Showing posts with label Chinese. Show all posts
Showing posts with label Chinese. Show all posts

Monday, April 14, 2025

Nature, Spirit and Rural Healing

Who are Barefoot Doctors?

There's a good article written about Barefoot Doctors on Wiki, which says – " Barefoot doctors were healthcare providers who underwent basic medical training and worked in rural villages in China. They included farmers, folk healers, rural healthcare providers, and recent middle or secondary school graduates who received minimal basic medical and paramedical education."

Is Can Xue's novel about those Barefoot Doctors? Yes, indeed. Xue pays homage to the legacy of the Barefoot Doctors. In fact, Xue was also a Barefoot Doctor once, when she was young.

Can Xue's Barefoot Doctor is set in three villages—Yun Village, Deserted Village, and Blue Village. Mrs. Yi is the central character in the novel and is a Barefoot Doctor of Yun Village. Mrs. Yi is getting older and is concerned about finding a successor who will serve the rural people. Throughout the novel, we find the inner struggle of a new generation of Barefoot Doctors: Mia from Deserted Village, Gray from Yun Village, and Angelica from Blue Village—these are the new generation of Barefoot Doctors.

Mrs. Yi provides health services to rural villagers. In addition, she has become a profound herbalist in the area, growing her own herbs of medicinal value, which she administers to her patients. Seen as an ideal Barefoot Doctor by the new generation of rural doctors and even by her former tutors, Mrs. Yi smells the herbs even in her dreams.

People in Yun Village didn’t count the passing years. Many villagers, especially seniors, didn’t know exactly how old they were. They were too busy enjoying life to reflect on past mistakes.

People and things would never get lost in Yun Village.

We find a strange connection between the three villages in the way they communicate and help one another. It seems they are bound by some ancestral and spiritual force. Xue makes the supernatural a natural occurrence, and transforms the magical into the real. The magic realism used in the novel makes the narrative fluid, and it seems so necessary, for it forms an arc of brilliance in the story. In the novel, the characters can hear voices from far beyond; the dead appear, communicate, deliver messages, and disappear. Surreal events—such as the playfulness between the weasel and the chickens—add a mysterious tone to the text, and Xue maintains it throughout.

Just then, the ancient mountain dragon in his basket stirred and made a rustling noise. What lively herbs! Where were they so impatient to go? The herbs calmed him.

Talking with Tauber was Mrs. Yi’s favorite thing to do, and she wished she could be like him someday. In general, Tauber’s terminal illness was not a punishment for him but rather a reward for his hard work in life. How contented and grateful he had been during his last ten years on the mountain! The mountain had already seeped into his body and soul before he melted into it. With such a full life, what else could one want?

Mountains and herbs fill the story with a strong essence. The mountains seem to be thriving with ancestral spirits, residing in and protecting the herbs. The personification of herbal medicines and plants—which seem to exist to heal the people—serves to create a sense of affection and love for the natural world.

We might be tempted to look for a central conflict in the novel. There are no antagonists, nor any external forces that disturb the way things are. However, the sense of unsettlement comes only with a question: will this tradition continue? Will the new generation follow the path of the old and of the ancestors? Nature, spirit, and the well-being of rural people—this is the triad. This is what must be preserved and kept in balance. And what will these bring to you as a reader? Love and gratitude for nature.

“Yun Village is not the only place with barefoot doctors. The old director told me that barefoot doctors were once practicing in every corner of the vast countryside. Although many places are better off now, and villagers can go to the cities for treatment, the old occupation hasn’t disappeared.”

Subtlety is key in Xue's novel, which can also be seen in the characters’ eccentricities. We and the world are made up of small fragments, and Xue does not ignore this. The intricacy of the novel is not meant to make the story complex, but rather to point to its simplicity.

Historically, it must never have been easy to become—or to live—as a barefoot doctor. The characters in the novel reflect both the struggle and the motivation to become one. They would visit patients, or the patients would come to them. Some of them would master methods of treatment—acupuncture, treating calluses, cupping, moxibustion, and more.

“Chinese herbs do have feet. They can walk into people’s lives by themselves.”

