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Mo Yan Sandalwood Death (Paperback) Chinese Literature Today Book Series
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- Book Title
- Sandalwood Death : a Novel
- Publication Name
- Sandalwood Death
- Title
- Sandalwood Death
- Subtitle
- A Novel
- Translator
- Howard Goldblatt
- Contributor
- Howard Goldblatt (Translated by)
- Format
- Trade Paperback
- EAN
- 9780806143392
- ISBN
- 9780806143392
- Publisher
- University of Oklahoma Press
- Genre
- Fiction
- Topic
- Romance / Historical / General, Literary, Political, Historical
- Release Date
- 30/11/2012
- Release Year
- 2012
- Language
- English
- Country/Region of Manufacture
- US
- Item Height
- 0.8in
- Item Length
- 9in
- Item Width
- 6in
- Item Weight
- 21.7 Oz
- Series
- Chinese Literature Today Book Series
- Publication Year
- 2012
- Number of Pages
- 420 Pages
關於產品
Product Information
Sandalwood Death is set during the Boxer Rebellion (1898-1901)--an anti-imperialist struggle waged by North China's farmers and craftsmen in opposition to Western influence. Against a broad historical canvas, the novel centers on the interplay between its female protagonist, Sun Meiniang, and the three paternal figures in her life. One of these men is her biological father, Sun Bing, an opera virtuoso and a leader of the Boxer Rebellion.
Product Identifiers
Publisher
University of Oklahoma Press
ISBN-10
0806143398
ISBN-13
9780806143392
eBay Product ID (ePID)
143693850
Product Key Features
Book Title
Sandalwood Death : a Novel
Format
Trade Paperback
Language
English
Topic
Romance / Historical / General, Literary, Political, Historical
Publication Year
2012
Genre
Fiction
Number of Pages
420 Pages
Dimensions
Item Length
9in
Item Height
0.8in
Item Width
6in
Item Weight
21.7 Oz
Additional Product Features
Series Volume Number
2
Lc Classification Number
Pl2886.O1684t3613
Reviews
Mo Yan's recreation of the Boxer Rebellion opens, as it will close, with first-person narratives by voluptuous Meiniang and the four men in her life: her father, an opera singer leading the rebellion against the German railroad workers; her husband, a dull, muscular butcher of dogs and pigs; her father-in-law, the Imperial executioner assigned to punish the rebel leader; and her rich lover, the Magistrate who betrays her father to the foreign invaders where the sandalwood death will be his punishment. The plot has all the ingredients of an opera tragedy, and the monologues that form the opening and closing chapters each begin with lyrics from a Chinese folk opera based on the same story called Sandalwood Death . Three public executions, at the novel's beginning, middle, and end, are set pieces of ceremonial horror. Zhao Jia, the Imperial executioner, is such a cold-blooded, cunning, ruthless fellow that only the novel's first sentence, revealing that the heroine will stab him to death in seven days, gives the reader the courage to read on as he performs hideously cruel public executions as well as shames, abuses and torments the more likeable pawns in this dark, suspenseful love story. Fortunately, the heroine's not-so-bright husband provides comic relief, blundering along good-naturedly, blind to the obvious, falling out of bed when she screams in her sleep with desire for another man. Mo Yan is a mesmerizing storyteller and a daring one, constantly showing the other side of characters you thought you knew. He gives away plot turns before they happen. He introduces a character in flashback after showing him publically executed by the hideous slicing death of 500 cuts. Though his irrepressible trademark humor has little opportunity to shine here, the scenes are just as knockdown powerful, and his sense of theatricality knows how to prolong suspense and deliver wallops of surprise as he brings to life a collapsing empire over a hundred years ago, where long beards are sexually attractive, dogs are herded and butchered as food, and public executions are long, horrific torture sessions of satanic ingenuity. Not until sixty pages from the end of this huge novel does Mo Yan give the reader a first glimpse of the staggering finale he has painstakingly prepared detail after detail quietly building over hundreds of pages in a mounting tsunami of information come together in a final catastrophe set piece including all the main characters and resolving all the novel's themes in a once-in-a-lifetime ending no reader will ever, ever forget. Nick DiMartino, Mo Yan's recreation of the Boxer Rebellion opens, as it will close, with first-person narratives by voluptuous Meiniang and the four men in her life: her father, an opera singer leading the rebellion against the German railroad workers; her husband, a dull, muscular butcher of dogs and pigs; her father-in-law, the Imperial executioner assigned to punish the rebel leader; and her rich lover, the Magistrate who betrays her