Лучшие книги Гао Синцзяня

the worldwide bestselling novel by the winner of the 2000 Nobel Prize for Literature. Soul Mountain is a picaresque novel of immense wisdom and sparse beauty, bursting with knowledge and experience and portraying a culture as vast and fascinating as the history of humankind itself. In China in the early eighties, the book's central character embarks on a cross-country journey in search of the mysterious 'Mountain'. Along the way he collects stories, lovers, spiritual wisdom and undergoes myriad experiences that are sometimes violent, sometimes frightening, sometimes funny, but always enriching. He researches the origins of humankind and Chinese culture, and explores philosophical issues such as truth, knowledge and how one's childhood affects later life. At the end of the book, he realises that all along what was important was not finding the elusive Soul Mountain, but rather the journey itself. Part love story, part fable, part philosophical treatise and part travel journal, this is one of the most challenging, rewarding and inventive works of fiction since Ulysses.

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

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.

When Gao Xingjian won the Nobel Prize for Literature in 2000, he became the only Chinese writer to achieve such international acclaim. The Chinese University Press is the first publisher of his work in the English language. Indeed, The Other Shore is one of the few works by the author available in English today. The Other Shore: Plays by Gao Xingjian contains five of Gao's most recent works:The Other Shore (1986), Between Life and Death (1991), Dialogue and Rebuttal (1992), Nocturnal Wanderer (1993), and Weekend Quartet (1995). With original imagery and in beautiful language, these plays illuminate the realities of life, death, sex, loneliness, and exile. The plays also show the dramatist's idea of the tripartite actor, a process by which the actor neutralizes himself and achieves a disinterested observation of his self in performance. An introduction by the translator describes the dramatist and his view on drama.

When Gao Xingjian was crowned Nobel Laureate in 2000, it was the first time in the hundred-year history of the Nobel Prize that this honor had been awarded to an author for a body of work written in Chinese. The same year, American readers embraced Mabel Lee’s translation of Gao’s lyrical and autobiographical novel Soul Mountain, making it a national bestseller. Gao’s plays, novels, and short fiction have won the Chinese expatriate an international following and a place among the world’s greatest living writers.

The bold and extraordinary essays in this volume—all beautifully translated by sinologist Mabel Lee—include Gao's Nobel Lecture (“The Case for Literature”), “Literature as Testimony: The Search for Truth,” “Cold Literature,” “Literature and Metaphysics: About Soul Mountain,” and “The Necessity of Loneliness,” as well as other essays. These essays embody an argument for literature as a universal human endeavor rather than one defined and limited by national boundaries. Gao believes in the need for the writer to stand apart from collective movements, regardless of whether these are engineered by political parties or driven by economic or other forces not related to literature. This collection presents Gao's innovative ideas on aesthetics, and it constitutes the very kernel of his thinking on literary creation.