Coming back to the story, Mrs. Yi would go to Niulan Mountain to gather herbs, and she has also harvested herbs in her garden. The rarest herbs would be found in the mountains when they are most needed, and by those with the inspiration and aspiration to find them. Niulan Mountain or Blue Mountain is like a sanctuary for the doctors and villagers—a sacred place where herbs are available for the cure of diseases; one only has to find them. Besides, Niulan Mountain and Blue Mountain are places where the spiritual realm exists, and where ancestors settle after they die.

Since we celebrate the herbs in the novel, let's take a moment to mention some of them: banlangen, coralberry, brocade, polygonum, clematis, mountain cypress, birthwort (for rheumatic heart disease), patch-the-bones, ancient mountain dragon, Aspilia Africana, snake-beard, purple ginseng, lily of the valley, crystal flowers, and many others.

When the wind blew, they always heard a lot of people walking toward the mountains and some people singing as they walked. They knew these people weren’t real people, but close enough. Mrs. Yi once again felt that Niulan Mountain was “the land of joy.”

“No one buried here will be lonely.”

“Death is not so terrible, my dear. You’re wrong!”

The people celebrate collecting herbs as if it were a sacred act, in the mountains where noise on the hill means the ancestors who has settled there after their death are happy. The novel seems to transpire during the transition of the beginners, whose lives are soon to change.

In the process of becoming a barefoot doctor, people develop values. Their experience changes their aspirations, strengthening them. As the novel unfurls and the beginners learn more, it seems almost all the old people had once been herbalists themselves. The connectedness between herbs and humans is generations old.

I know you want to go to the village, but it isn’t a place you can go just because you want to. Ah, it’s a long story . . . To tell you the truth, Angelica, we have no fixed abode. Our Blue Village is such a secret place that it can’t be found on the map. Only the clinic is always here. It is the mark of Blue Village, and the treasure of Blue Mountain . . . Dr. Lin left, and you came. You now belong to Blue Mountain.

In Barefoot Doctor, you'll meet Mr. Yi, Old Director, Mr. Tauber, Mrs. Fish, Mrs. Blue, Grandpa Onion, Ginger, Spoon, Kay and many other profound characters. You'll meet a python spirit who resides in the mountain, centenarians who closely resemble mountain gods, and Dr. Lin Baoguang, one of the elders who is elusive, revered and supernatural in a sense. In this world, mountains are like living creatures, and patients understand their illness and help the doctors understand it. Xue writes it so faithfully that we are convinced that all three villages, all the people, and the mountains do exist. In this world, don't be surprised if you hear voices in the wind—of your ancestors, of people and animals below the mountains. The sacred are not meant to be disturbed!

                I’m thinking about the baby and its mother. No matter how long a person’s life is, it should be                 considered complete.

A medical journal circulated among the rural villages stirring passion among those who are, and those who are to be, barefoot doctors is really fascinating. It seems as if the barefoot doctors were the chosen ones, the gifted ones, the courageous ones. You establish a harmony with the mountain, not a forceful relation. You wait for the mountains to accept you and your endeavors. And, isn't it fascinating that dying people could smell their ancestors and families?

Barefoot Doctor evoke a sense of realm in which nature, spirit and human all thrive together in harmony. Nature provides for the diseased and nature provides for the departed. Healing herbs, mysterious mountains, spiritual sanctuary, magical moments… all these come to your mind as you flip the pages of this novel – a true homage to the legacy of rural healer and health workers.

Author: Can Xue
Original Text: Chinese
Translator: Karen Gernant and Zeping Chen
Publisher: Yale Press https://yalebooks.yale.edu/book/9780300274035/barefoot-doctor/
Source: Review Copy from the Publisher

Saturday, December 30, 2023

An Earthquake Chronicle

On July 28, 1976, a major earthquake hits the Tangshan region of Hebei Province, China. Among the victims is a family of Wan and Li Yuanni and their children – Xiaodeng (daughter) and Xiaoda (son). When the children are trapped under a fallen structure, Li Yuanni is faced with life-death-dilemma, and has to choose to save between her twin children. Xiaoda is rescued, who would lose one of his arms, while Xiaodeng, left under the rubble and thought to be dead, survives it, but would lose memory due to brain injury. Wan also dies in the event, away from his home. Over a dawn, the life of one of the happiest families in the neighborhood is changed forever. 

