A new book offers a survey of what authors in China are writing under the country’s “climate of censorship and propaganda.” Most writers in mainland China 'write neither what their government nor foreign readers want or expect,' says author Megan Walsh.
of what authors in China are writing, and it urges readers outside China to read this work and take it seriously."There is much to learn from Chinese writers who understand and illuminate the complex relationship between art and politics — one that is increasingly shaping Western artistic discourse," writes Megan Walsh, author of "The Subplot: What China is Reading and Why It Matters," published in February.
"But the fact is that most Chinese writers who continue to live and work in mainland China write neither what their government nor foreign readers want or expect."In this slim 135-page volume, Walsh describes recent trends in several different genres in Chinese literature: The meteoric rise of online fiction platforms, which in some cases have developed into social media-like giants. Walsh likens them to "factories," where influencer-like writers work feverishly to keep their audiences, in some cases churning out 10,000 or even 20,000 words per day — making money for the platform but often little for themselves.
The popularity of novels about ethnic minority groups like Mongols, Tibetans and Kazakhs — but written by Han Chinese and rarely by the ethnic minorities themselves. It's a phenomenon that will sound familiar to Western readers currently grappling with issues of race and representation in art and media.
Crime writing, which under China's current order-obsessed regime means crime novels must "negotiate the twin forces of commercialism and propaganda, or the public's desire for entertainment and the state's desire to sanitize it," Walsh writes.
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