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Wikipedia

Yu Hua

January 20, 2023

For the rower, see Yu Hua (rower).
In this Chinese name, the family name is Yu.

Yu Hua (simplified Chinese: 余华; traditional Chinese: 余華; pinyin: Yú Huá; born April 3, 1960, in Hangzhou, Zhejiang province) is a Chinese author. Shortly after his debut as a fiction writer in 1983, his first breakthrough came in 1987, when he released the short story On the Road at Age Eighteen.[2] Yu Hua was regarded as a promising avant-garde or post-New Wave writer.[2] Many critics also regard him as a champion for Chinese meta-fictional or postmodernist writing. His novels To Live (1993) and Chronicle of a Blood Merchant (1995) were widely acclaimed.[3] When he experimented with more chaotic themes[clarification needed] like in Brothers (2005–06), Yu Hua received criticism from critics and readers.[4]

Yu Hua
Yu Hua at the 2005 Singapore Writers Festival
Native name
余华
Born (1960-04-03) April 3, 1960 (age 62)
Hangzhou, Zhejiang, China[1]
OccupationNovelist, essayist
LanguageChinese
NationalityChinese
Alma materLu Xun Literature School
Period1984 - present
GenreNovel, prose
Literary movementAvant-garde
Notable worksTo Live
Chronicle of a Blood Merchant
Brothers
Cries in the Drizzle
Notable awards5th Zhuang Zhongwen Literary Prize
1992
James Joyce Award
2002
Ordre des Arts et des Lettres
2004
RelativesFather: Hua Zizhi (华自治)
Mother: Yu Peiwen (余佩文)

Yu Hua has written five novels, six collections of stories, and three collections of essays. His novels have been translated into English, Spanish, Portuguese, French, German, Russian, Italian, Dutch, Czech, Polish, Romanian, Swedish, Hungarian, Serbian, Turkish, Persian, Hebrew, Korean, Mongolian, Malayalam and Danish.[5]

Background and History

A young Yu Hua's parents worked as doctors, so the family lived in a hospital compound across from the mortuary. His childhood proximity to death shaped his later works.[6] He practiced dentistry for five years before turning to fiction writing in 1983 because he didn't like "looking into people’s mouths the whole day."[7] For Yu Hua, the Cultural Revolution took place from the ages of seven to seventeen.[4] It is for this reason that many of his works include the violence and chaos that were prevalent at the time. In his own words, “a calm, orderly society cannot produce such great works,”[4] which is why one of the distinctive characteristics of his work is his penchant for detailed descriptions of brutal violence.[8]

Yu Hua is interested in the interplay of diverse meaning constructions, particularly between imagination and reality.[8] Yu Hua's personal life is deeply reflected in his writing as a direct influence from the socio-economic challenges throughout his youth. There are many elements in Yu Hua's writings that could have been influenced by his life. He is considered to belong to the “generation of the 60s,” which refers to writers that spend their whole childhood and teenage years during the Cultural Revolution.[9] He was born in Hangzhou, but he spent his formative years in the Wuyuan Township in Haiyan, a small town that has been thought to be fairly monotonous, but much of Yu Hua's writing uses it as the setting behind his characters. Yu Hua has stated that writing makes him feel like he is going back to Haiyan; thus, many of Yu Hua's writing uses Haiyan as a story setting. After failing to enter the university, Yu Hua took a one-year program to become a dentist. He was a dentist for 6 years but then started writing more seriously when he grew bored of that lifestyle.[10]

Yu Hua has stated that his writing has been heavily influenced by both Franz Kafka and Yasunari Kawabata, among others. He stated that by reading Kawabata's work, he understood that the point of writing was to show human feelings.[11] However, there is also a deep connection that Yu Hua has with his country and its history. His writing reflects that. In an interview with The New Yorker, he stated that, “My writing is always changing, because my country is always changing, and this inevitably affects my views and feelings about things.”[12]

His personal life was heavily influenced by the changes that China has gone through, which is perhaps why many of Yu Hua's early texts often portray the world as cold and ruthless, marked by graphic descriptions of physical violence and bodily mutilation.[2] He stated in an interview that he grew up in a time when China went through many different changes in a relatively short period of time. He said, “I grew up during the Cultural Revolution. Then came Reform and Opening and the economy’s explosive takeoff in the 90s, and then came the fantastic wildness of the new century and our worldview and our value system were both turned upside down.” He has also said that childhood experiences will impact the life of a writer.[13]

In recent years, Yu Hua has dedicated many of his works about China itself, both aimed at China and East Asia, and then also the Western world. He also writes a monthly column for The New York Times in which he describes issues about China. Many of his writings have been known for their violence, but he is also known for some of his more intimate style. For example, the book, he stated in an interview that the book “To Live,” addresses “the cruelty and violence of the Cultural Revolution,” but that he also has “milder stories” like “The Boy in Twilight.”[12] One of the key aspects of his writing is in dealing with the absurd. In an interview, he stated that “I am a realistic writer, and if my stories are often absurd, that’s simply because they are a projection of absurd realities.”[14] As China has changed, he has started writing about the absurdities that come with it. In answering the criticisms that his writing is too violent, he responds that he is reflecting what he sees in reality, stating that “violence has long existed in my subconscious.”[13]

Writing Themes, Style and Avant-garde

Themes

Heavily inspired and affected by the Cultural Revolution,[4] the theme of modern Chinese history is prevalent in Yu Hua's writing. Yu Hua's work is very traditional, with psychologized storylines that investigate and illustrate the challenges of cultural disintegration and identity loss[2] and his stories are often set in small towns during historical periods that he experienced including China under Chairman Mao's rule,[15][16] the Civil War and Cultural Revolution,[17][5] and post Mao capitalist China.[5] Childhood is also a theme which appears often in his stories, but does not consequently lighten the subject matter. Yu Hua is known for his brutal descriptions of violence, cruelty and death[4] as well as themes surrounding “the plight of China’s underclasses” as seen in Chronicle of a Blood Merchant.[18] When he began focusing on more chaotic themes in Brothers, Yu Hua admitted his belief that despite his past modeling after Kafka's novels, "the essential nature of writing was to free yourself. If the great masters can unfetter themselves, why can’t we?”[4] In this same work, he prides himself on his simultaneous expression of tragedy and comedy.[4] Yu Hua also frequently engages in diverse attitudes of aesthetic modernity in his works, earning him the reputation of being a catalyst.[2]