Aftershocks instilling fear among those who survived in the Tangshan earthquake subsides, but the trauma and tragedy left in the wake of the earthquake would haunt Li Yuanni's family for the rest of their lives. Aftershock is a story spanning around 30 years – from 1968 to 2006, and across continents, from China to Canada – that connects Li Yuanni's family, separated by the earthquake.

1976 is not only the year of the Tangshan earthquake, but also the year Mao Zedong had died, who'd led the Cultural Revolution in China. In Aftershock, Zhang Ling also offers us a closer look at the families and communities, around the end of the revolution; though the novel doesn't tend to be political. What we find at the heart of this chronicle is a family, disrupted by the earthquake and its aftermath. The tenderness with which Ling has developed her characters, their beliefs, flaws, hope and pain carries a sentiment that shapes a family history – a chronicle of trauma.

The trees had lived for many years. It had seen the stable boy of Emperor Kangxi watering the horses in this yard, and it had heard the young, reckless Boxers drinking and plotting a rebellion on the street corner. It had witnessed the dirty underbellies of Japanese planes as they hovered overhead, dropping their black waster over the land. The tree had seen all the ups and downs for countless years, witnessing both the thrill and the desolation of dynastic change.

After Xiaodeng is taken by her adoptive parents, her life takes a distinct arc. Thirty years after being separated from her twin brother and mother, with her memory cut off from the day of the earthquake, she now lives in Toronto, Canada and is an author. Unable to open the window in her dream, that would enable her to see her past life, Xiaodeng still bears the pain of her head concussion and grapples with emotional trauma, anxiety and insomnia, interfering with her new life. At the other end of the world in Tangshan, China, Li Yuanni lives in the memory of her dead husband, and thought-to-be dead daughter, unwilling to relocate with Xiaoda, who earns a good life. Alternating between the past and present, covering three decades of a family separation, Ling places the two developments – Xiaodeng's world and Li Yuanni's world – side by side, each with their own difficulties. For a while, it seems that, the two worlds can never connect. However, a thread – stretched by love at one end and by lifelong discomfort at the other – find its purpose.

The mysteries of life and death that took a lifetime to unravel in normal times were revealed in a single prod when there was a natural disaster.

Despair? It’s like a man who is buried under the ruins, and he sees a sliver of sky through a gap. The hope of survival is so close, he can almost touch it with a finger. The distance between his finger and the sky, that's life and death. Hope is so near, but he just can't catch it. What kind of despair is that?

Zhang Ling is already an established and crafted novelist, and her prowess of storytelling justifies any subject. In Aftershock, Ling doesn't take a huge leap and explain things from outside, reclining solely on the cause and effect of the earthquake. Rather, her take has been to bring the story as close to the individuals/characters and their lives as possible. We realize, how important is one's family and how grave is the loss. In this sense, the novel explores human relations and its strength, strain, conflicts and grief. It is also a glimpse into Chinese family life showing how lives of those who suffered and witnessed the earthquake was/became different from the rest.

Ling is adept at transforming little details into impressive metaphors and similes: words that smash holes in the ground; laughter that pokes holes in the thick heat; shadow like quilts with no seam; snore as loud as rolling thunders.  She has profound sense of where there is gravity and depth, and what needs to be said. Ling Otherwise, one wouldn't be able to love the characters. But in Aftershock, we know them, as if personally, and understand them, open to their vulnerabilities, and their palpable empathy. Ling's narrative has access to both the inner and outer world of her characters, and it is only by dealing with their complexities and conflicts that we come to understand them; even through moments of simplicity, smile and tears.

When new branches sprang up on the oleander in front of the doors, she knew it was once again a new spring. When the geese flew southward in a line overhead, she knew summer was coming to an end. When the store windows in the street began displaying red-packaged goods and the sound of firecrackers rang out in the air, she knew another year was ending.

