The Ex-Convict

Jun'ichirō Tanizaki / Tian Han / Li ShuquanMar 2025

3.7

Word count: 16K words
Chapters: 22

Summary

Jun'ichirō Tanizaki was the leading figure of Japan's "aesthetic school" of literature, combining the aesthetic logic of diabolism—"beauty in ugliness"—with aesthetic romanticism, striking the literary world like a stone hurled into still water. His creative creed that "literary art should not be constrained by life's purposes or morality" directly influenced Chinese writers such as Yu Dafu, Zhou Zuoren, Ouyang Yuqian and Guo Moruo. The dramatist Tian Han was an even greater admirer, once admitting: "I have long been influenced by Jun'ichirō Tanizaki and share his 'addiction to scabs' for abnormal psychologies such as sadism and masochism." His translations of Tanizaki's works under the pen name "Li Shuquan" were the most important translation achievements in the Chinese literary world of the time, and China's "Tanizaki boom" began with these translations.

Editor's review

This book likewise builds on the background of Tian Han's translation and introduction of Tanizaki Jun'ichirō's works under the pen name "Li Shuquan"; its significance lies in bringing the aesthetic logic of Japanese aestheticism—"finding beauty in ugliness"—into the Chinese reading context. Sources indicate that such translations were the most important translation achievements in the Chinese literary world of the time, that the Chinese "Tanizaki Jun'ichirō craze" began with them, and that they influenced Chinese writers such as Yu Dafu, Zhou Zuoren, Ouyang Yuqian, and Guo Moruo. The point of reading this book is not to follow a plot summary but to experience how the translator handled Tanizaki-style psychological description and aesthetic transgression within an older translated idiom, as well as the influence Tian Han described himself as having received from an interest in "sadism" and "masochism." It is suitable as a close-reading text for reception history and translation studies in modern literature, and also for readers interested in the language of Republican-era translations. A caution: the book involves aestheticism and abnormal psychology, and readers should maintain aesthetic distance and historical awareness.

Who it's for

A good fit for

Modern literature researchers focused on early Chinese translations and the reception history of Tanizaki's works
Readers wanting to understand Tian Han's translation activities under the pen name "Li Shuquan"
Readers interested in Republican-era translation style and aestheticist taste
Literature students able to read abnormal-psychology depictions with historical awareness

Not a good fit for

Ordinary readers who prefer fluent contemporary translations and are unused to old translation style
Those uncomfortable with aestheticism and abnormal-psychology themes and wishing to avoid them
Casual readers who want only plot summaries and won't examine translation background

Reading tips

First understand the background of Tian Han's translations of Tanizaki under the pen name "Li Shuquan," then enter the main text to reduce misreading.
Mark wording in the old translation that differs from modern translations, and afterward compile a small comparative glossary of translation terms.
In light of the influenced writers mentioned in the sources, such as Yu Dafu and Guo Moruo, consider the paths by which aestheticism spread in China.
Slow down for passages of psychological description, distinguishing the author's aesthetic experiment from real-world moral judgment.

版权信息
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十五
十六
十七
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十九
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二十一

FAQ

Are this book and "The Human Face Tumor" by the same author and translator?

The sources show both books share the authors Jun'ichirō Tanizaki, Tian Han, and Li Shuquan, were published in the same year, 2025, and share the same translation background. The sources do not specify differences in contents; readers should rely on the actual table of contents and should not infer the relationship between the pieces themselves.

Why is Tian Han's translation important in the Chinese literary world?

The sources say Tanizaki's works translated by Tian Han under the pen name "Li Shuquan" were among the most important translation achievements in the Chinese literary world of the time, and that China's "Tanizaki boom" began precisely with these translations. Their importance lies mainly in the history of translation and reception.

The book involves abnormal psychology—what should I keep in mind while reading?

The sources mention Tian Han's self-described "fondness for scabs" regarding abnormal psychology such as sadism and masochism, and his influence from Tanizaki. Readers may examine this as an aestheticist and translation-history phenomenon without equating the book's depictions with real-world codes of conduct.

Is this book suitable for understanding Tanizaki's entire body of work?

No. The sources only indicate that it is one of the fruits of Tian Han's translations of Tanizaki under the pen name "Li Shuquan," and do not cover all of Tanizaki's work. To understand Tanizaki systematically, pair it with his representative works and literary-historical materials; this book is better as an entry point into translation and reception history.

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About the author

Jun'ichirō Tanizaki Author · Japanese · 1886–1965

Jun'ichirō Tanizaki was a modern Japanese novelist and a leading representative of aestheticist literature. Born in 1886 into a rice-merchant family in Tokyo, he studied in the Japanese literature department of Tokyo Imperial University before dropping out. In 1910 he made his name with the story "The Tattooer," which brought him attention in literary circles. After the Great Kanto Earthquake, he moved to the Kansai region, and his focus gradually shifted toward classical aesthetics. He left important works in both fiction and prose, including "The Makioka Sisters," "Naomi," "In Praise of Shadows," and "A Portrait of Shunkin." He also translated "The Tale of Genji" into modern Japanese, helping to spread the classical work. He died of kidney disease in 1965. His writing is delicate and refined, and he had a profound influence on modern Japanese aestheticist literature.

Tian Han Author · Chinese · 1898–1968

Tian Han (1898–1968), a native of Changsha, Hunan, courtesy name Shouchang, was a founder of modern Chinese drama, a playwright, and a poet. He studied in Japan in his early years, helped organize the Creation Society, and founded the South China Society. He wrote the lyrics to the March of the Volunteers, which later became the national anthem of the People's Republic of China. His plays such as Guan Hanqing and traditional operas including The White Snake and Xie Yaohuan have had a profound influence. The seven works collected here range from plays such as Xing Guniang, Before Dawn, Qilin, and Returning South to pieces like Between God and Man, The Repeat Offender, and The Human Scab, covering varied themes that often engage with social reality and human circumstance, with a style that is both lyrical and critical. These works appear under categories such as prose and miscellaneous writings, classic works, and foreign literature, showing that his writing spans drama, prose, and translation, in a plain yet deeply moving style.

Li Shuquan Author · Chinese · 1898–1968

Li Shuquan (1898–1968), whose real name was Tian Han, was an important playwright in the history of modern Chinese drama and the lyricist of the March of the Volunteers. Under the pen name Li Shuquan, he translated and introduced foreign literature, focusing on the works of the Japanese writer Jun'ichirō Tanizaki, including The Kirin, Between Gods and Men, The Face Tumor, and The Repeat Offender. He was one of the early Chinese advocates of Tanizaki's literature. At the same time, he was a prolific playwright, producing more than sixty plays, including Guan Hanqing and Song of Resurrection, with wide-ranging subjects and a strong sense of both literary craft and the stage. As public information about his activities under this pen name is limited, his translations and creative work are known mainly through these texts, which left their mark on the dissemination of modern Chinese literature and drama.