Style

Yu Hua has been influenced by magic realism and also incorporates pre-modern Chinese fiction elements into his work. He is known to use dark humour and strange modes of perception and description in his writing.[19] The linguistic humour of Yu Hua's novels is gray humour in extreme contrast, a kind of zero-degree emotional narration, and this humour often receives a surprisingly effective expression. He creates humour mainly through the context, the situation, the context of the times, and the national cultural tradition.[20] He has been influenced by music, with a particular interest in classical, and the narrative structure of music; in fact, Chronicle of a Blood Merchant uses techniques borrowed from Yue opera's style.[21] He constantly draws from musical works when he composes his novels, using the characteristics of musical language to enrich his writing, thus making his fictional language full of musical rhythms, which is closely related to Yu Hua's musical literacy and musical hobbies. He also gained inspiration for his literary creation from musical pieces. For example, repetition of words is a narrative style Yu Hua favours. It is an important method for him to portray his characters' character traits and psychological changes, achieving a focused and concise language expression through the clever use of repetitive language techniques.[20]

Yu Hua's work has been successful at constructing mysterious and rich literary universes in both fiction and non-fiction. As Yu Hua has said, "Inevitably the novel involves China's history, but I don't intend to present history. My responsibility and interest as a writer lie in creating real people in my work, real Chinese people."[21]

In the beginning of his career, he wasn't successful at gaining traction with the readers due to the complexity of his work. He aimed to demonstrate the dark side of human psychology and society in a non-traditional way. He changed his style after he started to gain traction in the writing world and adjusted his work away from over complexity due to readers’ finding his work difficult to understand. After his adjustments, he focused on injecting the right amount of modern ideologies into his work which is primarily constructed on the narration of “realistic societies”.[22]

Yu Hua's writing style focuses on quality over quantity. Known by the complexity and unique linguistic styles, his effective style of writing and communication breaks the everyday rule of linguistics to form and, in a sense, its own linguistic system. With its complex foundations, Yu Hua's work has been successful at constructing mysterious and rich literary universes in both fiction and non-fiction.[23]

Avant-garde

Yu Hua is a writer who deeply embodies the avant-garde genre. Yu Hua is a contemporary avant-garde writer formally introduced to the literary world with the publication of "On the Road at Eighteen.'' This short story takes pains to highlight what the narrator sees, thinks and feels in moments of confusion and cruelty. It describes the feeling that the world has shredded its own integrity, and thus unveils a broken traditional view of reality based on surrealism.[24]

Among avant-garde novelists, Yu Hua is exemplary in that he is able to combine the ludicrous together with poetic violence to challenge the philosophical idea of humanism. He is known for his delicacy and sharpness. As a pioneer writer, Yu Hua's thinking in the face of reality and life is not to stay in some public imaginary happiness state, but to consciously pass through all kinds of ordinary happiness appearance, and to enter the more secret soul level to torture and question the original state of life. Thus, his novels rebel against the traditional writing mode and aesthetic style to a new height.[24]

Yu Hua is one of the most talented and individual writers of avant-garde novels. He has deepened the rational reflection of human beings on the situation of their lives in the form of novels, which has caused a lot of shock and attention in the literary world and among the readers. Therefore, he has become the representative of the avant-garde novels in China. In the late 1980s, Yu Hua was regarded as one of the most promising avant-garde or post-trendy writers, and many critics considered him perhaps the best example of Chinese yuan novels or post-modern writing. In the late 1990s, he plowed through a series of short stories, novellas and novels in which his style seemed to shift slightly toward the traditional "psychoanalytic" narrative.[24]

Yu Hua's novels in this period make a deep and detailed analysis of human evil and violence, instinct and desire, tradition and history. It mainly reveals the evil of human nature and a series of cruel, violent and bloody events caused by the evil of human nature. "1986", "One Kind of Reality", "The Inevitable" and other early works are his almost brutal indifference tone of the real and detailed fictional violence, blood and death, so as to show the human nature of violence, desire and the desire of the impulse. Yu Hua is to remove the modification of this kind of human nature, for the reader to open a pry human blood dripping window, let the reader understand this is not in the meaning of the vacancy.[25]

Works

Note: titles have been translated into English from the original Mandarin Chinese.

Short story collections

Originally published in literary journals, these stories were subsequently anthologized in different collections in both Taiwan and Mainland China.[26] The most complete collection of his stories to date is I Don’t Have My Own Name (2017), including 21 stories. It features his most notable short stories such as “Leaving Home at Eighteen”, “Classical Love”, “World Like Mist”, “The Past and the Punishments”, “1986”, “Blood and Plum Blossoms”, “The Death of a Landlord”,[27] “Boy in the Twilight” along with 13 other works.[28] Other anthologies with these works include The April 3rd Incident (2018), translated by Allan H. Barr; The Past and the Punishments (1996), translated by Andrew F. Jones; Boy in the Twilight (2014), translated by Allan H. Barr; On the Road at Eighteen (1991); Summer Typhoon (1993); Shudder (1995); and the three volumes of Yu Hua's Collected Works (1994), among others.[26]