Ling's detailings are vivid and she has employed playful transitions to navigate through. Like I said earlier, a family is at the heart of the story, but there is another core too – human emotions. Ling has tended to them as a mother would to her baby, and I believe this novel must be very close to her.  1968, 1976, 2006 and all the years in between, which Ling has used as timestamps, to form her characters, to deal with their fate and complexities, coming towards the end, all fit as jigsaw pieces, finally bringing the denouement. 

Through fine combing of the details and smooth characterizations, Ling creates love for the characters. Readers will find themselves smiling at natural details, for their ease, and for perfect unfolding and pauses. The characters in Aftershock are very delicate – but we all are that way, someway – clinging to some hope, seeking some solace and love. Such portrayal has made them more believable. To conclude, Aftershock connects not only pieces of a tragic event of history, but also makes them unforgettable by bringing forth human emotions, that suffer, endure, hope and wait to make peace with life. Ling guides us to the wetlands of living, shows us around and brings us safe back home – we come out different.

Author: Zhang Ling
Original Text: Chinese
Translator: Shelly Bryant
Publisher: Amazon Publishing
Source: Over The River Public Relations/Review Copy from the Publisher

Saturday, October 1, 2022

Coming Soon...

Wake Me Up at Nine in the Morning
by A Yi
Translated from the Chinese by Nicky Harman



Saturday, May 21, 2022

Coming Soon...

Cocoon
by Zhang Yueran
Translated from the Chinese by Jeremy Tiang





Saturday, March 19, 2022

Coming Soon...

The Last Lover
by Can Xue
Translated from the Chinese by Annelise Finegan Wasmoen



Tuesday, February 1, 2022

Coming Soon...

MA BO'LE’S SECOND LIFE
by Xiao Hong
Translated from the Chinese by Howard Goldblatt



Sunday, August 8, 2021

Coming Soon...

Hard Like Water
by Yan Lianke
Translated from the Chinese by Carlos Rojas



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The Explosion Chronicles
by Yan Lianke
Translated from the Chinese by Carlos Rojas



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Lenin's Kisses
by Yan Lianke  
Translated from the Chinese by Carlos Rojas 



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The Four Books
by Yan Lianke
Translated from the Chinese by Carlos Rojas





Thursday, April 1, 2021

Coming Soon...

In the Face of Death We Are Equal
by Mu Cao
Translated from the Chinese by Scott E. Myers



Saturday, August 8, 2020

Coming Soon...

Ruined City
by Jia Pingwa
Translated from the Chinese by Howard Goldblatt



Coming Soon...

Sandalwood Death
by Mo Yan
Translated from the Chinese by Howard Goldblatt

Friday, August 7, 2020

Friday, July 10, 2020

Coming Soon...

I Live in the Slums
by Can Xue
Translated from the Chinese by Karen Gernant and Chen Zeping

Thursday, March 5, 2020

Coming Soon...

Vertical Motion
by Can Xue
Translated from the Chinese by Karen Gernant & Chen Zepin


Friday, December 20, 2019

Coming Soon...

Three Brothers: Memories of My Family
by Yan Lianke
Translated from the Chinese by Carlos Rojas


Tuesday, September 24, 2019

What's in the Grey?

Yun Yun lives with her widowed father in a quarter of an old people's home and their tie is strong with the family of Mrs Cai whom Yun calls auntie; nevertheless Mrs Cai treats her like her own daughter. Yun wants to spend her time especially with her cousin Zhang Qing – who is almost of the Yun's age but who has started to show sign of adolescence – and takes part in Qing's adolescent fantasy of being made-up or kissed. While Yun's father spends time playing chess with a neighbour, Yun passes most of her time at her auntie's home, listening to her cousin who wants to be grown-up soon or bearing her mood swings or having conversation with aunt who's especially curious about Yun's father and who feels it excessively urgent to take care of Yun Yun. As the story unfolds, cousin Qing seems to part away from Yun, however she takes interest in her cousin's affairs and promises to keep her secrets. Having learnt few things about what the adult men and women do from her cousin, Yun cannot keep it to herself and poses questions at the wrong person, which shows her innocence, caught in the world of grown-up behaviors and unable to make any sense of it. 


