and Chinese philosophies. His theory that the core of Chinese aesthetics rests on the unification of opposite entities—“solidity-emptiness” and “finite-infinite”—paradigms espoused in Taoism and Buddhism, has a far-reaching influence in the world of Chinese academia and arts. His scholarly works include Yi jing (The Realm of Arts) and Kangde yanjiu (A Study of Kant). Zong was also a noted essayist. His best-known works are Meixue de sanbu (The Aesthetic Promenade), a collection of lyrical essays on aesthetics, and the letters included in San ye ji (Three Leaves: Correspondences of Tian Han, Zong Baihua, and Guo Moruo). Zong displayed an interest in vernacular poetry as early as the late 1910s, when he was a student at Tongji University in Shanghai, where he joined the Chinese Youth Association and edited its magazine Shaonian Zhongguo (Chinese Youth). While studying in Germany, Zong began to write poetry, encouraged by Dessoir’s emphasis on the aesthetic experience in nature and art. Most of the poems collected in Liu yun xiao shi (Floating Clouds: Short Poems), a book that attracted much attention in the 1920s and 1930s, were written during his sojourn in Germany. Although he was not nearly as prolific in his creative work as in his philosophical writings, he continued to write poetry after his return to China. His poems express his love of nature and the instan- taneous perception of the beauty of the eternal universe through small joys in everyday life. Zong embraces Zen Buddhism in its celebration of the moment and the discovery of the philosophical and literary in the mundane. See also GUO MORUO; NEW CULTURE MOVEMENT; TIAN HAN. ZONG PU, PEN NAME OF FENG ZONGPU (1928– ). Fiction writer and essayist. Born in Beijing, Zong Pu grew up in an academic environ- ment, moving from one university campus to another with her family, which was headed by her famous father, the renowned philosopher Feng Youlan (1895–1990). Although she published stories in the 1940s and 1950s, it is her work from the post-Mao era that has established her reputation as a creative writer. Among her works are “Hong dou” (Red Beans), published in 1957, about the conflict of love and revolutionary ideals in a missionary school, “Xian shang de meng” (Dream on the Strings), about the cha- otic years of the Cultural Revolution, and Sansheng shi (Everlasting Rock), a love story set in the 1960s. Worth special mention are Nan du ji (Going South), about scholars who took divergent roads in the 1930s 292 • ZONG PU, PEN NAME OF FENG ZONGPU in Japanese-occupied Beijing, and its sequel, Dong cang ji (Hiding in the East), a novel chronicling the lives of China’s intellectual elites, who are forced to retreat to the southwest during the Sino-Japanese War. Zong’s protagonists are university professors, the group of people she knows intimately. Through the portrayal of their lives, Zong illustrates the spirituality of Chinese intellectuals who maintain moral purity in their pursuit of knowledge, scholarship, and aesthetic perfection. These traditional beliefs and practices give them the strength to survive social upheaval and transcend the chaos and madness of the age. They repre- sent the best of Chinese culture, unbending and resilient in their quiet, unassuming ways. Zong writes in a style of gentle elegance, refined by her training in both Chinese classics and Western literature. The same style also characterizes her essays, the most endearing pieces of which are her sketches of well-known academics, including her