Novels

  • Cries in the Drizzle (1992) In Yu Hua's first published novel, which is a first-person reminiscence of the protagonist Sun Guanglin in China under the reign of Mao.[16] As a black sheep in society and his own family, he observes the consequences of Communist rule from a unique perspective of a resentful teenager. Readers are given a chance to revisit the meanings of family, friendship, marriage, fate, sex and birth through a child's perspective.[29] The formatting and style of Yu Hua's first published level can be described as a "serpentine, episodic collection of anecdotes forming a kind of Maoist-era kinderscenen."[30]
  • To Live (1993) An exaggerated realism fiction depicts the protagonist Xu Fugui has been constantly suffering in his life. Yu Hua's breakthrough novel follows the transformation of a landlord's spoiled son witnessing the brutality and hardships of the Civil War and Cultural Revolution.[31] The body of the book is formatted by the main character, Fugui, recounting his story to an unnamed narrator in the 1980s, while the story itself takes place between the Second-Sino Japanese War until the death of his last remaining relative. In order of appearance, his relatives are his parents, his wife Jiazhen, daughter Fengxia, son Youqing, son-in-law Erxi, and his only grandchild Kugen who is the last to die. Over the events of the book that follows the historical timeline of China under rule of Mao Zedong and the Cultural Revolution, which lead to the many deaths in Fu Gui's family as they experience poverty, illness, and the malpractice of medicine. The novel was originally banned in China due to its exaggerated realism writing style but was later named one of that nation's most influential books.[17]
  • Chronicle of a Blood Merchant (1995) follows a struggling cart-pusher and portrays the hardships of life under the leadership of Mao China.[15] Xu Sanguan, the cart-pusher, partakes in the illicit act of selling his blood to support his dysfunctional family during a period of famine from the Cultural Revolution. As the story develops, Xu Sanguan must put aside his bitterness towards the his wife Xu Yulan and the illegitimate son she gave birth to, Yile, under the guise that he was Xu Sanguan's child. The title Chronicle of a Blood Merchant refers to China's Plasma Economy that took place in the years that Yu Hua was writing his sophomore novel.[32]
  • Brothers (2005) Described as “an epic and wildly unhinged black comedy of modern Chinese society running amok”,[5] Brothers consists of two volumes following the childhood of two step-brothers during the Cultural Revolution and life in post-Mao, capitalist China.[5] Baldy Li is the protagonist, a town scoundrel that evolves into the nation's top entrepreneur. His rags to riches story opposes that of his step-brother Song Gang, who although is known for being so similar to his chivalrous and smart father, gets hit by the brunt of the Cultural Revolution and suffers as a wandering man who partakes in unlicensed cosmetic surgery practices in South China. These cosmetic surgeries eventually influence Baldy Li's newly established beauty pageant, that only virgins can participate in. Over the many decades of the novel, Baldy Li begins an affair with Song Gang's wife, Lin Hong, who he has admired for years. Later, the brothers are united to resolve their differences. The book was inspired by Yu Hua's trip to the United States in 2003, during which he observed China prepare for hosting the Miss World competition from afar.[5]
  • The Seventh Day (2015) Yu Hua's most recent novel takes the deceased as the protagonist and depicts what the deceased saw and heard within seven days after death. Yu Hua portrays an absurd and desperate real world and an afterlife opposite to it.[33] The protagonist Yang Fei died at the age of forty-one without adequate money for a burial plot, is left to aimlessly roam the afterworld as a ghost. Over the course of seven days, he encounters the souls of friends, family and acquaintances who died before him.[34] Through the narrative and experience of the deceased, the novel exposes the cruel and corrupt realities, such as men disguised in females in prostitution, violent demolition, post-disaster concealment of the death toll, the hospital disposes of dead babies as medical wastes, etc. While other facets of human rights that are encroached during Yang Fei's exploration of limbo are police brutality, the violence of the sex industry, suicide, and the forced evictions of those suffering from poverty by the government.[33] Yu Hua "got the idea that death is not the end of life but just a turning point" from living close to a mortuary as a child.[6] The Seventh Day serves as a criticism to the class disparity in China, a disparity that is so severe it continues to exist even in the afterlife, as a result of government corruption and a "country’s headlong affair with consumerism".[35] Other facets of human rights that are encroached during Yang Fei's exploration of limbo are police brutality, the violence of the sex industry, suicide, and the forced evictions of those suffering from poverty by the government.

Essays

  • China in Ten Words (2011) In a collection of ten essays, titled after a word he has deemed representative of the culture and politics of modern China, Yu Hua describes a “morally compromised nation,”[36] contrasting the Cultural Revolution events with post-Mao China's rapid developments and even discussing the origins of current events and the 1989 pro-democracy protest; thus it is not a surprise why Yu Hua did not publish the Chinese version of the essays novel in China.[37] The ten words are “People”, “Leader”, “Reading”, “Writing”, “Lu Xun”, “Revolution”, “Disparity”, “Grassroots”, “Copycat”, and “Bamboozle”. Using these words, Yu Hua conducts a recollection of historical and cultural events that have made China what it is today, intermixed with autobiographical accounts of growing up during the Cultural Revolution. Each essay explains why the titular term is particular in order to further understand a controversial China. Yu Hua states that this work is “to bring together observation, analysis, and personal anecdote”[38] for a critique of contemporary China.

Political views

Cultural Revolution

Most of Yu Hua's novels are centred around the Cultural Revolution, either as the setting, a contextual reference, or as a literary device. Yu Hua was born in 1960, and his childhood memories are the Cultural Revolution. Yu Hua said, "My novel creation is closely related to childhood and juveniles."[39] Yu Hua's description of the Cultural Revolution is indifferent, no matter whether it is describing violence or death. For example, the novel To Live uses an objective narrative style to describe the suffering of the Cultural Revolution. In Brothers, Yu Hua directly talks about what happened to a family during the Cultural Revolution. In these books, we can understand the harm of the Cultural Revolution to human nature and clearly understand the mistakes made during the Cultural Revolution.

Reception

Yu Hua is regarded as one of the greatest living Chinese writers.[40] Jeffrey Wasserstrom of the Los Angeles Review of Books wrote, "When people ask me to suggest a novel dealing with the rise and rule of China’s Communist Party, I point them toward To Live, which is available in a lively translation by Michael Berry and presents pivotal stages of revolutionary history from the perspective of everyman characters, or Chronicle of a Blood Merchant, which has similar virtues and a slightly larger quotient of humor".[3]

Awards

Yu Hua received the Grinzane Cavour Prize as his first award in 1998 for his novel To Live.[41] Four years later, Yu Hua became the first Chinese writer to receive the James Joyce Award (2002).[42] Originally published in 1993, To Live was then published in English in 2003[41] and earned him the Ordre des Arts et des Lettres of France in 2004.[43] That same year, Yu Hua was awarded the Barnes & Noble Discovery Great New Writers Award (2004)[41] and in 2005, took home the Special Book Award of China.[43] Since then, he has also won the Prix Courrier International (2008)[43] for his novel Brothers[44] which was also shortlisted for the Man Asian Literary Prize[42]

TV and Film Adaptations

Three of Yu Hua's works have screen adaptations. “To Live” (1994) was directed by the highly esteemed Zhang Yimou, with Yu Hua himself participating in screenwriting.[45] Though the screenplay was greatly altered it was still banned upon initial release. However, “To Live” swept awards at the 1994 Cannes Film Festival. There are some notable changes within the narrative. One stark difference is Fugui's career being in shadow puppetry rather than farming. Another great contrast is the death of Youqing being from a car accident involving himself and the Magistrate Chunsheng. The same novel was adapted by Zhu Zheng as a television drama in 2003, named after the protagonist “Fu Gui”. The movie and novel emphasize two ways of “living” through exposing harsh realities underneath the facade of life and pondering the significance of existing.[46] The television adaptation followed the tragedies in the original storyline more closely, avoiding the casting of big names in order to effectively portray the simplicity of civilian life in revolution era China. Each have their own virtues, but the public seems to prefer the movie. Most recently “Chronicles of a Blood Merchant” (2015) was adapted into a Korean language film,[47] both directed by and starring actor Ha Jung-woo.