As Yun realizes that she is able to understand or predict the consequences of things1 around her, she learns that the people close to her share some unknown history and personal secrets, and which still haunt them. Qing rebels against her mother for free will to have a boyfriend and spend time in her own way, and Yun observes the clashes between her cousin in adolescent crisis and her aunt whom her daughter thinks2 is committing adultery. As the individuals and the two families intersect each other for better or worse, hitched in psychological tangles, Yun Yun finds herself alone with her wit and sharp eyes for details, fulfilling her natural curiosity3 – who is visited by the white horse in unexpected places and circumstances – meanwhile taking her own flight of being grown up and facing the myth of her birth. We take the view of Yun Yun, and the blanketed events, personalities and interests are only as evident to us as to her, and so is the world in the backdrop which is characterized by drama of deception.

1.       My dad squeezed her hand and said solemnly: 'That was a long time ago. It's all water under the bridge.' I suddenly thought of something very philosophical: The world is full of secrets… It certainly was.

2.       'My mum's such a bitch; what made my dad decide to marry her?'

3.       'Don't believe everything you see on TV,' my dad said. 'Only dirty foreigners kiss on the mouth. Chinese people don't.'

White Horse is a story of a child growing up and caught in the world of adults and their affairs, and whose ingenuousness is faced by human relations that may stand on weak or doubtful base and identity. Story, translation and the illustrations – the triad tells the story that is simple but sharp, and though Yun Yun carves a way out or within her space, we still dwell on the complexities of adult life, formed and cracked by love and misfortunes. The White Horse represents the enigma of the world standing on truth and lies, and where sometime we are left alone to be baffled by ourselves.

Author: Yan Ge
Translator: Nicky Harman
Illustrator: James Nunn
Page Count: 88pp
Price: $12.99

Author Photo Credit: https://www.hoperoadpublishing.com/authors/yan-ge
Review Copy Courtesy: HopeRoad Publishing

Monday, July 15, 2019

Life and Times in Shanghai

Fu Ping is a character-driven novel, so we shouldn't be surprised to find new characters popping up as the story progresses and in fact the city of Shanghai itself poses both as a structure and figurative character of the novel.

Having lived in Shanghai for most part of her life, Nainai has been attuned to its lifestyle and the attributes has been ingrained in her attitude and understanding of life while shaping her personality. Nainai is a widowed woman who has seen her future, when she'll be no longer able to work and support herself, and she's looking forward to be settled, should the need arise, with her adopted grandson—with whom she's planning to marry Fu Ping with—in the future. Following this, she invites Fu Ping to live with her in Shanghai, before being married.


We get peek into the lives and lifestyles of Shanghai residents, particularly of those Nainai work for and served before, and those of like her1 who ended up in Shanghai for various reasons. The growing attraction to the city settlement and the movement of migrants from the villages into the centre and its outskirts depict the changing time of the history, evolved around Chinese Cultural Revolution, when Shanghai lured people from all provinces and they brought along their idiosyncratic dialects and accents which have often been mentioned in the story.

1.       Bereft of family support, these women were forced to be self-reliant. The longer they stayed away from home, the less often they returned. And when they did, the visit was usually short-lived. They were no longer used to their hometown environment, which habitually led to bouts of diarrhea or a rash, and that sent them right back, often bringing along another woman or two to find work in a city household.

Taciturn, bashful and sensitive, Fu Ping is a hard-to-understand girl, at least for those around her and particularly for Nainai. She shows natural behavior but always keeps a wall of unpredictability between herself and others. Soon Fu Ping starts to feel comfortable in the new settlement2 not wanting to leave and understand the clues of Nainai. But this is already a long span of time and her lengthy stay starts to trouble Nainai, who wants the marriage to happen soon and thus be relieved.

2.       She learned the richly complex histories of local families, each of which possessed a story worthy of characters in a movie or a play. Village life seemed to never change, not for generations, and one family was very much like all the others. Not here, where backgrounds were different, where every story was filled with unique twists and turns. She had thought that everyone in Shanghai lived a life of ease and comfort until she realized how hard it was to make a living in a city. People in Shanghai were proof of that.

