“China in Ten Words”. Chapter 7: 差距 Disparity. By Yu Hua (余华), translated into English by Allan H. Barr. 2011.
Prolific novelist and essayist Yu Hua is a critic of China’s Cultural Revolution, exemplified by his satirical novel Brothers (2006), a two-volume blockbuster covering four decades of Chinese history, of which the first volume is dedicated to a startlingly brutal depiction of the Cultural Revolution. A dentist turned critical writer, Yu draws upon his personal experiences growing up in the midst of the Cultural Revolution to detail the atrocities of violence during the time. Yu’s novels have been translated into nearly twenty languages worldwide, and he has been acclaimed as a literary celebrity.
If Brothers is subversive in its satire, despite its populist tone, China in Ten Words is a stark portrayal of a morally compromised nation beleaguered by poverty, class stratification, inhumanity, and the decomposition of an intrinsically corrupted government. Through an amalgamation of memories and polemics, self-criticism and unsparing indictment, Yu undertakes a cautious gambit to speak his mind and relay his history.
(via sinethetamagazine)
A second high school classmate – whose identity remains a mystery to this day – once scrawled on the blackboard the words ‘In love,’ an expression we understood intuitively, although we had never once used it. As the news spread, students in the other three first-year classes rushed over to view the inflammatory graffiti, although they were careful to wear sternly censorious expressions and shout ‘Let’s catch the hooligan!’ as they approached the classroom. Once in front of the blackboard, they gawked in awestruck silence, unable to tear themselves away. I myself had never seen these two words together, for the phrase had long disappeared from popular usage, and to be suddenly confronted by it made the blood flow hot in my veins.
The two crudely written characters were allowed to remain on the blackboard for a good ten days, as incriminating evidence, because the school’s Revolutionary Committee needed to track down the hooligan who had written them. […] In the end nothing came of it, and the Revolutionary Committee chairman had personally to purge the crime scene of the offensive language. For me this came as a big blow, since I had got into the habit of stopping to admire ‘In love’ every time I went past, thereby slaking my thirst for romance. With its disappearance, even this vicarious satisfaction was impossible.
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