Further reading

  • Shouhuo 收获 1991, No. 6 (changpian xiaoshuo) 长篇小说.
  • Shouhuo 收获 1992, No. 6 (zhongpian xiaoshuo) 中篇小说 .
  • Yu, Hua; Jones, Andrew F. (trans) (1996). The Past and the Punishments. Honolulu: University of Hawai'i Press. ISBN 0-8248-1817-2. OCLC 45727784.
  • Yu, Hua; Berry, Michael (trans) (2003). To Live 活着. New York: Anchor Books. ISBN 978-1-400-03186-3. OCLC 51752247.
  • Yu, Hua; Jones, Andrew F. (trans) (2003). Chronicle of a Blood Merchant 许三观卖血记. New York: Pantheon. ISBN 978-0-375-42220-1. OCLC 51978096.
  • Yu, Hua; Barr, Allan H. (trans) (2003). Cries in the Drizzle 在细雨中呼喊. New York: Anchor Books. ISBN 978-0-307-27999-6. OCLC 104878666.
  • Yu, Hua; Chow, Eileen Cheng-yin (trans); Rojas, Carlos (trans) (2009). Brothers 兄弟. New York: Pantheon. ISBN 978-0-375-42499-1. OCLC 228701323.(Chinese: 兄弟; pinyin: Xiōng Dì, 2005–2006)
  • Chinese Writers on Writing featuring Yu Hua. Ed. Arthur Sze. (Trinity University Press, 2010).
  • Yu, Hua; Barr, Allan H. (trans) (2011). China in Ten Words 十个词汇里的中国. New York: Pantheon. ISBN 978-0-307-37935-1. OCLC 701810348.
    (simplified Chinese: 十个词汇里的中国; traditional Chinese: 十個詞彙裡的中國; pinyin: Shí Gè Cíhuì Lǐ De Zhōngguó) ISBN 978-986-120-477-2
  • “Huhan yu xi yu” 呼喊与细雨 (Shouts and Fine Rain)
  • Yu, Hua; Barr, Allan H. (trans) (2014). Boy in the Twilight: Stories of the Hidden China 黄昏里的男孩. New York: Pantheon. ISBN 978-0-307-37936-8. OCLC 841899112.
    (Chinese: 黄昏里的男孩; pinyin: Huánghūn lǐ de nánhái)
  • Yu, Hua; Barr, Allan H. (trans) (2015). Seventh Day 第七天. New York: Pantheon. ISBN 978-0-804-19786-1. OCLC 883747924.
  • World Like Mist: Eight Stories (pinyin: Shi shi ru yan) ISBN 986-7691-37-7
  • "How My Books Have Roamed the World", in Specimen: The Babel Review of Translations (Chinese 2016, English 2017)[48]

References

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  42. ^ a b "Yu Hua: Brothers, 2008 Shortlist". Man Asian Literary Prize. 2011. from the original on 13 October 2012. Retrieved 19 June 2009.
  43. ^ a b c "Yu Hua". The New York Times. 2014. from the original on 18 March 2015. Retrieved 12 March 2015.
  44. ^ Bao, Xinjing (11 Nov 2003). "Prix courrier international. Yu Hua lauréat 2008 avec "Brothers"". Courrier International. from the original on 20 March 2018. Retrieved 20 March 2018.
  45. ^ "【转载】活着影评二则". from the original on 22 March 2018. Retrieved 21 March 2018.
  46. ^ 沈, 文蕙. "存在之思与现实之痛". 华中师范大学文学院. from the original on 22 March 2018. Retrieved 21 March 2018.
  47. ^ . YouTube. Archived from the original on 2020-04-01. Retrieved 21 March 2018.
  48. ^ "我的书游荡世界的经历 | Specimen". Specimen. 2017-09-21. Retrieved 2018-10-20.

External links

  • Yu, Hua (30 August 2003). "Interview with Yu Hua". University of Iowa International Writing Program (Interview). Interviewed by Michael Standaert. Retrieved 15 November 2011.
  • Profile, nytimes.com
  • Yu, Hua (21 February 2014). "Stranger Than Fiction: A Q&A with Yu Hua". ChinaFile Culture (Interview). Interviewed by Zhang Xiaoran. Retrieved 12 March 2015.
  • Yu, Hua (Winter 2003). "EAA Interview with Yu Hua, author of To Live (Huo Zhe)" (PDF). Education About ASIA (Interview). Vol. 8, no. 3. Interviewed by Helen Finken. Retrieved 12 March 2015.

