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Jung Chang: Wild Swans: Three Daughters of China

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Jung Chang Wild Swans: Three Daughters of China

Wild Swans: Three Daughters of China: краткое содержание, описание и аннотация

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The forces of history and the exceptional talents of this young writer combine to produce a work of nonfiction with the breadth and drama of the richest, most memorable fiction classics. Wild Swans is a landmark book, with the intimacy of memoir and the panoramic vision of a monumental human saga, which tells of the lives of Jung Chang, her mother, her grandmother, and of 20th-century China. 16-page photo insert. *** "Bursting with drama, heartbreak and horror, this extraordinary family portrait mirrors China 's century of turbulence…[Chang's] meticulous, transparent prose radiates an inner strength." Publisher's Weekly "The story reads like the sweeping family sagas of genre fiction but rises far above the norm. The characters are well drawn, the events are riveting, and the story teaches lessons of history as well as lessons of the heart. It also allows listeners to visit a world unfamiliar to most Westerners. The author brings memories of a foreign life and illuminates them with graceful prose." Jacqueline Smith, Library Journal "[This] is one of the most intimate studies of persecution, suffering, and fear in Mao's time, before and after his triumph in 1949, and one of the finest…It is the most harrowing and extended account I have read of the years between 1966 and 1976, and the most analytical." The New York Review of Books "By keeping her focus on three generations of female kin and their practical adaptations to the shifting winds of political power, Ms. Chang gives us a rare opportunity to follow the evolution of some remarkable women who not only reflected their times, but who also acted upon them in order to change their individual destiny." Susan Brownmiller, The New York Times Book Review "Despite its interesting details, Wild Swans does not tell us much that other memoirs, similarly written from a position of privilege, have not already revealed. One looks forward to an account of China 's recent past which will not merely focus on the experience of the privileged urban elite." The Times Literary Supplement "[The author] tells stories and anecdotes, in straight chronological order, with little contrivance, providing real-life fables as open-ended answers to the puzzles of 20th-century China…Taken in pieces, Chang's narrative can be prosaic. But in its entirety, the author achieves a Dickensian tone with detailed portraits and intimate remembrances, with colorful minor characters and intricate yet fascinating side plots." Time "An evocative, often astonishing view of life in a changing China." The New York Times *** Amazon.com Review In Wild Swans Jung Chang recounts the evocative, unsettling, and insistently gripping story of how three generations of women in her family fared in the political maelstrom of China during the 20th century. Chang's grandmother was a warlord's concubine. Her gently raised mother struggled with hardships in the early days of Mao's revolution and rose, like her husband, to a prominent position in the Communist Party before being denounced during the Cultural Revolution. Chang herself marched, worked, and breathed for Mao until doubt crept in over the excesses of his policies and purges. Born just a few decades apart, their lives overlap with the end of the warlords' regime and overthrow of the Japanese occupation, violent struggles between the Kuomintang and the Communists to carve up China, and, most poignant for the author, the vicious cycle of purges orchestrated by Chairman Mao that discredited and crushed millions of people, including her parents. From Publishers Weekly Bursting with drama, heartbreak and horror, this extraordinary family portrait mirrors China 's century of turbulence. Chang's grandmother, Yu-fang, had her feet bound at age two and in 1924 was sold as a concubine to Beijing 's police chief. Yu-fang escaped slavery in a brothel by fleeing her "husband" with her infant daughter, Bao Qin, Chang's mother-to-be. Growing up during Japan 's brutal occupation, free-spirited Bao Qin chose the man she would marry, a Communist Party official slavishly devoted to the revolution. In 1949, while he drove 1000 miles in a jeep to the southwestern province where they would do Mao's spadework, Bao Qin walked alongside the vehicle, sick and pregnant (she lost the child). Chang, born in 1952, saw her mother put into a detention camp in the Cultural Revolution and later "rehabilitated." Her father was denounced and publicly humiliated; his mind snapped, and he died a broken man in 1975. Working as a "barefoot doctor" with no training, Chang saw the oppressive, inhuman side of communism. She left China in 1978 and is now director of Chinese studies at London University. Her meticulous, transparent prose radiates an inner strength.

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She blushed and bent her head, then turned and started to walk away, which was the right thing to do. Her father stepped forward and introduced her to the general. She curtsied, keeping her head lowered all the time.

As was fitting for a man in his position, the general did not say much about the meeting to Yang, who was a rather lowly subordinate, but my great-grandfather could see he was fascinated. The next step was to engineer a more direct encounter. A couple of days later Yang risking bankruptcy, rented the best theater in town and put on a local opera, inviting General Xue as the guest of honor. Like most Chinese theaters, it was built around a rectangular space open to the sky, with timber structures on three sides; the fourth side formed the stage, which was completely bare: it had no curtain and no sets. The seating area was more like a cafe than a theater in the West. The men sat at tables in the open square, eating, drinking, and talking loudly throughout the performance. To the side, higher up, was the dress circle, where the ladies sat more demurely at smaller tables, with their maids standing behind them. My great-grandfather had arranged things so that his daughter was in a place where General Xue could see her easily.

This time she was much more dressed up than in the temple. She wore a heavily embroidered satin dress and jewelry in her hair. She was also displaying her natural vivacity and energy, laughing and chatting with her women friends. General Xue hardly looked at the stage.