distinguished father. ZONG PU, PEN NAME OF FENG ZONGPU • 293 295 Bibliography CONTENTS Introduction 295 Primary Works (Individual Authors) 297 Anthologies 403 Surveys and General Critical Works 406 Critical Works on Individual Authors 411 INTRODUCTION In a field as large as modern Chinese literature, there is understandably an incred- ible amount of material, works by authors and the scholars who study them. It is not feasible to include all notable works in this dictionary. Painstaking efforts, therefore, have been made to sift through the ocean of books and select only the most essential. The bibliography is divided into four categories: Primary Works (Individual Authors); Anthologies; Surveys and General Critical Works; and fi- nally Critical Works on Individual Authors. While the first category contains both the Chinese originals and the English translations, the last three categories only include English publications. As this dictionary is intended primarily for English readers, emphasis is placed on works published in English. For a reader coming to modern Chinese literature for the first time, the best place to start is perhaps a general introductory or survey book. Merle Gold- man’s Modern Chinese Literature in the May Fourth Era, and C. T. Hsia’s A History of Modern Chinese Fiction should prove to be very helpful. Goldman’s work is a historical examation of the first phase of modern Chinese literature, situating the authors and their works against the specific background of the era. Hsia’s book, on the other hand, is a survey of exclusively fictional works, which covers up to the 1950s with the epilogue extending to the 1970s. While acknowledging the historical and political importance of these works, Hsia 296 • BIBLIOGRAPHY gives priority to assessing their literary value. Thus extensive plot summaries are provided, giving the reader a good sense of what a novel or story is about. For a closer look at the literature in the decades after the Nationalist retreat to Taiwan, Sun-sheng Yvonne Chang’s Modernism and the Nativist Resistance: Contemporary Chinese Fiction from Taiwan treats the opposing ideological and aesthetic views of the two camps and their respective achievements. The vol- ume edited by Wendy Larson and Anne Wedell-Wedellsbog, Inside Out: Mod- ernism and Postmodernism in Chinese Literary Culture, and Xiaobing Tang’s Chinese Modernism: The Heroic and the Quotidian should be interesting reads on new literature from the mainland since the 1980s. For a sample of readings, the anthology edited by Joseph S. M. Lau and Howard Goldblatt, The Columbia Anthology of Modern Chinese Literature, is ideal, as it contains poetry, fiction, and essays up till the 1990s. If one wishes to focus on women writers, two anthologies edited by Amy D. Dooling and her colleague, Writing Women in Modern China: An Anthology of Women’s Litera- ture from the Early Twentieth Century and Writing Women in Modern China: The Revolutionary Years, 1936–1976, are recommended. If one is interested in the avant-garde writers in the mainland since the 1980s, Henry Zhao’s The Lost Boat: Avant-garde Fiction from China includes names such as Ma Yuan, Ge Fei, Yu Hua, Su Tong, Can Xue, an altogether very fascinating collection. To get further acquainted with modern Chinese poetry, one can browse Michelle Yeh’s Anthology of Modern Chinese Poetry and Another Kind of Nation: An Anthology of Contemporary Chinese Poetry, edited by Zhang Er and Chen Dongdong. For plays (spoken drama), Theater and Society: An