas Klein","date":"December 14, 2012","format":false,"excerpt":"Mo Yan \u83ab\u8a00 has given his Nobel acceptance speech, but that doesn't mean the debates about whether he deserved the award have stopped--or that older pieces haven't been resurfacing. A good deal of the debate focuses on the contrast between Mo Yan and Liu Xiaobo \u5218\u6653\u6ce2, the imprisoned critic who\u2026","rel":"","context":"In "Links"","block_context":{"text":"Links","link":"https:\/\/xichuanpoetry.com\/?cat=3"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/img.youtube.com\/vi\/C1y8l2TV65M\/0.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2252,"url":"https:\/\/xichuanpoetry.com\/?p=2252","url_meta":{"origin":1521,"position":2},"title":"After this, No More Mo Yan","author":"Lucas Klein","date":"October 17, 2013","format":false,"excerpt":"Now that \"Dissident writer Alice Munro was awarded the Nobel Prize in Literature Thursday morning for her fiction critical of the Canadian regime,\" the year of Mo Yan's Nobel has ended. So the last Mo Yan update from this blog will be a link to this interview with Liao Yiwu\u2026","rel":"","context":"In "Links"","block_context":{"text":"Links","link":"https:\/\/xichuanpoetry.com\/?cat=3"},"img":{"alt_text":"Canadian author Alice Munro (PETER MUHLY\/AFP\/Getty Images)","src":"https:\/\/i0.wp.com\/www.washingtonpost.com\/blogs\/worldviews\/files\/2013\/10\/88678447.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.washingtonpost.com\/blogs\/worldviews\/files\/2013\/10\/88678447.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/www.washingtonpost.com\/blogs\/worldviews\/files\/2013\/10\/88678447.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.washingtonpost.com\/blogs\/worldviews\/files\/2013\/10\/88678447.jpg?resize=700%2C400 2x"},"classes":[]},{"id":1428,"url":"https:\/\/xichuanpoetry.com\/?p=1428","url_meta":{"origin":1521,"position":3},"title":"More Mo Yan","author":"Lucas Klein","date":"November 29, 2012","format":false,"excerpt":"The overlapping world of literary critics and cultural commentators is still arguing about Mo Yan \u83ab\u8a00 and his Nobel Prize. Nobel Literature Laureate from 2009, Romanian-raised Herta M\u00fcller calls Mo Yan\u2019s win \u201ca catastrophe\u201d because he \u201ccelebrates censorship.\u201d And Anna Sun of the Kenyon Review calls Mo Yan's writing \"diseased\";\u2026","rel":"","context":"In \"Anna Sun\"","block_context":{"text":"Anna Sun","link":"https:\/\/xichuanpoetry.com\/?tag=anna-sun"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.granta.com\/dyn\/1334837960936.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1501,"url":"https:\/\/xichuanpoetry.com\/?p=1501","url_meta":{"origin":1521,"position":4},"title":"Still More Mo Yan","author":"Lucas Klein","date":"January 3, 2013","format":false,"excerpt":"At ChinaFile Shelley Wing Chan discusses her enthusiasm over Mo Yan, which led to her book A Subversive Voice in China: The Fictional World of Mo Yan. Rebecca Liao calls Mo Yan \"Passionately Individual, Likely to Remain Friendless,\" while Xiaolu Guo \u90ed\u5c0f\u6ad3 answers the question, \"Are all Chinese novelists 'state\u2026","rel":"","context":"In "Links"","block_context":{"text":"Links","link":"https:\/\/xichuanpoetry.com\/?cat=3"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.csmonitor.com\/var\/ezflow_site\/storage\/images\/media\/content\/2012\/1012-moyan\/14013219-1-eng-US\/1012-moyan_full_600.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.csmonitor.com\/var\/ezflow_site\/storage\/images\/media\/content\/2012\/1012-moyan\/14013219-1-eng-US\/1012-moyan_full_600.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/www.csmonitor.com\/var\/ezflow_site\/storage\/images\/media\/content\/2012\/1012-moyan\/14013219-1-eng-US\/1012-moyan_full_600.jpg?resize=525%2C300 1.5x"},"classes":[]},{"id":1316,"url":"https:\/\/xichuanpoetry.com\/?p=1316","url_meta":{"origin":1521,"position":5},"title":"Mo Yan and the World: Another Roundup","author":"Lucas Klein","date":"October 24, 2012","format":false,"excerpt":"Mo Yan \u83ab\u8a00, winner of the 2012 Nobel Prize for Literature, continues to be a topic of conversation. Following yesterday's posting of \"A Westerner\u2019s Reflection on Mo Yan,\" here are three other links to the relationship between Mo Yan--and by extension, Chinese literature, if not China--and the world. First, Mo's\u2026","rel":"","context":"In "Links"","block_context":{"text":"Links","link":"https:\/\/xichuanpoetry.com\/?cat=3"},"img":{"alt_text":"Mo Yan","src":"https:\/\/i0.wp.com\/static.guim.co.uk\/sys-images\/Guardian\/Pix\/pictures\/2012\/10\/11\/1349962134461\/Mo-Yan-010.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/xichuanpoetry.com\/index.php?rest_route=\/wp\/v2\/posts\/1521"}],"collection":[{"href":"https:\/\/xichuanpoetry.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/xichuanpoetry.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/xichuanpoetry.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/xichuanpoetry.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1521"}],"version-history":[{"count":13,"href":"https:\/\/xichuanpoetry.com\/index.php?rest_route=\/wp\/v2\/posts\/1521\/revisions"}],"predecessor-version":[{"id":1596,"href":"https:\/\/xichuanpoetry.com\/index.php?rest_route=\/wp\/v2\/posts\/1521\/revisions\/1596"}],"wp:attachment":[{"href":"https:\/\/xichuanpoetry.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1521"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/xichuanpoetry.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1521"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/xichuanpoetry.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1521"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}