After the show there was a traditional Chinese game called lantern-riddles. This took place in two separate halls, one for the men and one for the women. In each room were dozens of elaborate paper lanterns, stuck on which were a number of riddles in verse. The person who guessed the most answers won a prize. Among the men General Xue was the winner, naturally. Among the women, it was my grandmother.

Yang had now given General Xue a chance to appreciate his daughter's beauty and her intelligence. The final qualification was artistic talent. Two nights later he invited the general to his house for dinner. It was a clear, warm night, with a full moon-a classic setting for listening to the qin . After dinner, the men sat on the veranda and my grandmother was summoned to play in the courtyard. Sitting under a trellis, with the scent of syringa in the air, her performance enchanted General Xue. Later he was to tell her that her playing that evening in the moonlight had captured his heart. When my mother was born, he gave her the name Bao Qin, which means "Precious Zither."

Before the evening was over he had proposed not to my grandmother, of course, but to her father. He did not offer marriage, only that my grandmother should become his concubine. But Yang had not expected anything else.

The Xue family would have arranged a marriage for the general long before on the basis of social positions. In any case, the Yangs were too humble to provide a wife. But it was expected that a man like General Xue should take concubines. Wives were not for pleasure that was what concubines were for. Concubines might acquire considerable power, but their social status was quite different from that of a wife. A concubine was a kind of institutionalized mistress, acquired and discarded at will.

The first my grandmother knew of her impending liaison was when her mother broke the news to her a few days before the event. My grandmother bent her head and wept.

She hated the idea of being a concubine, but her father had already made the decision, and it was unthinkable to oppose one's parents. To question a parental decision was considered un filial and to be un filial was tantamount to treason. Even if she refused to consent to her father's wishes, she would not be taken seriously; her action would be interpreted as indicating that she wanted to stay with her parents. The only way to say no and be taken seriously was to commit suicide. My grandmother bit her lip and said nothing. In fact, there was nothing she could say. Even to say yes would be considered unladylike, as it would be taken to imply that she was eager to leave her parents.

Seeing how unhappy she was, her mother started telling her that this was the best match possible. Her husband had told her about General Xue's power: "In Peking they say, "When General Xue stamps his foot, the whole city shakes." In fact, my grandmother had been rather taken with the general's handsome, martial demeanor. And she had been flattered by all the admiring words he had said about her to her father, which were now elaborated and embroidered upon. None of the men in Yixian were as impressive as the warlord general. At fifteen, she had no idea what being a concubine really meant, and thought she could win General Xue's love and lead a happy life.

General Xue had said that she could stay in Yixian, in a house which he was going to buy especially for her. This meant she could be close to her own family, but, even more important, she would not have to live in his residence, where she would have to submit to the authority of his wife and the other concubines, who would all have precedence over her. In the house of a potentate like General Xue, the women were virtual prisoners, living in a state of permanent squabbling and bickering, largely induced by insecurity. The only security they had was their husband's favor.

General Xue's offer of a house of her own meant a lot to my grandmother, as did his promise to solemnize the liaison with a full wedding ceremony. This meant that she and her family would have gained a considerable amount of face. And there was one final consideration which was very important to her: now that her father was satisfied, she hoped he would treat her mother better.

Mrs. Yang suffered from epilepsy, which made her feel undeserving towards her husband. She was always submissive to him, and he treated her like dirt, showing no concern for her health. For years, he found fault with her for not producing a son. My great-grandmother had a string of miscarriages after my grandmother was born, until a second child came along in 1917 but again, it was a girl.

My great-grandfather was obsessed with having enough money to be able to acquire concubines. The 'wedding' allowed him to fulfill this wish, as General Xue lavished betrothal gifts on the family, and the chief beneficiary was my great-grandfather. The gifts were magnificent, in keeping with the general's station.

On the day of the wedding, a sedan chair draped with heavy, bright-red embroidered silk and satin appeared at the Yangs' house. In front came a procession carrying banners, plaques, and silk lanterns painted with images of a golden phoenix, the grandest symbol for a woman. The wedding ceremony took place in the evening, as was the tradition, with red lanterns glowing in the dusk. There was an orchestra with drums, cymbals, and piercing wind instruments playing joyful music. Making a lot of noise was considered essential for a good wedding, as keeping quiet would have been seen as suggesting that there was something shameful about the event. My grandmother was splendidly dressed in bright embroidery, with a red silk veil coveting her head and face. She was carried in the sedan chair to her new home by eight men. Inside the sedan chair it was stuffy and boiling hot, and she discreetly pulled the curtain back a few inches. Peeping out from under her veil, she was delighted to see people in the streets watching her procession. This was very different from what a mere concubine would get a small sedan chair draped in plain cotton of the unglamorous color of indigo, borne by two or at the most four people, and no procession or music. She was taken right around the town, visiting all four gates, as a full ritual demanded, with her expensive wedding gifts displayed on cans and in large wicker baskets carried behind her. After she had been shown off to the town, she reached her new home, a large, stylish residence. My grandmother was satisfied. The pomp and ceremony made her feel she had gained prestige and esteem. There had been nothing like this in Yixian in living memory.

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