Please Don’t Call Me Human: A Review

It’s not hard to tell from the cover that this book is going to be an unpalatable sort of satire. Whilst I find Wang Shuo very interesting as a writer, I found myself waiting for the suitable moment to start this book. When I finally did, the stark committee meeting scene it opens with put me off a couple of times. Having been exposed to the Chinese media in my childhood, there is something in the tone of official committee meetings that is inevitably soporific and dulling to one’s senses. It was not until the plot device of the Big Dream Boxer is revealed at the end of the first chapter, that I really started to engage with the story.


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Raiding China’s Tomb Adventures

Our penultimate post is about popular Chinese fiction of the ghostly, grave-robbing kind. We are thrilled to post this piece by writer and translator Xueting Christine Ni, who is currently working with the fantasy and science fiction author Tang Fei, and writing a book on Chinese deities. Having studied English literature in London, and Chinese literature in Beijing, she is now based mainly in the UK.

As a writer on Chinese culture, specialising in pop culture, I’m often asked about genre fiction. “Do the Chinese do science fiction?” or “Does China have Horror?” Over the last two decades or so, Chinese pop culture has grown exponentially. Economic growth and relative political stability have allowed writers and artists the space to let their imagination run free and to create in readers a taste for such entertainment and variety.


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We, Who Don’t Belong – A Translated Sample

Homeless Love is the English title given to this novel by Li Qian, published in 2013, by Zui Books, Shanghai. I would have preferred “We, Who Don’t Belong” as it reflects the Chinese title more closely. At a glance it seems to be purely a romance. The heroine, Ruan Cong, who grew up in the town of Nancheng in the south-western province of Yunnan, arrives in Shanghai, the city of dreams, to begin her university education. With a large permanent scar on her hand, Ruan Cong thinks little of her own appearance. She runs into the boy she secretly loves, Yao Lin Kai, only to find him courting the belle of the university, Chen Min Wen. Meanwhile she rejects the advances of Shi Sheng, who falls deeply for her.
There is of course, much more to the story, and ideas of home and belonging, or lack of, feature strongly. I don’t believe I am the only Chinese who has had to think long and hard about where I belong. Even before I came to Britain, the idea of inherited identity, and personal sense of belonging are a tricky one, especially as China struggles with its evaporating patriachy.

The historical upheaval in the past two hundred years has not only resulted in a Chinese diaspora that is still growing, but also frequent movement of most of the domestic population. It is not unusual for a Chinese person to be born somewhere, to grow up somewhere else, and to live thence in yet another place.


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Journey to the West: Conquering the Demons

2013’s Chinese New Year movie, Journey to the West: Conquering the Demons is a kungfu fantasy film directed by Chi-kin Kwok and Stephen Chow. It’s based on one of the four cornerstones of Chinese classical literature, Xi You Ji or Journey to the West. Set in the Tang Dynasty, the novel tells the story of the monk Tripitaka and his perilous journey to India in search for Buddhist sutras, accompanied by his disciples and bodyguards, three reformed demons – a mischievous but super powerful monkey spirit, a fallen god turned pig demon and a fish demon.


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The Fat Years: China’s Sinister Near Future

Up til very recently, China is not known for its science fiction, its authors preferring the safety of traditional settings, despite their neophillia in almost every other area. There are a few examples though, including Chan Koonchung’s The Fat Years.


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Shanghai Girls, or Shanghaied Girls?

People say, never judge a book by its cover. I have always judged contemporary novels by their covers. I trust that the penetrating market research and sensitive designs of today would somehow bring out the essence of the book on its dust jacket. This philosophy has mostly stood me in good stead (I’m talking about the hardback cover, there’s of course the paperback edition, mass market paperback edition etc… but I digress). This time, however, I feel I’ve been deceived.


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