Ran Chen - A Private Life

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From Publishers Weekly
"Sexuality has never been a problem with me. My problem is different. I am a fragment in a fragmented age." Despite this claim, the protagonist of Ran's unusual coming-of-age novel is defined by her precocious beauty and her struggle to define her sexual identity. Ran, one of China's most acclaimed contemporary women writers, tells how lovely Ni Niuniu is seduced before she enters puberty by an older woman, the sly, wise Widow Ho, then falls into an unwanted affair with her male teacher, Ti. In college, she meets the love of her life, a fellow student named Yin Nan, but their brief, passionate affair ends abruptly when Yin Nan becomes involved in the student protests in Tiananmen Square. Traumatized by the loss of Yin Nan and the deaths of her mother and Widow Ho, Niuniu retreats into her own mind, becoming Miss Nothing ("I no longer exist… I have disappeared…"). Niuniu's flaws, foibles and idiosyncrasies represent fertile ground for Chen's wide-ranging psychological character study. Even the more conventional scenes are narrated with lyrical intensity, and hallucinatory dream sequences and passages describing Niuniu's alienation range from the revelatory to the overwrought. The result is an uneven but intriguing novel that captures the heightened sensibility of a woman who flees the bustling contemporary world for the sensual pleasures of inner space.
From Booklist
The turbulent decades spanning the Chinese Cultural Revolution and the deadly demonstrations at Tiananmen Square provide the backdrop for this sensuous coming-of-age tale by Chinese essayist and short-story writer Chen. As a child, sensitive and gawky Ni Niuniu never quite fit in. Teased by her classmates and neglected by her cold, distant father, she engaged in quiet forms of rebellion (she once stole her father's woolen trousers and cut them off at the knees). While her father scarcely acknowledged her, other adults paid Ni Niuniu too much mind: her middle-school teacher, Ti, and an eccentric widower who lived next door each took sexual advantage of the impressionable young girl. Haunted by the past and despondent over the recent death of her mother and departure of her first love, Ni Niuniu retreats from the realities of politically charged Beijing, writing and drawing and endlessly soaking in her tub. Chen's first work to be translated into English provides an eloquent examination of the quest for calm in a chaotic world.
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"Chen Ran's strikingly introspective, subjective, and individualized writing sets her work distinctively apart for the traditional and mainstream realism of the majority of contemporary Chinese writers… In his translation, Howard-Gibbon adeptly conveys the exquisiteness, richness, and slight eccentricity of Chen's prose." – China Daily
"The turbulent decades spanning the Chinese Cultural Revolution and the deadly demonstrations at Tiananmen Square provide the backdrop for this sensuous, coming-of-age tale by Chinese essayist and short-story writer Chen… Chen's first work to be translated into English provides an eloquent examination of the quest for calm in a chaotic world." – Booklist
"An intriguing exploration of the contemporary consciousness of an alienated, urban Chinese woman for whom current history matters less than the reliable comforts of love, nature, and solitude." – Kirkus Reviews
"Niuniu's flaws, foibles, and idiosyncrasies represent fertile ground for Chen's wide-ranging psychological character study… [an] intriguing novel that captures the heightened sensibility of a woman who flees the bustling contemporary world for the sensual pleasures of inner space." – Publishers Weekly
"In the novel A Private Life, Ran Chen immerses us in the troubled life of Ni Niuniu… Chen weaves together these evaluations with Niuniu's manic writings in order to create an ultra postmodern tale of a young woman's psychosocial evolution… an important portrait of a young woman trying to survive in a complicated world." – Bust Magazine
"A Private Life is not an overtly political book; rather, it has the timeless quality of most dreams. Still, [narrator] Ni Niuniu's refusal to connect with the world outside her door becomes a kind of political statement." – Elizabeth Gold, Washington Post
"An atmospheric story of sexual awakening and ennui that enlarges our understanding of modern China." – Vancouver Sun
"Niuniu's hatred of the few powerful males in her life and her sexual confusion and manipulations are clearly depicted." – Sofia A. Tangalos, Library Journal
"This polished and readable translation of the inaugural novel of Chen Ran stands as an example of the quasi-autobiographical Sino-Japanese shishosetsu" – Choice
"A riveting tale… a lyrical meditation on memory, sexuality, femininity, and the often arbitrary distinctions between madness and sanity." – Translation Review
"A Private Life shows Chen Ran at her best: weaving together the female bildungsroman and social and political satire, she effortlessly flits from outbursts of rage to ecstasy to rarefied emotions. Her philosophical musings on the difficulty of achieving individual freedom are as critical of the collective pursuit of wealth and sensorial pleasures in China after socialism as of the authoritarianism and ideological conformity during the heyday of the Cultural Revolution. The poignant, tragic-comic tale is ultimately about bondage and transcendence." – Tze-Lan D. Sang, author of The Emerging Lesbian: Female Same-Sex Desire in Modern China
"The novel daringly depicts a woman's emotional journey towards the maturation of her sexuality. It is a provocative reflection of the new sensibility of a young generation of Chinese women in the post-Deng era. Chen Ran's sensuous style easily breathes through the translator's English rendition of her language." – Lingchei Letty Chen, Washington University, St. Louis
"One of the most acclaimed women writers in contemporary China, Chen Ran in this novel explores the complex emotional territory of the female body, sexuality, homoeroticism, and fantasy. The author’s personal voice triumphs in the novel as a most conscious presence, dissolving the public and collective model of socialist literature. Daringly written and excellently translated, A Private Life not only entertains, but also leaves the reader pondering Chen’s disturbing and deeply personal message." – Lingzhen Wang, Brown University

