Nostalgia Picture Book cover

Nostalgia Picture Book

Rating 3.0
Word count
117K words
Chapters
79
ISBN
9787548443957

Tags

Summary

This collection is ethereal and spare in style, its language rhythmic and varied, devoted to rendering the hometown's mist, rain, scenery and people. It interprets the beauty of nostalgia and stands as a model of regional and folkloric prose.

"Curved little tiles, palm-sized, form rows of ridges. In the grooves lie more little tiles, slanting down; the rain splashing all around leaps joyfully on the ridges, forming a thin haze." The writing is masterly, much in the manner of Wang Zengqi. The prose moves like wind over water, ripples gently spreading, naturally voicing the heartfelt cry "We are all children of our hometown" and "Who is not a child of their hometown?" — reading it sets the spirit wandering and leaves it wounded. Fine similes and exquisite rhetoric appear throughout, steeped in an ineffable attachment to home and a sense of life's vicissitudes, deeply moving.

This book is a project of the twelfth batch of Jiangsu Province's "Key Support Project for Literary Creation and Criticism."

Editor's review

Nostalgia Picture Book is a collection of essays by Chen Shaolong that sketches, in delicate strokes, the scenery and emotional memories of his native place, published by Harbin Publishing House. It is not a picture book in the conventional sense but a literary work that uses words as brushes and emotion as color. Chen Shaolong excels at starting from the minutiae of daily life, recounting the plants, farming, human ties, and changing times of the northern Jiangsu countryside in plain yet vividly visual language, like flowing scrolls of rural life. Amid accelerating urbanization, the book's quiet power offers readers a path of spiritual return home. What it carries is not merely personal nostalgia but an affectionate look back at traditional agrarian civilization and rural ethics, possessing a resonance that transcends time and place. From a literary standpoint, Chen Shaolong's narrative style is calm and restrained, avoiding sentimentality yet revealing depth within ordinariness; it is especially suited as slow reading in an age of fragmented attention, helping readers rebuild connections with the land and tradition. On the whole, this is a work to be savored in quiet, its value lying in awakening sensibilities obscured by modern life rather than offering instant diversion.

Who it's for

A good fit for

  • Readers who prefer regional literature or nostalgic themes
  • Young urban readers eager to learn about rural culture
  • Readers who enjoy plain, delicate, richly visual prose
  • Readers looking for books that ease modern anxiety and offer spiritual comfort

Not a good fit for

  • Readers expecting strong plot conflict or fast-paced narrative
  • Readers with no interest in or familiarity with rural subjects

Reading tips

  1. Read in sections in a quiet setting, associating the text with your own childhood or hometown memories
  2. Try reading some passages aloud to feel the rhythm and visual quality of the language
  3. After reading, consider recording the personal memories or reflections it stirs in you

About the publisher

Harbin Publishing House China · Founded in 1988

Harbin Publishing House is a comprehensive city publisher known for classic works and social fiction. Its "Little Blue Book Classic Works Collection" includes modern literary masterpieces such as Lu Xun's Wandering and A Madman's Diary, and Xiao Hong's The Story of Hulan River; the complete Lu Xun fiction is also in its catalogue. In history, Lü Simian's History of the Two Jin and Northern and Southern Dynasties appears in multiple volumes, while foreign literature and Eastern philosophy are represented by Yukio Mishima's The Temple of the Golden Pavilion and Spring Snow. Its authors include Lu Xun, Xiao Hong, Lü Simian and Yukio Mishima, as well as Yang Xiao, Tong Fan, Dong Haiyan and others. Common categories cover classic works, social fiction, history, foreign literature, Eastern philosophy and essays. Public information is limited, so this profile focuses on the publishing directions reflected in its 500 titles.

Contents

  1. 版权信息
  2. 第一辑 乡愁绘本·像
  3. 胎记
  4. 雀斑
  5. 脐
  6. 智齿
  7. 酒窝
  8. 痔
  9. 粮印
  10. 草霜如墨
  11. 向晚
  12. 涧水蓝
  13. 钤红
  14. 洇
  15. 第二辑 乡愁绘本·声
  16. 耒歌
  17. 新声
  18. 秧歌
  19. 天簌
  20. 唱喜
  21. 吆喝
  22. 歌眠
  23. 学舌
  24. “一响”
  25. 哭丧
  26. 骂街
  27. 铁皮喇叭
  28. 提词
  29. 鼾声
  30. 响信
  31. 第三辑 乡愁绘本·味
  32. 香囊
  33. 油坊
  34. 皂味
  35. 鱼腥
  36. 小味
  37. 腊味
  38. 艾
  39. 牛骚味
  40. 麻屎臭
  41. 麦田里的秘密
  42. “麦”过春天的门槛
  43. 丰收在望
  44. “肿眼泡”
  45. 甜蜜蜜
  46. 第四辑 乡愁绘本·志
  47. 篦子
  48. 门洞子
  49. 薅脸
  50. 油絮子
  51. 小衣
  52. 笆斗亲
  53. 毛头
  54. 磨饭碗
  55. 摸秋
  56. 骂名
  57. 烟三宝
  58. 二碳
  59. 火盆
  60. “白粪”
  61. 滴雨坡
  62. 秧客
  63. “玩命”
  64. 第五辑 乡愁绘本·记
  65. 毛辣子
  66. 雨兆
  67. 脚扛肩膀上走
  68. 钻雨空儿
  69. 丢点
  70. 《天气预报》我妈是铁定了要看
  71. 斗雨
  72. 量雨
  73. 撵
  74. 麦美子
  75. 捉柳花
  76. “小时候”
  77. 找月亮
  78. 家传
  79. 日暮乡关

FAQ

Is this a children's picture book?
No. It is a collection of prose essays; "picture book" in the title is a metaphor for writing as vivid and concrete as painting.
Is the content too personal to resonate with readers?
Although the author starts from personal experience, he strives to explore shared rural emotions and memories, which readily resonate with anyone who has lived in the countryside or feels warmth toward tradition.
Is it suitable as a gift?
It suits friends who love literature or nostalgic themes or who have deep emotional ties to their hometown, especially middle-aged and older readers.

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About the author

陈绍龙 Author

Chen Shaolong is an author about whom limited public information is available. The library currently holds only one work by this author, titled Xiangchou Huiben (A Picture Book of Nostalgia). Judging from the title and its common classification, the book belongs to the category of prose and miscellaneous writings and centers on the theme of nostalgia, recalling hometown, past events, and human ties in a prose style. Nostalgia is a familiar motif in modern and contemporary Chinese prose, and authors often turn personal experience into widely shared feeling through concrete scenes of daily life, local details, and memory. The title suggests that the work may combine written description with visual presentation, offering a more direct reading experience alongside the prose narrative. Because no clear records exist regarding the author's biography, nationality, dates of birth and death, or English name, this introduction makes no speculation about his life and merely outlines the thematic direction and stylistic features of the surviving work for readers' reference.

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