January 20, 2023
rower, rower, this, chinese, name, family, name, simplified, chinese, 余华, traditional, chinese, 余華, pinyin, huá, born, april, 1960, hangzhou, zhejiang, province, chinese, author, shortly, after, debut, fiction, writer, 1983, first, breakthrough, came, 1987, wh. For the rower see Yu Hua rower In this Chinese name the family name is Yu Yu Hua simplified Chinese 余华 traditional Chinese 余華 pinyin Yu Hua born April 3 1960 in Hangzhou Zhejiang province is a Chinese author Shortly after his debut as a fiction writer in 1983 his first breakthrough came in 1987 when he released the short story On the Road at Age Eighteen 2 Yu Hua was regarded as a promising avant garde or post New Wave writer 2 Many critics also regard him as a champion for Chinese meta fictional or postmodernist writing His novels To Live 1993 and Chronicle of a Blood Merchant 1995 were widely acclaimed 3 When he experimented with more chaotic themes clarification needed like in Brothers 2005 06 Yu Hua received criticism from critics and readers 4 Yu HuaYu Hua at the 2005 Singapore Writers FestivalNative name余华Born 1960 04 03 April 3 1960 age 62 Hangzhou Zhejiang China 1 OccupationNovelist essayistLanguageChineseNationalityChineseAlma materLu Xun Literature SchoolPeriod1984 presentGenreNovel proseLiterary movementAvant gardeNotable worksTo Live Chronicle of a Blood Merchant Brothers Cries in the DrizzleNotable awards5th Zhuang Zhongwen Literary Prize 1992 James Joyce Award 2002 Ordre des Arts et des Lettres 2004RelativesFather Hua Zizhi 华自治 Mother Yu Peiwen 余佩文 Yu Hua has written five novels six collections of stories and three collections of essays His novels have been translated into English Spanish Portuguese French German Russian Italian Dutch Czech Polish Romanian Swedish Hungarian Serbian Turkish Persian Hebrew Korean Mongolian Malayalam and Danish 5 Contents 1 Background and History 2 Writing Themes Style and Avant garde 2 1 Themes 2 2 Style 2 3 Avant garde 3 Works 3 1 Short story collections 3 2 Novels 3 3 Essays 4 Political views 4 1 Cultural Revolution 5 Reception 6 Awards 7 TV and Film Adaptations 8 Further reading 9 References 10 External linksBackground and History EditA young Yu Hua s parents worked as doctors so the family lived in a hospital compound across from the mortuary His childhood proximity to death shaped his later works 6 He practiced dentistry for five years before turning to fiction writing in 1983 because he didn t like looking into people s mouths the whole day 7 For Yu Hua the Cultural Revolution took place from the ages of seven to seventeen 4 It is for this reason that many of his works include the violence and chaos that were prevalent at the time In his own words a calm orderly society cannot produce such great works 4 which is why one of the distinctive characteristics of his work is his penchant for detailed descriptions of brutal violence 8 Yu Hua is interested in the interplay of diverse meaning constructions particularly between imagination and reality 8 Yu Hua s personal life is deeply reflected in his writing as a direct influence from the socio economic challenges throughout his youth There are many elements in Yu Hua s writings that could have been influenced by his life He is considered to belong to the generation of the 60s which refers to writers that spend their whole childhood and teenage years during the Cultural Revolution 9 He was born in Hangzhou but he spent his formative years in the Wuyuan Township in Haiyan a small town that has been thought to be fairly monotonous but much of Yu Hua s writing uses it as the setting behind his characters Yu Hua has stated that writing makes him feel like he is going back to Haiyan thus many of Yu Hua s writing uses Haiyan as a story setting After failing to enter the university Yu Hua took a one year program to become a dentist He was a dentist for 6 years but then started writing more seriously when he grew bored of that lifestyle 10 Yu Hua has stated that his writing has been heavily influenced by both Franz Kafka and Yasunari Kawabata among others He stated that by reading Kawabata s work he understood that the point of writing was to show human feelings 11 However there is also a deep connection that Yu Hua has with his country and its history His writing reflects that In an interview with The New Yorker he stated that My writing is always changing because my country is always changing and this inevitably affects my views and feelings about things 12 His personal life was heavily influenced by the changes that China has gone through which is perhaps why many of Yu Hua s early texts often portray the world as cold and ruthless marked by graphic descriptions of physical violence and bodily mutilation 2 He stated in an interview that he grew up in a time when China went through many different changes in a relatively short period of time He said I grew up during the Cultural Revolution Then came Reform and Opening and the economy s explosive takeoff in the 90s and then came the fantastic wildness of the new century and our worldview and our value system were both turned upside down He has also said that childhood experiences will impact the life of a writer 13 In recent years Yu Hua has dedicated many of his works about China itself both aimed at China and East Asia and then also the Western world He also writes a monthly column for The New York Times in which he describes issues about China Many of his writings have been known for their violence but he is also known for some of his more intimate style For example the book he stated in an interview that the book To Live addresses the cruelty and violence of the Cultural Revolution but that he also has milder stories like The Boy in Twilight 12 One of the key aspects of his writing is in dealing with the absurd In an interview he stated that I am a realistic writer and if my stories are often absurd that s simply because they are a projection of absurd realities 14 As China has changed he has started writing about the absurdities that come with it In answering the criticisms that his writing is too violent he responds that he is reflecting what he sees in reality stating that violence has long existed in my subconscious 13 Writing Themes Style and Avant garde EditThemes Edit Heavily inspired and affected by the Cultural Revolution 4 the theme of modern Chinese history is prevalent in Yu Hua s writing Yu Hua s work is very traditional with psychologized storylines that investigate and illustrate the challenges of cultural disintegration and identity loss 2 and his stories are often set in small towns during historical periods that he experienced including China under Chairman Mao s rule 15 16 the Civil War and Cultural Revolution 17 5 and post Mao capitalist China 5 Childhood is also a theme which appears often in his stories but does not consequently lighten the subject matter Yu Hua is known for his brutal descriptions of violence cruelty and death 4 as well as themes surrounding the plight of China s underclasses as seen in Chronicle of a Blood Merchant 18 When he began focusing on more chaotic themes in Brothers Yu Hua admitted his belief that despite his past modeling after Kafka s novels the essential nature of writing was to free yourself If the great masters can unfetter themselves why can t we 4 In this same work he prides himself on his simultaneous expression of tragedy and comedy 4 Yu Hua also frequently engages in diverse attitudes of aesthetic modernity in his works earning him the reputation of being a catalyst 2 Style Edit Yu Hua has been influenced by magic realism and also incorporates pre modern Chinese fiction elements into his work He is known to use dark humour and strange modes of perception and description in his writing 19 The linguistic humour of Yu Hua s novels is gray humour in extreme contrast a kind of zero degree emotional narration