Anthology of Contemporary Chinese Drama edited by Yan Haiping would be a good place to start. These critical surveys and anthologies should be able to guide readers to a few favorite names to explore further. The list may include fiction writers Lu Xun, Shen Congwen, Ba Jin, Mao Dun, Zhang Ailing, Wu Zhuoliu, Xiao Hong, Bai Xianyong, Wang Wenxing, Huang Chunming, Han Shaogong, Mo Yan, Su Tong, Yu Hua, Li Rui, Zhu Tianwen, Zhu Tianxin, Zhang Guixing, Li Yongping, Xi Xi, Wang Anyi, and Can Xue; poets Xu Zhimo, Dai Wangshu, Yang Mu, Bei Dao, Gu Cheng, Shu Ting, Yang Lian, Yu Jian, and Xi Chuan; playwrights Cao Yu, Lao She, Gao Xingjian, and Lai Shengchuan. Although the list should include many other names, unfortunately the English translations of their works are slow in coming. Keep an eye out for anyone that attracted your attention as you browsed through this dictionary. The list of critical works is given here specifically for a reader interested in taking a more in-depth look at some of the works and literary trends. Marston Anderson’s Limits of Realism: Chinese Fiction in the Revolutionary Period is a book intended for the academically inclined on how the Western realist tradi- BIBLIOGRAPHY • 297 tion was transformed in the Chinese context. Leo Ou-fan Lee’s Voices from the Iron House, David Der-wei Wang’s Fictional Realism in 20th-Century China: Mao Dun, Laoshe, Shen Congwen, and Yi-Tsi Mei Feuerwerker’s Ding Ling’s Fiction: Ideology and Narrative in Modern Chinese Literature are devoted to the study of one or several authors. Xudong Zhang’s Chinese Modernism in the Era of Reforms examines literature in the post-Mao era. For a scholarly work on modern Chinese poetry, take a look at Jiayan Mi’s Self-Fashioning and Reflexive Modernity in Modern Chinese Poetry. For general feminist interpretations, Rey Chow’s Women and Chinese Modernity: The Politics of Reading Between West and East and Amy D. Dooling’s Women’s Literary Feminism in Twentieth Cen- tury China may be helpful. PRIMARY WORKS (INDIVIDUAL AUTHORS) Ah Cheng Qi wang (King of Chess). Beijing: Zuojia, 1998. [includes Qi wang, Shu wang, Haizi wang] * * * Three Kings. Tr. Bonnie McDougall. New York: Vintage/Ebury, 1990. Ah Lai (Alai) Ah Ba Ah Lai (Ah Ba and Ah Lai). Beijing: Zhongguo gongren, 2004. Chen’ai luoding (Red Poppies). Beijing: Renmin wenxue, 1998. Dadi de jieti (The Earth’s Staircase). Kunming: Yunnan renmin, 2000. Jiunian de xueji (Bloodstains from the Past). Beijing: Zuojia, 1989. Kong shan (The Empty Mountain). Beijing: Renmin wenxue, 2005. Kong shan 2 (The Empty Mountain, Book II). Beijing: Renmin wenxue, 2007. * * * Red Poppies. Trs. Howard Goldblatt and Sylvia Li-chun Lin. New York: Hough- ton Mifflin, 2002. “Agu Dunba.” Trs. Karen Gernant and Chen Zeping. Conjunctions 44 (2005): 69–80. “The Locust Blossoms.” Trs. Karen Gernant and Chen Zeping. Conjunctions 44 (2005): 81–89. “The Wind over the Grasslands.” In Herbert Batt, ed./tr., Tales of Tibet: Sky Buri- als, Prayer Wheels, and Wind Horses. Lanham, MD: Rowman & Littlefield, 2001, 189–204. 