Гао Синцзянь - все книги по циклам и сериям | Книги по порядку

This collection of over 60 ink paintings by Gao Xingjian represents his philosophy and painting style. Gao believes that the world cannot be explained and that artistic creation offers the only way to escape into meaning. The images convey these aspects of an inexplicable world-the black-and-white inner world that underlies the complexity of human existence. Drawn in traditional Chinese black ink on rice paper, each painting is characterized by a spontaneous overflow of the ink, creating metaphorical abstract images.

Presents a collection of more than one hundred of the author's paintings, created from India ink on rice paper, that span his artistic career from the 1960s to the present day.

From China's first-ever winner of the Nobel Prize for Literature comes an exquisite book of fictions, none of which has ever been published before in English.A young couple on honeymoon visit a beautiful temple up in the mountains, and spend the day intoxicated by the tranquillity of the setting; a swimmer is paralysed by a sudden cramp and finds himself stranded far out to sea on a cold autumn day; a man reminisces about his beloved grandfather, who used to make his own fishing rods from lengths of crooked bamboo straightened over a fire…Blending the crisp immediacy of the present moment with the soft afterglow of memory and nostalgia, these stories hum with simplicity and wisdom – and will delight anyone who loved Gao's bestselling novels, Soul Mountain and One Man's Bible.

В пьесе есть элемент абсурда: все действие происходит в ожидании автобуса, который так и не приходит. Но это не создание абсолютно новой реальности в стиле С.Бекетта, хотя с драматургией этого драматурга, в особенности с его «В ожидании Годо», часто сравнивают «Автобусную остановку», да и сам Гао Синцзянь говорит о влиянии на него его предшественника — также нобелевского лауреата. Это скорее гипербола, более близкая гоголевскому «Ревизору». Если «Автобусная остановка» и абсурд, то это абсурд, происходящий на вполне конкретном общественном фоне социалистического Китая начала 80-х годов ХХ века (что придает пьесе уникальный колорит) и имеющий значительное социальное содержание. Именно этого содержания, а вовсе не абсурда, и опасались китайские коммунистические власти, запретившие постановку, и именно оно делает «Автобусную остановку» необыкновенно близкой нам, жителям посткоммунистического пространства.

Like another Nobel Prize winner, Aleksandr Solzhenitsyn, Gao Xingjian, China's leading novelist and playwright, mixes autobiographical details with fictional techniques to create indelible portraits of daily life under a harsh, dehumanizing political regime. In One Man's Bible, Gao gives us a profound meditation on a life marked by personal and political trauma.
The nameless narrator of the novel -- which begins in contemporary Hong Kong -- is clearly Gao himself. In the intimate aftermath of a sexual encounter, Gao revisits the central moments of his life, traveling, in memory, to the Beijing of his childhood, a childhood scarred at the age of ten by his mother's accidental drowning. From emblematic moments like this, Gao's memory ranges across time and space, gradually illuminating the nature of life before, during, and after China's disastrous Cultural Revolution.
Gao Xingjian is one of the most eloquent, authoritative voices of 20th-century China, and his personal, political, and aesthetic musings shine a light on a world that very few Westerners have ever truly understood. Ultimately, through his honesty and his artistry, Gao locates the common ground connecting us all in this memorable, universal novel about "the perplexities of being human."
Bill Sheehan