and this humour often receives a surprisingly effective expression He creates humour mainly through the context the situation the context of the times and the national cultural tradition 20 He has been influenced by music with a particular interest in classical and the narrative structure of music in fact Chronicle of a Blood Merchant uses techniques borrowed from Yue opera s style 21 He constantly draws from musical works when he composes his novels using the characteristics of musical language to enrich his writing thus making his fictional language full of musical rhythms which is closely related to Yu Hua s musical literacy and musical hobbies He also gained inspiration for his literary creation from musical pieces For example repetition of words is a narrative style Yu Hua favours It is an important method for him to portray his characters character traits and psychological changes achieving a focused and concise language expression through the clever use of repetitive language techniques 20 Yu Hua s work has been successful at constructing mysterious and rich literary universes in both fiction and non fiction As Yu Hua has said Inevitably the novel involves China s history but I don t intend to present history My responsibility and interest as a writer lie in creating real people in my work real Chinese people 21 In the beginning of his career he wasn t successful at gaining traction with the readers due to the complexity of his work He aimed to demonstrate the dark side of human psychology and society in a non traditional way He changed his style after he started to gain traction in the writing world and adjusted his work away from over complexity due to readers finding his work difficult to understand After his adjustments he focused on injecting the right amount of modern ideologies into his work which is primarily constructed on the narration of realistic societies 22 Yu Hua s writing style focuses on quality over quantity Known by the complexity and unique linguistic styles his effective style of writing and communication breaks the everyday rule of linguistics to form and in a sense its own linguistic system With its complex foundations Yu Hua s work has been successful at constructing mysterious and rich literary universes in both fiction and non fiction 23 Avant garde Edit Yu Hua is a writer who deeply embodies the avant garde genre Yu Hua is a contemporary avant garde writer formally introduced to the literary world with the publication of On the Road at Eighteen This short story takes pains to highlight what the narrator sees thinks and feels in moments of confusion and cruelty It describes the feeling that the world has shredded its own integrity and thus unveils a broken traditional view of reality based on surrealism 24 Among avant garde novelists Yu Hua is exemplary in that he is able to combine the ludicrous together with poetic violence to challenge the philosophical idea of humanism He is known for his delicacy and sharpness As a pioneer writer Yu Hua s thinking in the face of reality and life is not to stay in some public imaginary happiness state but to consciously pass through all kinds of ordinary happiness appearance and to enter the more secret soul level to torture and question the original state of life Thus his novels rebel against the traditional writing mode and aesthetic style to a new height 24 Yu Hua is one of the most talented and individual writers of avant garde novels He has deepened the rational reflection of human beings on the situation of their lives in the form of novels which has caused a lot of shock and attention in the literary world and among the readers Therefore he has become the representative of the avant garde novels in China In the late 1980s Yu Hua was regarded as one of the most promising avant garde or post trendy writers and many critics considered him perhaps the best example of Chinese yuan novels or post modern writing In the late 1990s he plowed through a series of short stories novellas and novels in which his style seemed to shift slightly toward the traditional psychoanalytic narrative 24 Yu Hua s novels in this period make a deep and detailed analysis of human evil and violence instinct and desire tradition and history It mainly reveals the evil of human nature and a series of cruel violent and bloody events caused by the evil of human nature 1986 One Kind of Reality The Inevitable and other early works are his almost brutal indifference tone of the real and detailed fictional violence blood and death so as to show the human nature of violence desire and the desire of the impulse Yu Hua is to remove the modification of this kind of human nature for the reader to open a pry human blood dripping window let the reader understand this is not in the meaning of the vacancy 25 Works EditNote titles have been translated into English from the original Mandarin Chinese Short story collections Edit Originally published in literary journals these stories were subsequently anthologized in different collections in both Taiwan and Mainland China 26 The most complete collection of his stories to date is I Don t Have My Own Name 2017 including 21 stories It features his most notable short stories such as Leaving Home at Eighteen Classical Love World Like Mist The Past and the Punishments 1986 Blood and Plum Blossoms The Death of a Landlord 27 Boy in the Twilight along with 13 other works 28 Other anthologies with these works include The April 3rd Incident 2018 translated by Allan H Barr The Past and the Punishments 1996 translated by Andrew F Jones Boy in the Twilight 2014 translated by Allan H Barr On the Road at Eighteen 1991 Summer Typhoon 1993 Shudder 1995 and the three volumes of Yu Hua s Collected Works 1994 among others 26 Novels Edit Cries in the Drizzle 1992 In Yu Hua s first published novel which is a first person reminiscence of the protagonist Sun Guanglin in China under the reign of Mao 16 As a black sheep in society and his own family he observes the consequences of Communist rule from a unique perspective of a resentful teenager Readers are given a chance to revisit the meanings of family friendship marriage fate sex and birth through a child s perspective 29 The formatting and style of Yu Hua s first published level can be described as a serpentine episodic collection of anecdotes forming a kind of Maoist era kinderscenen 30 To Live 1993 An exaggerated realism fiction depicts the protagonist Xu Fugui has been constantly suffering in his life Yu Hua s breakthrough novel follows the transformation of a landlord s spoiled son witnessing the brutality and hardships of the Civil War and Cultural Revolution 31 The body of the book is formatted by the main character Fugui recounting his story to an unnamed narrator in the 1980s while the story itself takes place between the Second Sino Japanese War until the death of his last remaining relative In order of appearance his relatives are his parents his wife Jiazhen daughter Fengxia son Youqing son in law Erxi and his only grandchild Kugen who is the last to die Over the events of the book that follows the historical timeline of China under rule of Mao Zedong and the Cultural Revolution which lead to the many deaths in Fu Gui s family as they experience poverty illness and the malpractice of medicine The novel was originally banned in China due to its exaggerated realism writing style but was later named one of that nation s most influential books 17 Chronicle of a Blood Merchant 1995 follows a struggling cart pusher and portrays the hardships of life under the leadership of Mao China 15 Xu Sanguan the cart pusher partakes in the illicit act of selling his blood to support his dysfunctional family during a period of famine from the Cultural Revolution As the story develops Xu Sanguan must put aside his bitterness towards the his wife Xu Yulan and the illegitimate son