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Cantonese-speaking writers of Chinese contemplating the politics of food consumption
In April 1975
she manages to instill her tale with incredible grace and humanity
就像HBO连续剧《火线》一样，它展示了经济、政治和社会系统如何影响个人的故事。只有纯熟的记者才能将数据和轶事如此高效地编织在一起。——《洛杉矶时报》
《哈佛新编中国现代文学史》，以一百多个关键时刻为切入点，整部文学史起自1635年晚明文人杨廷筠（1562—1627）、友人艾儒略（1582—1649）等的“文学”新诠，止于当代作家韩松（1965— ）所幻想的2066年西行漫记“火星照耀美国”。 在这“漫长的现代”过程里，中国文学经历剧烈变动，发展出极为丰富的内容与形式。 本书希望所展现的中国文学现象犹如星罗棋布，一方面闪烁着特别的历史时刻和文学奇才，一方面又形成可以识别的星象坐标，从而让文学、历史的关联性彰显出来。 “何为文学史”？“文学史何为”？这是一部在“世界中”的中国现代文学史。我们期望向世界读者呈现中国文学现代性之一端，同时反思目前文学史书写、阅读、教学的局限与可能。
The Hong Kong Widow gelinyan Cantonese-speaking writers of Chinese contemplatingHong Kong, 1953: In a remote mansion, witnesses insist a massacre took place. The police see nothing but pristine rooms and declare it a collective hallucination. Until decades later, when one witness returnsfrom the Edgar nominated author of The Last Russian Doll. In 1950s Hong Kong, Mei is a young refugee of the Chinese Communist revolution struggling to put her past in Shanghai behind her. When she receives a shocking invitationto take part in a
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