298 • BIBLIOGRAPHY Ai Qing Dayanhe—Wode baomu (Dayan River—My Wet-nurse). Shanghai: Qunzhong zazhi gongsi, 1936. Beifang (North). Shanghai: Wensheng, 1942. Huanhu ji (Cheering). Beijing: Xinhua shudian, 1950. Xian gei xiangcun de shi (Ode to the Countryside). Beijing: Beimen, 1945. Yuan chuntian zao dian lai (Wishing for an Early Spring). Guilin: Shiyi, 1944. * * * The Black Eel. Trs. Yang Xianyi and Robert Friend. Beijing: Panda Books, 1982. Selected Poems by Ai Qing. Tr. Eugene Chen Ouyang. Bloomington: Indiana University Press, 1982. Poems in Cyril Birch and Donald Keene, eds., Anthology of Chinese Literature: From the Fourteenth Century to the Present Day. New York: Grove Press, 1987, 362–68. Ai Wu Chuntian (Spring). Shanghai: Liangyou tushu, 1937. Fengrao de yuanye (Fertile Plains). Chongqing: Ziqiang, 1946. Nan xing ji (Journey to the South). Shanghai: Wenhua shenghuo, 1935. Nan xing ji xin pian (New Chapters of Journey to the South). Kunming: Yunnan renmin, 1983. Qiushou (Autumn Harvest). Shanghai: Dushu, 1942. Ye jing (Night Scenes). Shanghai: Wenhua shenghuo, 1936. * * * Banana Vale. Beijing: Panda Books, 1994. Homeward Journey and Other Stories. Beijing: Foreign Languages Press, 1957. A New Home and Other Stories. Tr. Yeh Yung. Beijing: Foreign Languages Press, 1959. Selected Stories by Ai Wu [English-Chinese edition]. Beijing: Chinese Literature Press, 1999. Steeled and Tempered. Beijing: Foreign Languages Press, 1961. “Return by Night.” Tr. Raymond Hsu. Renditions 7 (1977): 39–44. An Qi Benpao de zhalan (Running Railings). Beijing: Zuojia, 1997. Ge: Shui shang hong yue (Songs: Red Moon on Water). Hong Kong: Xuntong, 1993. BIBLIOGRAPHY • 299 Xiang Dulasi yiyang shenghuo (Living in the Manner of Duras). Beijing: Zuojia, 2004. Ba Jin Hanye (Cold Night). Shanghai: Chengguang, 1949. Jia (Family). Shanghai: Kaiming, 1933. Miewang (Destruction). Shanghai: Kaiming, 1929. Qi yuan (Garden of Repose). Shanghai: Wenhua shenghuo, 1944. Suixiang lu (Record of Random Thoughts). Hong Kong: Sanlian, 1979. * * * Autumn in Spring and Other Stories. Beijing: Panda, 1981. Family. Tr. Sidney Shapiro. Boston: Cheng & Tsui Company, 1990. Garden of Repose [bilingual edition]. Tr. Jock Hoe. Boston: Cheng & Tsui Com- pany, 2001. Random Thoughts. Tr. G. Barme. Hong Kong: Joint, 1984. Selected Works of Ba Jin. Tr. Jock Hoe. 2 vols. Beijing: Foreign Languages Press, 1988. [Includes Family, Autumn, Trilogy; Garden of Repose; and Cold Night] Ward Four. Trs. Haili Kong and Howard Goldblatt. Boston: Cheng & Tsui Com- pany, 1999. Bai Xianyong Jimo de shiqisui (Lonely at Seventeen). Taipei: Yuanjing, 1976. Niezi (Crystal Boys). Taipei: Yuanjing, 1984. Taipei ren (Taipei Characters). Taipei: Chenzhong, 1971. Youyuan jingmeng (Wandering in the Garden and Waking from a Dream). Taipei: Yuanjing, 1982. Zhexian ji (The Story of the Immortals). Taipei: Wenxing, 1967. * * * Crystal Boys. San Francisco: Gay Sunshine Press, 1989. Wandering in the Garden and Waking from a Dream: Taipei Characters. Bloom- ington: Indiana University Press, 1982. Bei Cun Fashao (Running a Fever). Beijing: Shiyue wenyi, 2004. Fennu (Furor). Beijing: Tuanjie, 2004. Gonglu shang de linghun (Soul on the Highway). Beijing: Xinhua, 2005. Shixi de he (The River of Baptism). Shanghai: Shanghai wenyi, 1993. 300 • BIBLIOGRAPHY * * * “The Big Drugstore.” Tr. Caroline Mason. In Jing Wang, ed., China’s Avant-garde Fiction. Durham, NC: Duke University Press, 1998, 217–34. Bei Dao Bodong (Waves). Guangzhou: Huacheng, 1986. Guilai de moshengren (The Stranger Who Has Returned). Guangzhou: Huacheng, 1986. Kai suo (Unlock). Taipei: Jiuge, 1999. Lan fangzi (Blue House). Taipei: Jiuge, 1999. Lingdu yishang de fengjing xian: Bei Dao shixuan 1993–1996 (Landscape Over Zero: Poems by Bei Dao 1993–1996). Taipei: Jiuge, 1996. Wuye geshou: Bei Dao shixuan 1972–1994 (Midnight Singer: Selected Poems by Bei Dao 1972–1994). Taipei: Jiuge, 1994. * * * At the Sky’s Edge: Poems 1991–1996 [bilingual edition]. Tr. David Hinton. New