she gave birth to Yile under the guise that he was Xu Sanguan s child The title Chronicle of a Blood Merchant refers to China s Plasma Economy that took place in the years that Yu Hua was writing his sophomore novel 32 Brothers 2005 Described as an epic and wildly unhinged black comedy of modern Chinese society running amok 5 Brothers consists of two volumes following the childhood of two step brothers during the Cultural Revolution and life in post Mao capitalist China 5 Baldy Li is the protagonist a town scoundrel that evolves into the nation s top entrepreneur His rags to riches story opposes that of his step brother Song Gang who although is known for being so similar to his chivalrous and smart father gets hit by the brunt of the Cultural Revolution and suffers as a wandering man who partakes in unlicensed cosmetic surgery practices in South China These cosmetic surgeries eventually influence Baldy Li s newly established beauty pageant that only virgins can participate in Over the many decades of the novel Baldy Li begins an affair with Song Gang s wife Lin Hong who he has admired for years Later the brothers are united to resolve their differences The book was inspired by Yu Hua s trip to the United States in 2003 during which he observed China prepare for hosting the Miss World competition from afar 5 The Seventh Day 2015 Yu Hua s most recent novel takes the deceased as the protagonist and depicts what the deceased saw and heard within seven days after death Yu Hua portrays an absurd and desperate real world and an afterlife opposite to it 33 The protagonist Yang Fei died at the age of forty one without adequate money for a burial plot is left to aimlessly roam the afterworld as a ghost Over the course of seven days he encounters the souls of friends family and acquaintances who died before him 34 Through the narrative and experience of the deceased the novel exposes the cruel and corrupt realities such as men disguised in females in prostitution violent demolition post disaster concealment of the death toll the hospital disposes of dead babies as medical wastes etc While other facets of human rights that are encroached during Yang Fei s exploration of limbo are police brutality the violence of the sex industry suicide and the forced evictions of those suffering from poverty by the government 33 Yu Hua got the idea that death is not the end of life but just a turning point from living close to a mortuary as a child 6 The Seventh Day serves as a criticism to the class disparity in China a disparity that is so severe it continues to exist even in the afterlife as a result of government corruption and a country s headlong affair with consumerism 35 Other facets of human rights that are encroached during Yang Fei s exploration of limbo are police brutality the violence of the sex industry suicide and the forced evictions of those suffering from poverty by the government Essays Edit China in Ten Words 2011 In a collection of ten essays titled after a word he has deemed representative of the culture and politics of modern China Yu Hua describes a morally compromised nation 36 contrasting the Cultural Revolution events with post Mao China s rapid developments and even discussing the origins of current events and the 1989 pro democracy protest thus it is not a surprise why Yu Hua did not publish the Chinese version of the essays novel in China 37 The ten words are People Leader Reading Writing Lu Xun Revolution Disparity Grassroots Copycat and Bamboozle Using these words Yu Hua conducts a recollection of historical and cultural events that have made China what it is today intermixed with autobiographical accounts of growing up during the Cultural Revolution Each essay explains why the titular term is particular in order to further understand a controversial China Yu Hua states that this work is to bring together observation analysis and personal anecdote 38 for a critique of contemporary China Political views EditCultural Revolution Edit Most of Yu Hua s novels are centred around the Cultural Revolution either as the setting a contextual reference or as a literary device Yu Hua was born in 1960 and his childhood memories are the Cultural Revolution Yu Hua said My novel creation is closely related to childhood and juveniles 39 Yu Hua s description of the Cultural Revolution is indifferent no matter whether it is describing violence or death For example the novel To Live uses an objective narrative style to describe the suffering of the Cultural Revolution In Brothers Yu Hua directly talks about what happened to a family during the Cultural Revolution In these books we can understand the harm of the Cultural Revolution to human nature and clearly understand the mistakes made during the Cultural Revolution Reception EditYu Hua is regarded as one of the greatest living Chinese writers 40 Jeffrey Wasserstrom of the Los Angeles Review of Books wrote When people ask me to suggest a novel dealing with the rise and rule of China s Communist Party I point them toward To Live which is available in a lively translation by Michael Berry and presents pivotal stages of revolutionary history from the perspective of everyman characters or Chronicle of a Blood Merchant which has similar virtues and a slightly larger quotient of humor 3 Awards EditYu Hua received the Grinzane Cavour Prize as his first award in 1998 for his novel To Live 41 Four years later Yu Hua became the first Chinese writer to receive the James Joyce Award 2002 42 Originally published in 1993 To Live was then published in English in 2003 41 and earned him the Ordre des Arts et des Lettres of France in 2004 43 That same year Yu Hua was awarded the Barnes amp Noble Discovery Great New Writers Award 2004 41 and in 2005 took home the Special Book Award of China 43 Since then he has also won the Prix Courrier International 2008 43 for his novel Brothers 44 which was also shortlisted for the Man Asian Literary Prize 42 TV and Film Adaptations EditThree of Yu Hua s works have screen adaptations To Live 1994 was directed by the highly esteemed Zhang Yimou with Yu Hua himself participating in screenwriting 45 Though the screenplay was greatly altered it was still banned upon initial release However To Live swept awards at the 1994 Cannes Film Festival There are some notable changes within the narrative One stark difference is Fugui s career being in shadow puppetry rather than farming Another great contrast is the death of Youqing being from a car accident involving himself and the Magistrate Chunsheng The same novel was adapted by Zhu Zheng as a television drama in 2003 named after the protagonist Fu Gui The movie and novel emphasize two ways of living through exposing harsh realities underneath the facade of life and pondering the significance of existing 46 The television adaptation followed the tragedies in the original storyline more closely avoiding the casting of big names in order to effectively portray the simplicity of civilian life in revolution era China Each have their own virtues but the public seems to prefer the movie Most recently Chronicles of a Blood Merchant 2015 was adapted into a Korean language film 47 both directed by and starring actor Ha Jung woo Further reading EditShouhuo 收获 1991 No 6 changpian xiaoshuo 长篇小说 Shouhuo 收获 1992 No 6 zhongpian xiaoshuo 中篇小说 Yu Hua Jones Andrew F trans 1996 The Past and the Punishments Honolulu University of Hawai i Press ISBN 0 8248 1817 2 OCLC 45727784 Leaving Home at Eighteen Chinese 十八岁出门远行 pinyin Shiba Sui Chumen Yuǎnxing Classical Love Blood and Plum Blossoms Chinese 鮮血梅花 pinyin Xianxue Meihua Yu Hua Berry Michael trans 2003 To Live 活着 New York Anchor Books ISBN 978 1 400 03186 3 OCLC 51752247 Yu Hua Jones Andrew F trans 2003 Chronicle of a Blood Merchant 许三观卖血记 New York Pantheon ISBN 978 0 375 42220 1 OCLC 51978096 Yu Hua Barr Allan H trans 2003 Cries in the Drizzle 在细雨中呼喊 