By Bei Tong

While Handong, a ruthless and prosperous businessman, is brought to Lan Yu, a naïve, working-class architectural student—the allure is all consuming.

Arrogant and privileged, Handong is unsettled by way of this wish, whereas Lan Yu quietly submits. regardless of divergent lives, the 2 males spend their nights jointly, developing a deep connection. while loyalties are proven, Handong is left wondering his secrets and techniques, his offerings, and his very identity.

Beijing Comrades is the tale of a torrid love affair set opposed to the sociopolitical unrest of late-eighties China. as a result of its depiction of homosexual sexuality and its critique of the totalitarian government, it was initially released anonymously on an underground homosexual web site inside mainland China. This riveting and heartbreaking novel, circulated all through China in 1998, quick constructed a cult following, and continues to be a primary paintings of queer literature from the People's Republic of China. this can be the 1st English-language translation of Beijing Comrades.

Bei Tong is the nameless writer of Beijing Comrades. The author's real-world identification has been an issue of ongoing debate because the novel used to be first published.

Scott E. Myers is a translator of chinese language who specializes in modern queer fiction from the PRC.

Petrus Liu is an associate professor of humanities at Yale-NUS collage, Singapore.

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These new beginnings suggest an alternative construction of history, sexuality, and gendered identity. ’s “waves” offer a fluid narrative paradigm that mirrors her conception of female subjectivity. Focusing on Toni Morrison’s first novel, The Bluest Eye, chapter 3 analyzes the double-voiced quality of Morrison’s beginnings. Centering on Morrison’s engagement with narratives of citizenship and race, this chapter asserts that the primer text and the narrative’s causal and chronological circularity are primary sites for the critique of white middleclass standards.

5 A focus on the ending of Summer has sparked significant debate among critics. Many of these scholars accurately depict Wharton’s strong critique of patriarchal social structures that contain and appropriate female agency. But many of these same critics also want to see embedded in this critique a type of idealization of motherhood, which has been “depreciated, disdained, and ultimately, destroyed” by the representations of patriarchy in the novel (Elbert 4). Monika Elbert reads Wharton as mourning the loss of “motherhood,” represented by the “primeval mother within [Charity]” (7).

As a pregnant unmarried woman, Charity has no real choices: “In the established order of things as she knew them she saw no place for her individual adventure” (153). In the ending of the novel, Wharton completes her critique of the marriage plot by allowing Royall to “save” Charity from possible death and certain destitution. When Royall retrieves Charity from the Mountain, where she has attempted to escape the severe patriarchal codes of her village, Charity is a broken woman. When he takes her in his carriage, her state is described as “complete passiveness” brought on by extreme exhaustion, hunger, cold, and pregnancy (176).

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