York: New Directions, 2001. The August Sleepwalker. New York: New Directions, 2001. Blue House: A Collections of Essay. Trs. Ted Huters and Fengying Ming. New York: Zephyr Press, 2000. The Chinese Poetry of Bei Dao, 1978–2000: Resistance and Exile. Tr. Dian Li. Lewiston, NY: Edwin Mellen Press, 2006. Forms of Distance. Tr. David Hinton. New York: New Directions, 1994. Landscape Over Zero. Trs. David Hinton and Chen Yanbing. New York: New Directions, 1996. Midnight’s Gate: Essays. Trs. Matthew Fryslie and Christopher Mattison. New York: New Directions, 2005. Old Snow. Trs. Bonnie S. McDougall and Chen Maiping. New York: New Direc- tions, 1991. Unlock. Trs. Eliot Weinberger and Iona Man Cheong. New York: New Directions, 2000. Bi Feiyu Pingyuan (The Plain). Jiangsu wenyi, 2005. Qingyi (The Opera Singer). Wuhan: Changjiang wenyi, 2001. Tuina (Massage). Beijing: Renmin wenxue, 2008. Yumi (Yumi). Nanjing: Jiangsu wenyi, 2003. Bi Shumin Hong chufang (A Red Prescription). Beijing: Shiyue wenyi, 1997. Nü xinli shi (A Female Psychologist). Chongqing: Chongqing chubanshe, 2007. BIBLIOGRAPHY • 301 Xizang de gushi (Stories from Tibet). Beijing: Zhongguo sanxia, 2006. Yuyue siwang (An Appointment with Death). Kunming: Yunnan renmin, 1996. Zhengjiu rufang (Saving the Breasts). Beijing: Remin wenxue, 2003. * * * “An Appointment with Death.” Trs. Qin Yaqing and Jin Li. Chinese Literature (Spring 1997). “One Centimetre.” In Carolyn Choa and David Su Li-qun, eds., The Vintage Book of Contemporary Chinese Fiction. New York: Vintage Books, 2001, 278–94. “The Hitchhiker.” Chinese Literature (Spring 1997). Bian Zhilin Bian Zhilin daibiao zuo (Selected Works by Bian Zhilin). Beijing: Huaxia, 1998. Cangsang ji: Zalei sanwen 1936–1946 (Vicissitudes: Essays 1936–1946). Nan- jing: Jiangsu renmin, 1982. Hanyuan ji (Hanyuan Collection), with He Qifang and Li Guangtian. Shanghai: Shangwu, 1934. Yumu ji (Fish-Eye Collection). Shanghai: Wenhua shenghuo, 1935. * * * The Carving of Insects. Ed. Mary M. Y. Fung; Trs. Mary M. Y. Fung and David Lunde. Hong Kong: Renditions Books, 2006. Bing Xin Bing Xin he ertong wenxue (Bin Xin and Children’s Literature). Ed. Zhuo Ru. Shanghai: Shaonian ertong, 1990. Bing Xin quanji (Complete Works by Bin Xing). Ed. Zhuo Ru. 8 vols. Fuzhou: Haixia wenyi, 1994. Ji xiao duzhe (To Young Readers). Beijing: Beixin, 1926. * * * The Photograph. Beijing: Chinese Literature Press, 1992. Selected Stories and Prose by Bing Xin [English-Chinese edition]. Beijing: Chi- nese Literature Press, 1999. Spring Waters. Beijing: Grace Boynton, 1929. Essays in Martin Woesler, ed., 20th Century Chinese Essays in Translation. Bo- chum: Bochum University Press, 2000, 91–100. [selections from “Letters to Children”] Poems in Kai-yu Hsu, ed., Twentieth Century Chinese Poetry. Garden City, NY: Doubleday, 1963, 16–23; Kenneth Rexroth and Ling Chung, eds./trs., The Or- chid Boat: Women Poets of China. New York, McGraw-Hill, 1972. . acquainted with modern Chinese poetry, one can browse Michelle Yeh’s Anthology of Modern Chinese Poetry and Another Kind of Nation: An Anthology of Contemporary Chinese Poetry, edited by Zhang Er. achievements. The vol- ume edited by Wendy Larson and Anne Wedell-Wedellsbog, Inside Out: Mod- ernism and Postmodernism in Chinese Literary Culture, and Xiaobing Tang’s Chinese Modernism: The Heroic. the Era of Reforms examines literature in the post-Mao era. For a scholarly work on modern Chinese poetry, take a look at Jiayan Mi’s Self-Fashioning and Reflexive Modernity in Modern Chinese