Oh, People cover

Oh, People

Rating 4.2
Word count
111K words
Chapters
88
ISBN
9787547753897

Tags

Summary

Ren Na (People, Ah) is Mo Yan's first new short-story collection in six years, gathering 81 taut, compact pieces. The stories are brief yet linger in the mind; the prose is spare, its force immense. With the clarity and compassion of a writer who has observed the world for half a lifetime, Mo Yan distills the myriad facets of human life and the subtle recesses of human nature into a few hundred characters, capturing the complexity and purity, the warmth and coldness, the absurdity and resilience deep within the human heart. He does not fill out the stories completely, leaving only the tip of the iceberg; he does not spell out every lesson, leaving readers boundless room for imagination. This work is both another breakthrough in Mo Yan's own writing boundaries and a literary master's plain yet profound inquiry into and reflection on the question of "the human" after weathering countless storms and witnessing the vicissitudes of life: people, ah—the answers of the world are hidden within them all along.

Editor's review

After his long novels, Mo Yan turns back to the garden of very short fiction. Each of these eighty-odd stories runs only a few hundred characters, yet like tightly compressed pieces of amber they seal within them the myriad forms of human life and the subtle recesses of human nature. What this book does most masterfully is its refusal to "fill everything in": the stories often stop short at the crucial moment, leaving behind the aftertaste of an iceberg's tip and forcing readers to enter that unspoken sea themselves. The prose is spare, yet the force is heavy; compassion and irony alternate, the absurd and the resilient illuminate each other, and reading it brings a smile of recognition at one moment and a tightening of the heart the next. It suits being opened at random in spare moments, and equally suits being read several pieces at a stretch on a quiet night, letting the emotional weight accumulate across the short chapters. For readers familiar with the grand sweep of Mo Yan's long novels, this book is a surprise in reverse—it turns out that saying things with the utmost economy brings one closer to the complex truth of the proposition that is "the human being."

Who it's for

A good fit for

  • Literary readers who enjoy short stories and are used to fragmentary reading
  • Those interested in Mo Yan's work who want to understand his new writerly turn
  • Readers who wish to savor the subtle recesses of human nature and the absurdity of worldly affairs in short pieces
  • Aspiring writers who want to study minimalist narrative and the art of leaving blanks

Not a good fit for

  • Readers who prefer full-length, complete stories and need clear endings
  • Readers expecting conventional plot development and character arcs
  • Those unaccustomed to blanks and open endings, who tend to feel puzzled after reading

Reading tips

  1. Read three to five pieces at a time, leaving room for aftertaste and pauses; there is no need to finish it in one sitting.
  2. Keep a pen at hand and jot down your first reaction beside the pieces that move you, then revisit these notes after finishing.
  3. You can regroup and reread by theme, observing how Mo Yan completes a cross-section of human nature within a few hundred characters.
  4. After finishing, pick your favorite piece and try to retell in your own words the part that was left unwritten.

About the publisher

Beijing Daily Press China · Founded in 1981

Beijing Daily Press takes world history, historical reading and foreign literary translations as important publishing directions, alongside science fiction and prose. Its catalogue includes Edward Gibbon's unabridged The History of the Decline and Fall of the Roman Empire, Gu Cheng's Southern Ming History and his works on Ming history, reflecting a balance between general and dynastic history; in literature there are Fu Lei's translations of Balzac and of world classics, as well as science fiction and prose such as The Universe Omnipotent Detective Agency, A Canticle for Leibowitz and The Peregrine, with authors ranging from Gibbon, Gu Cheng and Balzac to Fu Lei, Romain Rolland and Douglas Adams. Building on current affairs, history and culture, Beijing-flavoured culture and children's books, the press combines classic translation with original historical writing, emphasising complete editions and translation quality. Public information is limited, so other details are omitted.

