Dark Night
Tags
Summary
Huang Jinshu actively employs metafiction, irony, and collage to converse with the deep-seated maladies of history, staging the predicament of Mahua literature and Malaysian Chinese through a kind of "enchantment."
Behind each piece of dark prose lies the author's repair and reconstruction of the gaps in communal memory, as well as his reflection on and inquiry into the collective fate of the South Seas Chinese.
Editor's review
Who it's for
A good fit for
- Serious readers interested in Mahua literature and the history of Southeast Asian Chinese
- Literary enthusiasts who like to explore the boundaries of prose and appreciate a cold, magical-realist style
- Readers who hope to step outside their comfort zone and experience a different aesthetic system in Chinese-language literature
- Scholars or students studying diaspora literature and postcolonial writing
Not a good fit for
- Readers seeking light entertainment or fast-paced plotting
- Readers sensitive to a gloomy, humid textual atmosphere carrying images of death
Reading tips
- It is recommended to read in a relatively quiet environment where you can concentrate, so as to enter the unique atmosphere the text creates.
- There is no need to finish it in one sitting; you can digest it story by story, pausing briefly after each to savor its images and emotions.
- While reading, pay attention to how the author uses South Seas elements such as rainforest, rubber plantations, and insects to build a symbolic system, and to the historical metaphors contained therein.
About the publisher
Shanghai Literature and Art Publishing House takes modern and contemporary Chinese literature and folk literature as important publishing directions, while also covering social novels, classic works, and prose and miscellaneous writings, and has long introduced foreign literature and philosophical works. Its books include masterpieces such as Lao She's Teahouse and Camel Xiangzi, Lu Xun's Call to Arms and Wandering and Dawn Blossoms Plucked at Dusk, and Xiao Hong's Tales of Hulan River, as well as translations such as Gilles Deleuze's Nietzsche and Philosophy, Erich Maria Remarque's All Quiet on the Western Front, and The Pillars of the Earth trilogy. Its authors include Lao She, Lu Xun, Xiao Hong, Zhou Ying, Liu Yuyu, and Jiang Yi, reflecting a publishing character that balances original literature, academic translation, and general reading.
Contents
- 版权信息
- 我们的南洋摩罗——重读黄锦树的《乌暗暝》
- 胶林深处的暗夜——《乌暗暝》新版序
- 落雨的小镇
- 错误
- 死在南方
- 梦与猪与黎明
- 撤退
- 郑增寿
- 少女病
- 伤逝
- 新柳
- M的失踪
- 大卷宗
- 说故事者
- 色魇
- 胶林深处
- 山俎
- 血崩
- 貘
- 大水
- 非法移民
- 乌暗暝
- 鱼骸
- 再生产的恐怖主义 (初版《梦与猪与黎明》序)
- 非写不可的理由 (初版《乌暗暝》序)
- 文学史的附魔纪录——评黄锦树短篇小说集《梦与猪与黎明》
- 《乌暗暝》评介
- 再见普罗米修斯——评黄锦树《乌暗暝》
FAQ
Are the stories in this book a continuous novel or an independent short-story collection?
What is Huang Jinshu's writing style like?
Does reading this book require prior knowledge of Mahua literature?
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About the author
Huang Jinshu is a writer with a distinctive voice in Chinese-language literature. Public information about him is limited, and details such as his nationality and dates of birth and death remain unclear. Judging from the two representative works held in the collection, Wu'an Ming and Rain, his writing is often classified under folk literature and miscellaneous prose, moving between fictional narrative and personal essay. His prose tends to carry a strong sense of place and a damp, southern atmosphere, with subjects often drawn from rubber plantations, rainforests, old personal histories, and the shadowy corners of memory. His narration is restrained yet dense with imagery, and he is skilled at unfolding the weight of fate and the erosion of time through ordinary details. This style, poised between realism and lyricism, gives his work a singular place in contemporary Chinese-language writing and offers readers a distinctive literary entry into Nanyang experience and diasporic memory.