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-x

It can be hard to be a woman, but it’s even harder to be a Chinese woman poet who has survived drastically different eras in Chinese modern history: the Cultural Revolution, “educated youth” in the countryside, post Cultural Revolution, Misty School (Menglongshi), New York City diaspora,...

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Translator’s Foreword

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pp. xi-xviii

Zhai Yongming’s poetry first came to me around 1990 in a manila envelope, bundled with poems by a handful of other writers. The other poems in the group didn’t leave a deep impression on me, but Zhai Yongming’s poems (“Premonition,” “Longing,” and “Abandoned House,” all from her...

Premonition

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pp. 2-3

Abandoned House

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pp. 4-5

Desire

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pp. 6-7

Margins

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pp. 8-9

Revolving

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pp. 10-11

The First Month

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pp. 12-15

The Second Month

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pp. 16-17

The Fifth Month

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pp. 18-19

The Twelfth Month

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pp. 20-23

The Black Room

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pp. 24-25

White Corridor

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pp. 26-29

My Bat

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pp. 30-33

Doll

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pp. 34-35

from Portrait

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pp. 36-37

from Body

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pp. 38-39

Fourteen Plainsongs

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pp. 40-67

Scissorhands' Dialogue

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pp. 68-75

The Blind Masseur and Some of his Methods

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pp. 76-85

The Changing Room

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pp. 86-91

My Younger Brother in the Water

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pp. 92-97

Straw

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pp. 98-99

Reading the News

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pp. 100-101

Daylight Slumbers

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pp. 102-103

For Lu De'an

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pp. 104-105

Hypnosis

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pp. 106-107

Natural Enemies

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pp. 108-109

I'm Drunk and You're Dry

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pp. 110-113

Fireworks and Working Girls

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pp. 114-115

In the End I Come Up Short

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pp. 116-117

Things Are Always Like That

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pp. 118-121

Chrysanthemum Langerns Go Floating By

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pp. 122-125

Climbing the Heights on the Double Ninth

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pp. 126-129

The Submarine's Lament

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pp. 130-133

Lightly Injured People

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pp. 134-137

Her Point of View

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pp. 138-139

The Song of Historical Beauties

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pp. 140-147

Report on a Child Prostitute

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pp. 148-153

The Language of the 50s

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pp. 154-157

The Testament of Hu Huishan

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pp. 158-162

Bidis

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pp. 163-184