Contents

  1. 版权信息
  2. 前言 “刷”短小说
  3. 第一章 一人一种气味,正如一人一个模样。
  4. 卖驴技
  5. 群众演员
  6. 实诚
  7. 老汤锅
  8. 坏种
  9. 盗车铃
  10. 正义
  11. 手贱者必读
  12. 一句好话重千斤
  13. 塑像无言
  14. 谁有傲骨
  15. 弃婴
  16. 我不会放过你
  17. 数钱
  18. 尴尬
  19. 不赞美胡同的人
  20. 人味
  21. 喜鹊嘉宾
  22. 大师的写诗软件
  23. “可爱”的骗子
  24. 第二章 我们必须承认人与人之间差异巨大, 下面的故事才能成立。
  25. 葱管
  26. 锦衣
  27. 仙桃
  28. 诗家
  29. 讼师
  30. “低”字妙用
  31. 周官好眼力
  32. 皇帝与鞋匠
  33. 御医不是吹的
  34. 九口茶
  35. 肚福
  36. 读书存疑
  37. 余华的祖先
  38. 第三章 秤砣小,坠千斤。胡椒小,辣人心。
  39. 真牛
  40. 治愈
  41. 虎疤
  42. 龙马不能无鬃
  43. 猛牛死于懵懂
  44. 黑猫
  45. 鸟虱
  46. 人参王与避风丹
  47. 狗混子
  48. 天雷轰谁
  49. 牛黄差点引出官司
  50. 第四章 千人千思想,万人万模样。
  51. 踩鱼
  52. 我的褂子啊
  53. 赤膊上讲堂
  54. 生蹼的同学
  55. 鸟事
  56. 马脚穿鞋
  57. 犟种
  58. 爱马者
  59. 歪才
  60. 神鞭陈文豹
  61. 陈五这辈子不容易
  62. 娄侯的儿子
  63. 比窦娥还冤
  64. 老邓之妻
  65. 拉兹之歌
  66. 琴童
  67. 民间书法家
  68. 技良人
  69. 挖藕老人
  70. 呼啸
  71. 杜解元
  72. 第五章 我还是我,也不是我。
  73. 深巷
  74. 神迹
  75. 怪梦
  76. 石头
  77. 墙之梦
  78. 智狗
  79. 虎从天降
  80. 木脸人
  81. 一个吞剑者的自述
  82. 蛇蜕
  83. 其实不是小品
  84. 树狗碑
  85. 真假将军
  86. 扮孕笔记
  87. 最臭的鱼
  88. 人生的根本意义

FAQ

Each piece is so short—will reading it feel unsatisfying?
The shortness is precisely the design of this book. Mo Yan deliberately does not fill the stories in, leaving only the tip of the iceberg; the aftertaste is for the reader to complete. If you come with the expectations of a long novel, you may find it not quite satisfying; but if you take it as a series of brief yet powerful inquiries, the few words will linger long after you finish.
I haven't read any of Mo Yan's other works—can I read this one directly?
Yes. This is a collection of short pieces, each independent and not reliant on prior works for background. It shows Mo Yan's brushwork after years of observing the world in his later years: the language is concise and the barrier to entry is low, making it a suitable entry point for getting to know his short-form style; reading his long novels afterward will give you a different experience.
Is this book suitable as a gift for an elder?
Fairly suitable. The book mostly depicts worldly affairs and the warmth and coldness of human nature, with a lucid tone tinged with compassion, which elders will easily resonate with. However, some pieces contain absurdity and irony; if the recipient prefers warm, happy-ending stories, you may want to explain a little beforehand.

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About the author

Mo Yan Author · Chinese · 1955

Mo Yan, whose original name is Guan Moye, was born on February 17, 1955, in Gaomi, Shandong, and is a major contemporary Chinese writer. He rose to fame in the 1980s with rural works such as Red Sorghum and Transparent Carrot, and his writing often blends magical realism with folk narrative traditions, focusing on rural society, historical memory, and the lives of ordinary people. His major works include Sandalwood Death, Big Breasts and Wide Hips, Frog, The Republic of Wine, Life and Death Are Wearing Me Out, Red Sorghum, and The Garlic Ballads. His works are commonly classified as social fiction, folk literature, and classics, and he has also written essays and miscellaneous pieces. In 2011 he won the Mao Dun Literature Prize for Frog, and in 2012 he received the Nobel Prize in Literature, becoming the first Chinese national to win that award.

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