{"id":287066,"date":"2011-09-15T18:30:00","date_gmt":"2011-09-15T18:30:00","guid":{"rendered":"http:\/\/www.wdev.rochester.edu\/College\/translation\/threepercent-dev\/2011\/09\/15\/zero-and-other-fictions\/"},"modified":"2018-04-16T16:16:58","modified_gmt":"2018-04-16T16:16:58","slug":"zero-and-other-fictions","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/2011\/09\/15\/zero-and-other-fictions\/","title":{"rendered":"Zero and Other Fictions"},"content":{"rendered":"

Zero and Other Fictions<\/em> is a collection that displays a unique range. Huang Fan has been writing for over 30 years and it shows (though he may have been secluded for nearly a decade during this time, studying Buddhism and not writing much fiction). The \u201cother fictions\u201d included in this collection include a satirical tale of an unknowing political pawn, a humorous allegorical story of enterprise told through infidelity, and a bizarre metafictional piece that includes small illustrations among its many elements. This collection is concise; it is tight, dense, and powerful. Huang Fan is a different writer at every turn, and at each of these turns, a true craftsman. <\/p>\n

The prose in \u201cLai Suo,\u201d the unwitting pawn of a man, emphasizes the protagonist\u2019s lack of agency\u2014he is constantly subjected to experience:<\/p>\n

\n

He seemed to hear a number of other sounds. His two maple-leaf ears were completely exposed to the continuous noise on the street\u2014buses, trucks, cabs, motorcycles, as well as the occasional siren of an ambulance as it rushed by. All of these sounds knocked on Lai Suo\u2019s eardrums as if they wanted to penetrate even deeper, but were stopped in the middle by something\u2014it was like an acoustic tile on which was inscribed: LAI<\/span> SUO<\/span>, TAIPEI<\/span>, JUNE<\/span> 1978, TRAVELER<\/span> THROUGH<\/span> TIME<\/span> AND<\/span> SPACE<\/span>.<\/p>\n<\/blockquote>\n

In the metafiction of \u201cHow To Measure a Ditch,\u201d Huang turns directly to his audience:<\/p>\n

\n

Well, what eventually happened to those two young ladies? I\u2019m sure a number of readers will be interested in learning if I became friends with one of them or we fell in love.<\/p>\n<\/blockquote>\n

\n

I won\u2019t say yes and I won\u2019t say no.<\/p>\n<\/blockquote>\n

\n

My answer is that the future developments with the two young ladies have nothing to do with this story. They returned to their real lives. Like you, as far as they were concerned, this matter was simply one of those occasional variables in life. <\/p>\n<\/blockquote>\n

\n

As you read this story, you also are “involved in” the story; it\u2019s just that the way you enter the story is completely different from the way those two young ladies entered.<\/p>\n<\/blockquote>\n

The final story in the collection is Zero, which as Balcom explains in his interview,<\/a> was revolutionary for the political context in which it appeared. With this in mind, and having read his prose, which leaves no room for error, it seems that Huang is a writer whose words are wrought with an artist\u2019s ideal in mind, that Huang\u2019s literary work is motivated by a pure force that does not cater to even his own whims. Zero is one of Huang\u2019s first attempts at science fiction, and while it does harken back to dystopian classics such as 1984 (with a small \u201cWinston\u201d cameo), it does not leave the reader a satisfying conclusion about where the truth really lies, which is infuriatingly simultaneously unsatisfying and satisfying. <\/p>\n

These stories are no small introduction to Huang Fan. <\/p>\n","protected":false},"excerpt":{"rendered":"

Zero and Other Fictions is a collection that displays a unique range. Huang Fan has been writing for over 30 years and it shows (though he may have been secluded for nearly a decade during this time, studying Buddhism and not writing much fiction). The \u201cother fictions\u201d included in this collection include a satirical tale […]<\/p>\n","protected":false},"author":292,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[67486],"tags":[7456,12146,42616,42626,41416,42636],"class_list":["post-287066","post","type-post","status-publish","format-standard","hentry","category-articles","tag-chinese-literature","tag-columbia-university-press","tag-huang-fan","tag-john-balcom","tag-lily-ye","tag-taiwanese-literature"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/287066","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/users\/292"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/comments?post=287066"}],"version-history":[{"count":1,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/287066\/revisions"}],"predecessor-version":[{"id":342996,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/287066\/revisions\/342996"}],"wp:attachment":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/media?parent=287066"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/categories?post=287066"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/tags?post=287066"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}