| Vendor | |
|---|---|
|
Fritz Agency
Christian Dittus |
| Original language | |
| English | |
THE SUBPLOT
What China is Reading and Why It Matters
What does contemporary China's diverse and exciting fiction tell us about its culture, and the relationship between art and politics?
The Subplot takes us on a lively journey through a literary landscape like you've never seen before: a vast migrant-worker poetry movement, homoerotic romances by rotten girls, swaggering literary popstars, millionaire e-writers churning out the longest-ever novels, underground comics, the surreal works of Yu Hua, Yan Lianke, and Nobel laureate Mo Yan, and what is widely hailed as a golden age of Chinese science fiction. Chinese online fiction is now the largest publishing platform in the world.
Fueled by her passionate engagement with Chinese literature and culture, Megan Walsh, a brilliant young critic, shows us why it's important to finally pay attention to Chinese fictionan exuberant drama that illustrates the complex relationship between art and politics, one that is increasingly shaping the West as well. Turns out, writers write neither what their government nor foreign readers want or expect, and they work on a different wavelength to keep alive ideas and events that are either overlooked or off limits. The Subplot vividly captures the ways in which literature offers an alternativeperhaps truerunderstanding of the contradictions that make up China itself.
Megan Walsh is a journalist and writer who specializes in Chinese literature and film. She has lived in Beijing and Taipei, and holds a masters in Chinese Studies from SOAS. Her work has appeared in The New Statesman, Lithub, and The Wall Street Journal, and she was on the books desk at The Times of London, where she reported on contemporary art and literature in China, Russia, Cuba, and northern Iraq. She lives in London.
The Subplot takes us on a lively journey through a literary landscape like you've never seen before: a vast migrant-worker poetry movement, homoerotic romances by rotten girls, swaggering literary popstars, millionaire e-writers churning out the longest-ever novels, underground comics, the surreal works of Yu Hua, Yan Lianke, and Nobel laureate Mo Yan, and what is widely hailed as a golden age of Chinese science fiction. Chinese online fiction is now the largest publishing platform in the world.
Fueled by her passionate engagement with Chinese literature and culture, Megan Walsh, a brilliant young critic, shows us why it's important to finally pay attention to Chinese fictionan exuberant drama that illustrates the complex relationship between art and politics, one that is increasingly shaping the West as well. Turns out, writers write neither what their government nor foreign readers want or expect, and they work on a different wavelength to keep alive ideas and events that are either overlooked or off limits. The Subplot vividly captures the ways in which literature offers an alternativeperhaps truerunderstanding of the contradictions that make up China itself.
Megan Walsh is a journalist and writer who specializes in Chinese literature and film. She has lived in Beijing and Taipei, and holds a masters in Chinese Studies from SOAS. Her work has appeared in The New Statesman, Lithub, and The Wall Street Journal, and she was on the books desk at The Times of London, where she reported on contemporary art and literature in China, Russia, Cuba, and northern Iraq. She lives in London.
| Available products |
|---|
|
Book
Published 2022-02-01 by Columbia Global Reports |