The author of many novels, including Red Sorghum and The Republic of Wine, Mo Yan is one of the lucky Chinese writers who has been published in English translation, and it’s likely Frog will make it’s way over here as well. (According to the Global Times article, Mo Yan is one of China’s “hottest” writers, with “the most potential to one day take home the Nobel Prize in Literature,” which means that he’ll never actually win the Nobel Prize. Just ask Philip Roth.) It’ll be interesting to see how readers and reviewers respond to this novel, which centers around a rather touchy subject:
The novel, 10 years in the making and revised three times, presents a unique perspective on life on the grasslands over the past 60 years from the perspective of a local female doctor who specialized in child birth.
Before the family planning policy was adopted, Mo’s aunt, referred to in Frog simply as Gu Gu (“aunt” in Chinese), was once considered a godsend who helped deliver little miracles to local families. After the family planning policy was adopted, she transformed into the image of a devil who enforced abortive methods for women pregnant with a second child. [. . .]
“The family planning policy is a basic condition of China dealing with the most conservative element of traditional culture. It touches the sorest points and most delicate parts of the souls of thousands of millions of Chinese people,” [Mo] added.
China’s family planning policy has long been a topic that writers have dared not touch upon and few literary works have dealt with the subject.
Beyond the content, the form of the book sounds pretty interesting:
The novel is written in an epistolary style, comprising of five parts of four letters and a play, with the latter part focusing on Gu Gu’s confessions of the heart.
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In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
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In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .