Notes
Introduction
1
Marie Claire Huot,
La petite revolution culturelle
(Aries: Philippe Pic-
quier,
1994).
2
The I Ching, or Book of Changes,
trans. Cary
F.
Baynes, from Richard
Wilhelm's German trans. (Princeton: Princeton University Press,
1950).
The chapter epigraphs come from this book.
1
Literary Experiments
1
Fredric Jameson, "Third-World Literature in the Era of Multinational
Capitalism,"
Social Text 15
(fall
1986): 65-88.
Jameson is too often quoted
as saying that all third-world texts are national allegories, which is out-
right misreading. He said that often, "we" (Americans) read texts from
other cultures (here, I'm expanding on his "third-world") as national
allegories, because we are not within that culture and can only see the
different nationaljcultural references.
2
Ma Yuan, "Xugou," in
Jiegouzhuyi xiaoshuo (Structuralist Novels),
ed. Wu
Liang et al. (Changshun: Shidai wenyi,
1989), 54-105.
Trans.
J.
Q. Sun,
as "Fabrication," in
The Lost Boat,
ed. Henry Zhao (London: Wellsweep,
1993), 101-44·
The quoted passages in the text are from this published
translation, with modifications. (All quotations in this book will refer to
the translation when available and are cited in the body of the text. Un-
less specified, the translations are mine.) The term
xugou
translates as
"fabrication," as well as "fiction," and Ma Yuan obviously plays with this
double meaning. I often prefer the latter, as is the case here.
Wu Liang-who says he found an adequate match in Ma Yuan (Wu also
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