Chinese writer withdraws her denunciation of Pearl S. Buck

Pearl S. Buck was born to Presbyterian missionaries in 1892 in West Virginia, but at three months she relocated to China, where she grew up learning both the local language and the tongue of her parents. Despite two separate periods in the United States where she received her college education and her Masters degree, Buck spent almost all of her young life in China. A progressive-minded, intelligent, and passionate woman, she challenged racism and sexual discrimination, championed adoption and children's rights, and was outspoken on topics of war and immigration, issues which all shined through her writing. In 1930, despite numerous rejections from publishers who considered China a topic in which American writers would be thoroughly uninterested, Buck released The Good Earth, a best-selling epic of the Chinese peasantry which would later win the Pulitzer Prize. In 1938, she became the first American woman to win the Nobel Prize.

Despite having inspired an admiration and respect for the Chinese and their culture in millions of previously ignorant Americans and despite having spent most of her life in China, teaching at a Chinese university and fighting for Chinese rights, Buck was targeted as an American imperialist during the Chinese Cultural Revolution of the sixties. Her books were banned, her character was vilified, and when she attempted to accompany United States President Nixon on his famous diplomatic visit to China in 1972, her access was famously denied by the politically aspirant wife of Chairman Mao. Buck died a year later at her home in Pennsylvania, and she never received a chance to return to her childhood home, a situation which left her heartbroken.

In 1971, fourteen-year-old Anchee Min was required to write an essay denouncing Buck as a detestable cultural imperialist despite knowing nothing about the writer or her work. Only years later, while on a United States book tour promoting her memoir Red Azalea, did the Shanghai writer receive a copy of the once forbidden book from a fan who claimed that the novel was what had first made her love China.

Despite a lifelong prejudice against the American writer, Min was moved by the emotional weight of the novel. According to an article from NPR:

Min read that paperback copy of The Good Earth on the airplane from Chicago to Los Angeles. When she finished, she says, emotion overcame her.

"I couldn't help myself, and I broke down and sobbed because I have never seen anyone, including our Chinese authors, who wrote our peasants the way Pearl Buck did, with such love, affection and humanity. And it was at that very moment Pearl of China was conceived."

Pearl of China, released in the United States by Bloomsbury on March 30, is a fictionalized account of the life of Buck, seen from the eyes of a loyal Chinese friend. Buck committed her life to representing and supporting Chinese women; with this brief novel, Min hopes to return the favor.

Book Review: Shanghai Girls

Set in an extravagantly pseudo-Chinese neighborhood of Los Angeles in the 1930s, a "China City" that catered to white tourists by showcasing the most cutesy (and usually inaccurate) of oriental curiosities, Shanghai Girls by Chinese-American novelist Lisa See documents the hopes and disappointments of two sisters who flee Japanese war atrocities in Shanghai only to meet alienation and prejudice on the "golden mountain" of the United States.

Robert Fulford of the National Post reviews the novel, praising it for its cross-cultural examination, exploration of identity politics, and readability while criticizing its "unremarkable" prose.

Fulford writes:

Her female characters alternately support and resent each other, in ways that suggest she's tapped into the rich vein of narrative uncovered in recent decades by Chick Lit authors. At the same time, she serves as advocate and analyst of the Chinese experience; she writes Identity Fiction, running parallel to Identity Politics. She knows precisely how hard life on this continent was for the Chinese and how to spell out the damning historical evidence. Angel Island in San Francisco Bay, while sometimes called a West Coast equivalent of Ellis Island, appears in Shanghai Girls without a trace of sentiment: It's depicted as the place where Chinese would-be immigrants were harshly imprisoned while bureaucrats tried to send them back home.

Murakami's 1Q84 flies off the shelves

The newest novel from Japanese author Haruki Murakami is expected to reach sales of one million by the end of the month, already surpassing the sales of his popular Kafka on the Shore.

The novel, which is said to encompass many of Murakami's essential themes and ideas, is an update of George Orwell's 1984, exploring thought control and cults in a futuristic Tokyo.

The success of the novel has also encouraged Japanese sales of Orwell's novel and Sinfonietta by Czech composer Leos Janacek, which is referenced in the book. Six thousand copies of the CD have been sold in the past week.

According to Reuters:

Murakami has been seen as a candidate for the Nobel Prize for Literature for years — a topic widely covered by the Japanese media, as was his emotional acceptance speech last year for Israel’s Jerusalem Prize following the fighting in Gaza. These reports may have attracted a wider readership, Shinchosha’s Mori said.

Some say that the writers who debuted in the late 1970s to early 1980s, including Murakami, ushered in a new era in Japanese literature. Their work is urbane and written in a way not seen before in Japan, but perhaps more significantly, their sense of identity and consciousness is no longer bound by the family system that was so strong in Japan, or by the experience of losing World War II.

Haruki Murakami and the Israeli-Palestinian Divide

Citing Japanese novelist Haruki Murakami's English-language speech on Feb. 20 in Israel as recipient of the 2009 Jerusalem Prize, the Japan Times explores Israel's erection of a defense wall, its role in world affairs, and the human compulsion to divide and separate ourselves.

From Murakami's speech:

Between a high, solid wall and an egg that breaks against it, I will always stand on the side of the egg. . . . Bombers and tanks and rockets and white phosphorus shells are that high, solid wall. The eggs are the unarmed civilians who are crushed and burned and shot by them. . . . Think of it this way. Each of us is, more or less, an egg. Each of us is a unique, irreplaceable soul enclosed in a fragile shell.