Big Breasts & Wide Hips

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First Sister was stunned. “Mother,” she said, “you’ve changed.”

“Yes, I’ve changed,” Mother said, “and yet I’m still the same. Over the years, members of the Shangguan family have died off like stalks of chives, and others have been born to take their place. Where there’s life, death is inevitable. Dying’s easy; it’s living that’s hard. The harder it gets, the stronger the will to live. And the greater the fear of death, the greater the struggle to keep on living.”

– from Big Breasts and Wide Hips

No writer in recent memory has contributed more to the imagination of historical space in China or a reevaluation of Chinese society, past and present, than Mo Yan, whose Red Sorghum changed the literary landscape when it was published in 1987, [1] and was the first Chinese film to reap critical and box-office rewards in the West. [2] In the process of probing China’s myths, official and popular, and some of the darker corners of Chinese society, Mo Yan has become the most controversial writer in China; loved by readers in many countries, he is the bane of China’s official establishment, which has stopped the sale of more than one of his novels, only to relent when they are acclaimed outside the country

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