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.


Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.