Miao-chin Chiu

WINNER OF THE 2018 LUCIEN STRYK ASIAN TRANSLATION PRIZE

The English-language premiere of Qiu Miaojin’s coming-of-age novel about queer teenagers in Taiwan, a cult classic in China and winner of the 1995 China Times Literature Award.

An NYRB Classics Original.

Set in the post-martial-law era of late-1980s Taipei, Notes of a Crocodile is a coming-of-age story of queer misfits discovering love, friendship, and artistic affinity while hardly studying at Taiwan’s most prestigious university. Told through the eyes of an anonymous lesbian narrator nicknamed Lazi, this cult classic is a postmodern pastiche of diaries, vignettes, mash notes, aphorisms, exegesis, and satire by an incisive prose stylist and major countercultural figure.

Afflicted by her fatalistic attraction to Shui Ling, an older woman, Lazi turns for support to a circle of friends that includes a rich kid turned criminal and his troubled, self-destructive gay lover, as well as a bored, mischievous overachiever and her alluring slacker artist girlfriend. 

Illustrating a process of liberation from the strictures of gender through radical self-inquiry, Notes of a Crocodile is a poignant masterpiece of social defiance by a singular voice in contemporary Chinese literature.

Notes of a Crocodile

Last Words from Montmartre is a novel in letters that narrates the gradual dissolution of a relationship between two lovers and, ultimately, the complete unraveling of the narrator. In a voice that veers between extremes, from self-deprecation to hubris, compulsive repetition to sublime reflection, reticence to vulnerability, it can be read as both the author’s masterpiece and a labor of love, as well as her own suicide note. Last Words from Montmartre, written just as the Internet culture was about to explode, is also a kind of farewell to letters. The opening note urges us to read the chapters in any order (a tactic which may have prompted the novelist Luo Yijun to describe it as a kind of “lesbian I Ching”). Each letter unfolds as a chapter, the narrator writing from Paris to her lover in Taipei and to family and friends in Taiwan and Tokyo. The book opens with the death of a beloved pet rabbit and closes with a portentous expression of the narrator’s resolve to kill herself. In between we follow Qiu’s protagonist into the streets of Montmartre; into descriptions of affairs with both men and women, French and Taiwanese; into rhapsodic musings on the works of Theodoros Angelopoulos and Andrei Tarkovsky; and into wrenching and clear-eyed outlines of what it means to exist not only between cultures but, to a certain extent, between and among genders. More Confessions of a Mask than Well of Loneliness, the novel marks Qiu as one of the finest experimentalist and modernist Chinese-language writers of our generation.

Miao-chin Chiu

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