Abstract

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.

pdf

Additional Information

ISSN
1080-658X
Print ISSN
0026-7724
Pages
pp. 644-658
Launched on MUSE
2016-12-15
Open Access
No
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.