Xun Lu

Fuga sulla luna e altre antiche storie rinarrate

Lu Hsun, chief commander of China's modern cultural revolution, was not only a great thinker and political commentator but the founder of modern Chinese literature. As early as in the May 1918 issue of the magazine New Youth, Lu Hsun published one of his best stories, A Madman's Diary. This was his "declaration of war" against China's feudal society, and the first short story in the history of modern Chinese literature. Thereafter he followed up with a succession of stories such as The True Story of Ah Q and The New Year's Sacrifice, which cut through and sharply attacked stark reality in the dark old society. These stories were later included in the three volumes Call to Arms, Wandering and Old Tales Retold, and have become treasures in the Chinese people's literary heritage. In his early life Lu Hsun was a revolutionary democrat, who later matured into a communist. His earlier works were mainly stories, 18 of the more important of which, plus the preface to Call to Arms, his first short story collection, have been selected for this book. The stories show clearly his method in this period of creative writing, thoroughgoing critical realism, a method closely related to the outright anti-imperialist and anti-feudal views which he formed in his early days. In his preface to Call to Arms, the author tells his motive in choosing literature as a weapon of struggle. This will give readers a deeper understanding of Lu Hsun's stories.

Selected Stories of Lu Hsun - The True Story of Ah Q is an episodic novella written by Lu Xun, first published as a serial between December 4, 1921 and February 12, 1922. It was later placed in his first short story collection Call to Arms in 1923 and is the longest of the stories in the collection. The piece is generally held to be a masterpiece of modern Chinese literature, since it is considered the first piece of work fully to use Vernacular Chinese after the 1919 May 4th Movement in China. Lu Xun or Lu Hsun (Wade-Giles), was the pen name of Zhou Shuren (September 25, 1881 - October 19, 1936), a leading figure of modern Chinese literature. Writing in Vernacular Chinese as well as Classical Chinese, Lu Xun was a novelist, editor, translator, literary critic, essayist, and poet. In the 1930s he became the titular head of the League of Left-Wing Writers in Shanghai. Lu Xun's works exerted a substantial influence after the May Fourth Movement that began around 1916. He was highly acclaimed by the Communist regime after 1949, and Mao Zedong himself was a lifelong admirer of Lu Xun's works. Though sympathetic to communist ideas, Lu Xun never actually joined the Chinese Communist Party. Like many leaders of the May Fourth Movement, he was primarily a leftist and liberal--Amazon.com.

the true story of Ah Q, and other stories

Selected stories of Lu Hsun

Lu Xun was China’s greatest literary modernist and a key thinker of the early twentieth century. This new translation assembles some of Lu Xun’s essays and experimental writings little known to English readers—works of profound imagination that seek to find beauty and meaning in an unjust world.

Wild Grass and Morning Blossoms Gathered at Dusk

Hsün Lu

"Some of these stories, I am sure, will be read as long as the Chinese language exists."—Ha Jin

Selected Stories of Lu Hsun [i.e. S. Chou]

Kong Yiji

Wild Grass (Yecao, Weeds), is a collection of twenty-three prose poems written by Lu Xun (1881-1936). The poems, written between 1924 and 1926, features some of Lu Xun's most complex and psychologically dense creative works. Lu Xun, formerly also romanized Lu Hsun, was the pen name of Zhou Shuren (25 September 1881 - 19 October 1936), a leading figure of modern Chinese literature. Writing in Vernacular Chinese as well as Classical Chinese, Lu Xun was a short story writer, editor, translator, literary critic, essayist, and poet. In the 1930s he became the titular head of the League of Left-Wing Writers in Shanghai."

Yecao, Weeds by Lu Xun (Lu Hsun)

Wild Grass

Le journal d'un fou Des notes dans un cahier, prises pendant sa maladie par un ami du narrateur. Petit à petit, le monde révèle son vrai visage. La terre entière n'est peuplée que de "mangeurs d'hommes ". Celui qui écrit est le dernier homme véritable. N'y a-t-il aucun espoir ? "Sauvez les enfants " crie le "fou" dans un dernier sursaut. Un texte fulgurant qui compte parmi les plus grands de la littérature universelle. La véritable histoire de Ah Q Ah Q est un pauvre bougre de l'un de ces milliers de villages de la Chine impériale. Quand rien ne va pour lui, il se persuade du contraire. Alors, quand éclate la révolution de 1911, il veut être au premier rang. Mais bientôt il sera "interdit de faire la révolution ", ce que Ah Q, emporté par son élan, ne comprendra pas. Une farce burlesque sur une révolution détournée de bon sens et vue du côté des plus humbles.

suivi de La véritable histoire de Ah Q

Le journal d'un fou

The True Story of Ah Q

Lu Xun, Selected Works

Madman's Diary

Bonnie S. McDougall

Guangping Xu

This book opens up three new topics in modern Chinese literary history: the intimate lives of Lu Xun and Xu Guangping as a couple; real and imagined love-letters in modern Chinese literature; and concepts of privacy in China. The scandalous affair between modern China's greatest writer and his former student is revealed in their letters to each other between 1925 and 1929. Publication of the letters in a heavily edited version in 1933 was intended partly to profit from a current trend forliterary couples to publish their private letters, but another reason was to assert control over their love story, taking it away from the gossip-mongers. The biographies in Part I, based on the unedited letters, reveal such hitherto neglected information as Xu Guangping's early tendencies towards lesbianism; her gender reversal games and Lu Xun's willing participation in them; Xu Guangping's two early attempts at suicide; and Lu Xun's attempts to play down Xu Guangping's political activism and to impress readers with his own militancy. Part II shows how Lu Xun chose to publish their edited letters in the context of current Chinese epistolary fiction and love-letters published by their authors. Part III provides unique evidence on the nature of privacy in modern China through a comparison between the unedited and edited correspondence. Textual evidence shows their intimate secrets about their affairs, their bodies, and their domestic lives; their fear of gossip; their longing for a secluded life together; and their ambivalent attitudes towards the traditional conflict between public service and private or selfish interests. Although it has sometimes been claimed that Chinese culture lacks a sense of privacy, this study reveals the contents, functions, and values of privacy in the early twentieth century.

Xun Lu

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