New York Anchor Books ISBN 978 0 307 27999 6 OCLC 104878666 Yu Hua Chow Eileen Cheng yin trans Rojas Carlos trans 2009 Brothers 兄弟 New York Pantheon ISBN 978 0 375 42499 1 OCLC 228701323 Chinese 兄弟 pinyin Xiōng Di 2005 2006 Chinese Writers on Writing featuring Yu Hua Ed Arthur Sze Trinity University Press 2010 Yu Hua Barr Allan H trans 2011 China in Ten Words 十个词汇里的中国 New York Pantheon ISBN 978 0 307 37935 1 OCLC 701810348 simplified Chinese 十个词汇里的中国 traditional Chinese 十個詞彙裡的中國 pinyin Shi Ge Cihui Lǐ De Zhōngguo ISBN 978 986 120 477 2 Huhan yu xi yu 呼喊与细雨 Shouts and Fine Rain Yu Hua Barr Allan H trans 2014 Boy in the Twilight Stories of the Hidden China 黄昏里的男孩 New York Pantheon ISBN 978 0 307 37936 8 OCLC 841899112 Chinese 黄昏里的男孩 pinyin Huanghun lǐ de nanhai Yu Hua Barr Allan H trans 2015 Seventh Day 第七天 New York Pantheon ISBN 978 0 804 19786 1 OCLC 883747924 Leaving Home at Eighteen Chinese 十八岁出门远行 pinyin Shiba Sui Chumen Yuǎnxing Classical Love Blood and Plum Blossoms Chinese 鮮血梅花 pinyin Xianxue Meihua World Like Mist Eight Stories pinyin Shi shi ru yan ISBN 986 7691 37 7 How My Books Have Roamed the World in Specimen The Babel Review of Translations Chinese 2016 English 2017 48 References Edit Johnson Ian 11 October 2012 An Honest Writer Survives in China The New York Review of Books Archived from the original on 2 April 2015 Retrieved 12 March 2015 a b c d e Anne Wedell Wedellsborg One Kind of Chinese Reality Reading Yu Hua Chinese Literature Essays Articles Reviews Vol 18 Dec 1996 pp 129 143 a b Wasserstrom Jeffrey 2015 08 21 The Odd Couple On Political Dissent and the Remarkable Similarities Between Mark Twain and Yu Hua LA Review of Books Retrieved 2020 08 06 By the time I began to read him he had two late 20th century novels under his belt that had each earned critical raves The first of these To Live was made into an acclaimed film directed by Zhang Yimou while the second Chronicle of a Blood Merchant was hailed by many as one of the best novels published in China in the 1990s a b c d e f g Qinghua Zhang Benbiao Yao 2011 On Brothers and Chaotic Aesthetics An Interview with Yu Hua Chinese Literature Today 1 2 80 85 doi 10 1080 21514399 2011 11833938 S2CID 194818301 a b c d e f Yu Hua 2010 Brothers 1 ed Anchor Books ISBN 978 0 307 38606 9 a b Interview with Yu Hua Goodreads 2015 01 06 Archived from the original on 2018 03 21 Retrieved 2018 03 21 Yu Hua 30 August 2003 Interview with Yu Hua University of Iowa International Writing Program Interview Interviewed by Michael Standaert Archived from the original on 2 April 2015 Retrieved 15 November 2011 a b Zhao Yiheng Summer 1991 Yu Hua Fiction as Subversion World Literature Today 65 1 415 420 JSTOR 40147343 Leung Laifong Contemporary Chinese Fiction Writers New York Routledge 2017 283 Leung Laifong Contemporary Chinese Fiction Writers New York Routledge 2017 284 Turturici Armando The Writer Yu Hua His Life and Most Important Works 01 04 2019 https www saporedicina com english yu hua books Archived 2019 11 05 at the Wayback Machine a b Treisman Deborah The Week in Fiction Yu Hua The New Yorker 08 18 2013 https www newyorker com books page turner this week in fiction yu hua Archived 2017 06 01 at the Wayback Machine a b Zhang Xiaoran Stranger than Fiction A Q amp A with Yu Hua China File 02 21 2014 http www chinafile com stranger than fiction Archived 2015 02 24 at the Wayback Machine GoodReads Interview With Yu Hua GoodReads 01 06 2015 https www goodreads com interviews show 1001 Yu Hua Archived 2018 03 21 at the Wayback Machine a b Yu Hua 9 Nov 2004 Chronicle of a Blood Merchant Knopf Doubleday Publishing Group ISBN 1400031850 a b Yu Hua 2007 Cries in the Drizzle Anchor Books ISBN 978 0307279996 a b Yu Hua 2003 Berry Michael ed To Live Google Books Random House Digital Inc p 117 ISBN 1 4000 3186 9 Yu Hua Paper Republic Moen M O 1993 Blurring the lines postmodernism and the use of tradition in the works of Yu Hua a b 先锋作家余华小说的语言艺术分析 芒种 2013年19期 www cnki com cn Retrieved 2021 12 06 a b Writer Yu Hua www china org cn Archived from the original on 2018 09 02 Retrieved 2018 03 21 论余华小说创作特点 ent sina com cn Archived from the original on 2018 03 22 Retrieved 2018 03 21 资料介绍 话剧 活着 原著余华 影音娱乐 新浪网 ent sina com cn Archived from the original on 2018 03 22 Retrieved 2018 03 21 a b c Guo Yuan 2004 On the vanguard of yu hua Journal of Xingtai University 03 41 43 Wang Xiao xia 2009 ook from the xu through selling blood yu hua the change of writing style Era Literature Second Half 12 11 12 a b Yu Hua 1996 The Past and the Punishments University of Hawai i Press Archived from the original on 24 March 2018 Retrieved 22 March 2018 王 志艳 迄今收入余华短篇篇目最全的小说集出版 中华读书报 Archived from the original on 2018 03 22 Retrieved 2018 03 22 Kirkus Review Kirkus Pantheon Archived from the original on 2018 03 22 Retrieved 2018 03 22 Li Hua 2012 03 01 Doing things right with Communist Party language An analysis of Yu Hua s exploitation of Mao era rhetoric China Information 26 1 87 104 doi 10 1177 0920203X11432536 ISSN 0920 203X S2CID 145613438 Cries in the Drizzle by Yu Hua Allan H Barr Kirkus Reviews Archived from the original on 2019 11 05 Retrieved 2019 11 05 Hua Yu 1993 To Live Toronto Anchor Books ISBN 1 4000 3186 9 Jones Andrew F Afterword Chronicle of a Blood Merchant by Yu Hua 1995 1st ed Anchor Books 2004 pp 261 a b Huang Yiju 2016 06 01 Ghosts and their contemporary return the case of Yu Hua s The Seventh Day Neohelicon 43 1 59 71 doi 10 1007 s11059 016 0330 4 ISSN 1588 2810 S2CID 163335788 Yu Hua 2016 The Seventh Day reprint ed Knopf Doubleday Publishing Group ISBN 978 0804172059 Kalfus Ken 2015 03 20 The Seventh Day by Yu Hua The New York Times ISSN 0362 4331 Archived from the original on 2019 11 05 Retrieved 2019 11 05 Mishan Ligaya November 10 2011 China as Paper Republic New York Times Archived from the original on December 1 2018 Wu Yenna 2012 China Through Yu Hua s Prism American Journal of Chinese Studies 19 1 55 62 ISSN 2166 0042 JSTOR 44288977 Hua Yu 2012 China in Ten Words Toronto Anchor Books pp x ISBN 978 0 307 73979 7 An Analysis of the Cultural Revolution Memory in Yu Hua s Works Wenku Baidu Archived from the original on 2019 11 05 Li Hua 2013 Entrapment and Enclosure The Poetics of Space and Time in Yu Hua s Two Short Stories Rocky Mountain Review 67 2 106 123 ISSN 1948 2825 JSTOR 23609982 a b c Yu Hua Contemporary Authors Online 2016 Retrieved 20 March 2018 a b Yu Hua Brothers 2008 Shortlist Man Asian Literary Prize 2011 Archived from the original on 13 October 2012 Retrieved 19 June 2009 a b c Yu Hua The New York Times 2014 Archived from the original on 18 March 2015 Retrieved 12 March 2015 Bao Xinjing 11 Nov 2003 Prix courrier international Yu Hua laureat 2008 avec Brothers Courrier International Archived from the original on 20 March 2018 Retrieved 20 March 2018 转载 活着影评二则 Archived from the original on 22 March 2018 Retrieved 21 March 2018 沈 文蕙 存在之思与现实之痛 华中师范大学文学院 Archived from the original on 22 March 2018 Retrieved 21 March 2018 许三观 韩语中字 YouTube Archived from the original on 2020 04 01 Retrieved 21 March 2018 我的书游荡世界的经历 Specimen Specimen 2017 09 21 Retrieved 2018 10 20 External links Edit China portal Biography portal Novels portalYu Hua 30 August 2003 Interview with Yu Hua University of Iowa International Writing Program Interview Interviewed by Michael Standaert Retrieved 15 November 2011 A conversation with Yu Hua at UCLA Profile nytimes com Yu Hua 21 February 2014 Stranger Than Fiction A Q amp A with Yu Hua ChinaFile Culture Interview Interviewed by Zhang Xiaoran Retrieved 12 March 2015 Yu Hua Winter 2003 EAA Interview with Yu Hua author of To Live Huo Zhe PDF Education About ASIA Interview Vol 8 no 3 Interviewed by Helen Finken Retrieved 12 March 2015 Retrieved from https en wikipedia org w index php title Yu Hua amp oldid 1118600717, wikipedia, wiki, book, books, library,

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