restricted access Yan Lianke’s Mythorealist Representation of the Country and the City

This article considers Yan Lianke’s literary method of shenshi zhuyi (mythorealism) evidenced in Lenin’s Kisses and Garden No. 711: The Ultimate Last Memo of Beijing and examines Yan’s post-Maoist representations of macro- and micro-shenshi (mythoreality), political dystopia and ecocritical utopia, the humiliated and insulted and their silence and speech, as well as the large-scale ferocity of slow violence in the country and city.