The attention to details3 that the author has given to the objects, houses, seasons, streets and characters cannot be skimmed or scanned, because we soon understand, this is the way she wants to present the story of the city and lives of array of characters that are in one way or another associated with Fu Ping, moulding her or becoming her part of experiencing the new life or just living behind an impression. As Fu Ping delves and understands the Shanghai life with its textures unraveling, so do we, at her pace and see her wanting to connect with people, except that she finds it hard to open up with those close to her.

3.       Freshly washed mops hung from windows of the frame houses on the banks. They were too far from people washing clothes in the river to hear their conversations or the bawling children. The boat’s engine noise smothered all other sounds and created a greater distance to the riverbank. A few of the multistoried buildings seemed to be following them, standing tall in the clear sky, their concrete rooftops reflecting the sun’s rays. The river was dark by comparison, and they seemed to be sailing through the shadows cast by buildings. And yet, a muted light rose up from the river bottom, settling on their faces to form a soft glow, while the light on the banks was harsher. The city appeared lofty and mammoth when seen from the river, and alien. They were in one of the city’s remote reaches, far from densely packed city structures, which were yet visible. Sunlight refracted off the complex surfaces before settling on one spot. And so, a glance in that direction was rewarded with a thicket of bright light, almost as if a small sun were perched there. Light gusts of wind brushed the water’s surface, chilling the travelers’ faces, hands, and feet.

Strong and weak ties, shrewd reactions and unspoken virtue that govern the lives of residents—some of whom share a common past—in Shanghai can be observed in the way the characters interact or think of each other. We move in and out of personal feelings of Fu Ping and Nainai, and sometimes just observe them as they glide through the narrative. At times, it seems like Fu Ping and Nainai's character opens door to multitude of lives and stories, which have socially and culturally evolved, but women's life and times in the given period has illuminated all the episodes and chapters. Pedestrians, shops and shopkeepers, neighbours, food, celebrations, smell and texture of the streets make up the intricacies, and feature of Shanghai and its outskirts becomes apparent, almost palpable, giving glimpse into Chinese culture and lifestyle.

When Fu Ping goes to live at her uncle's home not far from Shanghai just after when her departure from Shanghai has been preset, everything changes. While Fu Ping is excited about finally finding her true ties, Nainai is tensed all the more. This shift brings light on the lives of people in the suburbs of Shanghai, where Fu Ping's uncle—who works on a scow—has settled together with his family among boatmen. Here, while she relishes her company with a new friend with whom she can go on private excursions, her aunt has a different scheme on her head, unknown to the story Fu ping (who is unexpressive of her status) has left behind in Shanghai. In this sequence of events, the richer world of Opera House draws in clue into the cultural organization of the people and very soon Fu Ping, changed in her persona, returns to Shanghai again where she meets her to-be-husband, Li Tianhua. Her dubious attitude and intentions, her quandary, shy-laden and sometimes even provoking remarks is found throughout . However, like those close to her we cannot presume what's brewing up in her mind though we still can identify her shifting views. The culmination of the novel comes as a surprise when Fu Ping decides something on her own.

Fu Ping connects the story of underclass, working immigrant women with their willingness to freedom of choice and equally captures that forgotten realm of history in all its richness and entirety, transporting readers to feel the streets, rivers, sentiments and lives of those who lived then. Reading this piece from the introduction once again, one realizes the essence of the text: In the chaotic changing of times, normal life remains unchanged, and in normalcy lies a simple harmony, arranged based on the reasonable needs of human nature, producing strength for generations to carry on.

Author: Wang Anyi
Translator: Howard Goldblatt
Page Count: 296pp
Price: $18

Photo Credit: http://www.womenofchina.cn/womenofchina/html0/people/writers/9/394-1.htm
Review Copy Courtesy: Columbia University Press

Saturday, March 23, 2019

Coming Soon...

The Chilli Bean Paste Clan
by Yan Ge
Translated from the Chinese by Nicky Harman


The Seekers - A Quest to the Questions

The Seekers is a one-of-a-kind story collection by Gautamiputra Kamble. Originally published in Marathi in 2004, the collection is translat...