father to the foreign invaders where the sandalwood death will be his punishment. The plot has all the ingredients of an opera tragedy, and the monologues that form the opening and closing chapters each begin with lyrics from a Chinese folk opera based on the same story called Sandalwood Death . Three public executions, at the novel's beginning, middle, and end, are set pieces of ceremonial horror. Zhao Jia, the Imperial executioner, is such a cold-blooded, cunning, ruthless fellow that only the novel's first sentence, revealing that the heroine will stab him to death in seven days, gives the reader the courage to read on as he performs hideously cruel public executions as well as shames, abuses and torments the more likeable pawns in this dark, suspenseful love story. Fortunately, the heroine's not-so-bright husband provides comic relief, blundering along good-naturedly, blind to the obvious, falling out of bed when she screams in her sleep with desire for another man. Mo Yan is a mesmerizing storyteller and a daring one, constantly showing the other side of characters you thought you knew. He gives away plot turns before they happen. He introduces a character in flashback after showing him publically executed by the hideous slicing death of 500 cuts. Though his irrepressible trademark humor has little opportunity to shine here, the scenes are just as knockdown powerful, and his sense of theatricality knows how to prolong suspense and deliver wallops of surprise as he brings to life a collapsing empire over a hundred years ago, where long beards are sexually attractive, dogs are herded and butchered as food, and public executions are long, horrific torture sessions of satanic ingenuity. Not until sixty pages from the end of this huge novel does Mo Yan give the reader a first glimpse of the staggering finale he has painstakingly prepared - detail after detail quietly building over hundreds of pages in a mounting tsunami of information come together in a final catastrophe set piece including all the main characters and resolving all the novel's themes in a once-in-a-lifetime ending no reader will ever, ever forget. - Nick DiMartino, Mo Yan's recreation of the Boxer Rebellion opens, as it will close, with first-person narratives by voluptuous Meiniang and the four men in her life: her father, an opera singer leading the rebellion against the German railroad workers; her husband, a dull, muscular butcher of dogs and pigs; her father-in-law, the Imperial executioner assigned to punish the rebel leader; and her rich lover, the Magistrate who betrays her father to the foreign invaders where the sandalwood death will be his punishment. The plot has all the ingredients of an opera tragedy, and the monologues that form the opening and closing chapters each begin with lyrics from a Chinese folk opera based on the same story called Sandalwood Death . Three public executions, at the novel's beginning, middle, and end, are set pieces of ceremonial horror. Zhao Jia, the Imperial executioner, is such a cold-blooded, cunning, ruthless fellow that only the novel's first sentence, revealing that the heroine will stab him to death in seven days, gives the reader the courage to read on as he performs hideously cruel public executions as well as shames, abuses and torments the more likeable pawns in this dark, suspenseful love story. Fortunately, the heroine's not-so-bright husband provides comic relief, blundering along good-naturedly, blind to the obvious, falling out of bed when she screams in her sleep with desire for another man. Mo Yan is a mesmerizing storyteller and a daring one, constantly showing the other side of characters you thought you knew. He gives away plot turns before they happen. He introduces a character in flashback after showing him publically executed by the hideous slicing death of 500 cuts. Though his irrepressible trademark humor has little opportunity to shine here, the scenes are just as knockdown powerful, and his sense of theatricality knows how to prolong suspense and deliver wallops of surprise as he brings to life a collapsing empire over a hundred years ago, where long beards are sexually attractive, dogs are herded and butchered as food, and public executions are long, horrific torture sessions of satanic ingenuity. Not until sixty pages from the end of this huge novel does Mo Yan give the reader a first glimpse of the staggering finale he has painstakingly prepared - detail after detail quietly building over hundreds of pages in a mounting tsunami of information come together in a final catastrophe set piece including all the main characters and resolving all the novel's themes in a once-in-a-lifetime ending no reader will ever, ever forget. - Nick DiMartino
Copyright Date
2013
Lccn
2012-028823
Intended Audience
Trade
Series
Chinese Literature Today Book Ser.
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