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Wang Anyi
Wang Anyi (born 6 March 1954) is a Chinese writer, vice-chair of the China Writers Association since 2006, and professor in Chinese Literature at Fudan University since 2004.
Wang widely writes novels, novellas, short stories and essays with diverse themes and topics. The majority of her works are set in Shanghai, where she lived and worked for the majority of her life. Wang also regularly writes about the countryside in Anhui, where she was "sent down" during the Cultural Revolution. Her works have been translated into English, German and French, and studied as zhiqing (educated youth), xungen (roots-searching), Haipai (Shanghai style), and dushi (urban, cosmopolitan) literature.
Wang was born in Nanjing in 1954, but moved to Shanghai with her mother when she was a year old. Her mother was the prominent writer Ru Zhijuan. Under the influence of her parents, she liked literature very much in childhood. After the Cultural Revolution, her parents were sent to labor camps. She read a large number of foreign works, Including Turgenev, Tolstoy, Gorky, Pushkin, Tazma and other writers classic works.
In 1969, after graduating from middle school, Wang was "sent down" to the countryside of Wuhe County, Anhui—then an impoverished province plagued by famine. The rustication experience traumatized her. In the late 1980s, Wang said: "When I left, I left with the feelings of escaping from hell."
During the lonely years in the countryside, "reading books and writing in my diary became even more precious to me". Wang had hoped to enter a university as a Worker-Peasant-Soldier student but without a recommendation, her dream was not realized. However, as she could play the accordion, in 1972 she found a position in the Xuzhou Song and Dance Cultural Troupe to play the cello. During her spare time she continued to write, and began to publish short stories in 1976. She was permitted to return to Shanghai in 1978 and worked as an editor of the literature magazine Childhood (儿童时代).
In 1980 Wang became a professional writer, and that year received training from the China Writers Association at the Lu Xun Literary Institute. In the same year, her first reputed work -- "And the Rain Patters On" won the Beijing Literature Prize, which started her fictionalized self—Wenwen (雯雯) series stories. Her earlier works focused on individual experiences rather than the collective, politics-oriented literature advocated by the state. Her biographical stories portray emotionally-charged coming-of-age experiences of political frustrations, youthful yearnings, and the development of the private self in the context of socialist revolution. In 1982 and 1983, her short story "The Destination" and novella Lapse of Time won national awards. In Lapse of Time, Wang shifted from emotional intensity in her previous work to the mundane day-to-day lives.
A 1983 trip to Iowa City, Iowa, United States for the International Writing Program, with her mother Ru Zhijuan, redefined her career. There she met writer Chen Yingzhen, a social activist and Chinese nationalist from Taiwan, whose humanistic worldview and encouragement strongly influenced her. This experience "led to the profound discovery that she was indeed Chinese and to the decision to 'write on China' when she returned". In her first major work after the trip, the award-winning novella Baotown (1985), Wang focused on the culture of rural China, drawing from her own experience. The benevolent child protagonist is contrasted with selfish, prejudicial, cruel and close-minded adult villagers, and Ying Hong remarked that Wang used "words that carry not the least hint of subjectivity she casually tosses forth a whole string of 'slices of life'."
Since Baotown, Wang began exploring social taboo subjects. Her three novellas on forbidden carnal love, namely Love on a Barren Mountain (1986), Love in a Small Town (1986), and Brocade Valley (1987), provoked much controversy despite virtually no depictions of sex. Her 1989 novella Brothers made forays into the fragile same-sex, non-sexual female bond. However, in a 1988 interview, Wang stated her "purpose and theme" have been consistently about man and love.
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Wang Anyi
Wang Anyi (born 6 March 1954) is a Chinese writer, vice-chair of the China Writers Association since 2006, and professor in Chinese Literature at Fudan University since 2004.
Wang widely writes novels, novellas, short stories and essays with diverse themes and topics. The majority of her works are set in Shanghai, where she lived and worked for the majority of her life. Wang also regularly writes about the countryside in Anhui, where she was "sent down" during the Cultural Revolution. Her works have been translated into English, German and French, and studied as zhiqing (educated youth), xungen (roots-searching), Haipai (Shanghai style), and dushi (urban, cosmopolitan) literature.
Wang was born in Nanjing in 1954, but moved to Shanghai with her mother when she was a year old. Her mother was the prominent writer Ru Zhijuan. Under the influence of her parents, she liked literature very much in childhood. After the Cultural Revolution, her parents were sent to labor camps. She read a large number of foreign works, Including Turgenev, Tolstoy, Gorky, Pushkin, Tazma and other writers classic works.
In 1969, after graduating from middle school, Wang was "sent down" to the countryside of Wuhe County, Anhui—then an impoverished province plagued by famine. The rustication experience traumatized her. In the late 1980s, Wang said: "When I left, I left with the feelings of escaping from hell."
During the lonely years in the countryside, "reading books and writing in my diary became even more precious to me". Wang had hoped to enter a university as a Worker-Peasant-Soldier student but without a recommendation, her dream was not realized. However, as she could play the accordion, in 1972 she found a position in the Xuzhou Song and Dance Cultural Troupe to play the cello. During her spare time she continued to write, and began to publish short stories in 1976. She was permitted to return to Shanghai in 1978 and worked as an editor of the literature magazine Childhood (儿童时代).
In 1980 Wang became a professional writer, and that year received training from the China Writers Association at the Lu Xun Literary Institute. In the same year, her first reputed work -- "And the Rain Patters On" won the Beijing Literature Prize, which started her fictionalized self—Wenwen (雯雯) series stories. Her earlier works focused on individual experiences rather than the collective, politics-oriented literature advocated by the state. Her biographical stories portray emotionally-charged coming-of-age experiences of political frustrations, youthful yearnings, and the development of the private self in the context of socialist revolution. In 1982 and 1983, her short story "The Destination" and novella Lapse of Time won national awards. In Lapse of Time, Wang shifted from emotional intensity in her previous work to the mundane day-to-day lives.
A 1983 trip to Iowa City, Iowa, United States for the International Writing Program, with her mother Ru Zhijuan, redefined her career. There she met writer Chen Yingzhen, a social activist and Chinese nationalist from Taiwan, whose humanistic worldview and encouragement strongly influenced her. This experience "led to the profound discovery that she was indeed Chinese and to the decision to 'write on China' when she returned". In her first major work after the trip, the award-winning novella Baotown (1985), Wang focused on the culture of rural China, drawing from her own experience. The benevolent child protagonist is contrasted with selfish, prejudicial, cruel and close-minded adult villagers, and Ying Hong remarked that Wang used "words that carry not the least hint of subjectivity she casually tosses forth a whole string of 'slices of life'."
Since Baotown, Wang began exploring social taboo subjects. Her three novellas on forbidden carnal love, namely Love on a Barren Mountain (1986), Love in a Small Town (1986), and Brocade Valley (1987), provoked much controversy despite virtually no depictions of sex. Her 1989 novella Brothers made forays into the fragile same-sex, non-sexual female bond. However, in a 1988 interview, Wang stated her "purpose and theme" have been consistently about man and love.
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