Title Page, Copyright Page

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pp. 1-4

Contents

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pp. v-vi

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INTRODUCTION

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pp. vii-xi

Chinese poetry since 1979 has been both a miracle and a disaster. In 1979 China opened her doors to the world, and young poets immediately became a driving force for political reform. The demands they expressed in verse were well understood, and many young people read and wrote poetry...

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TRANSLATOR’S FOREWORD

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pp. xiii-xxi

It is tempting to imagine that, as a translator working directly with a living author, one might be able to circumvent the written words entirely and delve straight into the author’s imagination, digesting the work back into its basic inspirational impulses and reassembling it, alive and breathing, in...

1. Glass Factory

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pp. 4-10

2. Handgun (I)

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pp. 11-13

3. Ink Bottle

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pp. 14-15

4. Sounds of Spring

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pp. 16-17

5. Station in the Air

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pp. 18-19

6. Between Chinese and English

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pp. 20-25

7. Conversation

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pp. 26-29

8. Key to Sunday

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pp. 30-31

9. Dinner

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pp. 32-33

10. Crossing the Square at Dusk

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pp. 34-43

11. Silence

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pp. 46-47

12. Notes Toward a Fiction of the Market Economy

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pp. 48-57

13. Athens Shoes

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pp. 58-61

14. The Burning Kite

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pp. 62-65

15. Our Hunger, Our Sleep

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pp. 66-79

16. Who Is Gone, and Who Remains

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pp. 80-83

17. Picasso Paints a Bull

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pp. 84-87

18. Handgun (II)

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pp. 90-91

19. Mother, Kitchen

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pp. 92-93

20. For “H”

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pp. 94-105

Appendix: “Handgun”

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pp. 107-108

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Acknowledgments

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pp. 111-136

In addition, my heartfelt thanks go out to all those who offered me their advice, guidance, support, and encouragement during my long search for an English voice for Ouyang: Lydia Liu, Christopher Mattison, Sandy McClatchy, Gary Clark, Sierra Nelson, Cole Swensen, Eliot Weinberger,...