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Whenever I go into my quiet, simple little bathroom suffused in pale blue-green light, for example, at noon when the sun and the hub- bub of the streets are at their height, it makes me feel the hush of nightfall, when everyone is sound asleep and the world is at peace, and I feel totally secure.

On one of the ledges at either end of the snow-white bathtub sits the solitary, green-and-yellow sunflower in the plump lavender vase – the effect, a twilight scene bathed in pale sunlight. On the floor beside the bathtub, a faded yellow straw carpet of dense and intricate pattern adds a touch of old and simple beauty. A soap-scented towel hangs casually over the long chestnut-colored wooden rod across the white tiles behind the tub, and a pair of pitch-black pajamas, the color of sleep. It is as misty as the rainy season.

A three-dimensional modernist painting, a fictitious world.

It doesn't matter what time of day it is, all I have to do is cast a glance into the bathroom and I feel as if I had just come back from a long journey and, tired and short of breath, all I want to do is feel the warm currents of water flow around me as I lie there quietly, naked as an eel in the shush of running water, conscious only of its caressing warmth.

The scene in my bathroom is rich in pattern, order, and certainty, while the scenes in the world outside are brushed in sloppy, incoherent strokes, a constant uproar of changing appearances and structures.

Two worlds, one inside, one outside, and I can't decide which one is nothing more than dreams.

One by one, the days go by. All time has passed away and left me here alone.

On one such day, I noticed that my rubber tree, my tortoiseshell bamboo, and all the green shrubs on my balcony were growing so vigorously that there was no longer enough room for them. My first thought was that perhaps I should move them to the flower beds outside. From the way they were gazing down from the balcony window, I could see that they too had been thinking about this and couldn't make up their minds. If they were to move outside, they could draw nourishment from the rich soil of the broad, deep beds, but they would also have to struggle ceaselessly with all the other plants to survive. And they would be unprotected from the wind and sun. On the other hand, although they could escape nature's ravaging heat and cold on my balcony, they would be deprived of any deeper sustenance.

They are thinking about this. So am I.

Chen Ran

Ran Chenand her father Wo Weihan b 1962 Beijing A writer of psychological - фото 4

Ran Chenand her father Wo Weihan

b. 1962, Beijing

A writer of psychological novels, Chen Ran is known as the only Chinese woman writer who identifies herself as a feminist. Chen started to publish in 1985 and toured England, Australia and Germany before she returned and settled down in Beijing as a freelance writer. As one of the few writers of avant-garde/experimental literaturein China, she presents herself as writing from the margin even after she became a member of the Chinese Writers’ Association in 1990. Since the publication of her short story The Disease of the Century’ ( Shiji bing, 1986), Chen has held critics’ attention because of her modernist exploration of female subjectivity as well as her inventive style and perspective.

Chen diverges from the literary mainstream in that she tries to go beyond a social and historical interest in women’s experiences to write from an essential female subjectivity. Informed by dreams and fantasies, her analysis often focuses on the female body or domestic space. At the same time, Chen’s writing features a highly personal and sensual use of language: the abstract is described using words of sensual and sexual texture while multiple descriptions of physical reality offset the workings of the narrator’s psyche. This defiance of plot-oriented narration highlights Chen’s painstaking efforts to escape the accepted norms of literacy. Her amoral and apolitical approach to literature and her refusal to accommodate the public’s reading habits contribute to her singularity in contrast to other forms of woman-authored literature, which were increasingly submerged within ‘middle brow’ literature in the 1990s.

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