China’s First Modern: Lu Xun was his country’s foremost revolutionary in literature, if not always in politics
May 25, 2013 Leave a comment
May 24, 2013, 12:54 p.m. ET
China’s First Modern
Lu Xun was his country’s foremost revolutionary in literature, if not always in politics.
By JULIA LOVELL
It’s hard to find a precise Western analogue for Lu Xun (1881-1936). He is China’s Dickens, for his mercilessly sharp portrayals of the era he lived through; he is Joyce, a re-maker of language and form. He has a good deal of Orwell, too, for his political commentary and the plain vernacular style that he championed. And, as a writer who in his final years became a figurehead of the literary left and was sanctified by his the Chinese communist leadership after his death, he has a touch of Gorky.
Lu Xun owes his immense literary reputation in mainland China primarily to his satirical fiction but also to the prose poems and polemical essays that he wrote in the last two decades of his life. In 1918, his surreal first short story in vernacular Chinese, “Diary of a Madman,” portrayed Chinese culture as cannibalistically eating its young. Its iconoclastic premise propelled him to the center of the New Culture Movement of the late 1910s. The two volumes of short fiction he produced between 1918 and 1925, “Outcry” and “Hesitation,” were admired for their portrayals of a China in a state of spiritual emergency: backward, impoverished and complacent. Read more of this post










