The Seventh Day cover

The Seventh Day

Rating 3.5
Word count
130K words
Chapters
7
Series
Yu Hua's novel following Brothers, published by New Star Press in June 2013, about 130,000 characters. It opens with an absurd scene: "As the thick fog spread, I walked out of my rented room... The place I was going was called the Funeral Parlor. That is its name now; in the past it was called the Crematorium." The narrator, Yang Fei, is already dead; he has been notified to reach the funeral parlor before nine in the morning, with his cremation scheduled for nine-thirty. Structured around the Chinese folk custom of the "first seventh" mourning period, the novel uses seven chapters, "Day One" through "Day Seven," to recount Yang Fei's wanderings and encounters in the seven days after death. At the funeral parlor he sees that even after death there is a VIP section and an ordinary section, imported furnaces and domestic ones; while wandering he meets his ex-wife Li Qing and recalls their acquaintance, marriage and separation over poverty and desire; he recalls how he was picked up from between the rails and raised by Yang Jinbiao, a railway switchman, and how his adoptive father quietly left so as not to burden him and died far from home; he also meets Liu Mei and Wu Chao, young people struggling at the bottom of city life, and all manner of people who died from forced demolition, medical accidents and wrongful convictions. All these souls with no graves to be buried in finally gather in "the place with no place to bury the dead"—a realm without rich or poor, high or low, where people love one another. Yu Hua interweaves journalistic material with Kafkaesque absurdity, compressing the absurdity, coldness and pain of contemporary society into seven days, while leaving room in this "book of the dead" for warmth and redemption.
ISBN
9787513312103

Tags

Summary

The Seventh Day is a novel by Yu Hua following his earlier work Brothers, published by New Star Press in June 2013 and running to around 130,000 Chinese characters. It opens with an absurd premise: "As the thick fog closed in, I stepped out of my rented room... The place I was heading to was called the crematorium—that was its current name; in the past it had been called the funeral parlor." The narrator, Yang Fei, is already dead. He has been notified to report to the crematorium before nine in the morning, with his cremation scheduled for nine-thirty. Structured around the Chinese mourning custom of "the first seventh," the novel unfolds across seven chapters, "Day One" through "Day Seven," chronicling Yang Fei's wanderings and encounters in the seven days after death. At the crematorium, he sees that even in death there are VIP sections and ordinary sections, imported furnaces and domestic ones. Along the way, he is reunited with his ex-wife Li Qing, recalling how they met, married, and were driven apart by poverty and desire. He revisits his own origins—how he was found as an infant between the rails by Yang Jinbiao, a railway switchman, and raised by him—and how his adoptive father quietly slipped away so as not to be a burden, dying far from home. He also meets Liu Mei, known as "Mouse Girl," Wu Chao, and other young people struggling at the bottom of city life, along with a host of others who died from forced demolitions, medical malpractice, and wrongful convictions. All these souls with no graves to call their own ultimately gather in "the land of no burial"—a place without wealth or rank, where people love and care for one another. Blending journalistic material from real life with a Kafkaesque absurdity, Yu Hua compresses the absurdity, indifference, and pain of contemporary society into seven days, while leaving room in this "book of the dead" for warmth and the possibility of redemption.

Editor's review

余华曾说,《第七天》是他“距离现实最近的一次写作”。与《活着》回望历史不同,这本书正面撞向当下:殡仪馆的等级、城市底层的蜗居、强拆、医疗丑闻、网络暴力,都被他塞进一个死者七日的行程里。形式上它是荒诞的——一个鬼魂在城市里走来走去,去殡仪馆排队火化;内里却是极实的,几乎每一桩死事都能在新闻里找到影子。争议也由此而来:有读者嫌它“太贴新闻”,语言白得近乎直给;但也有评论者认为,正是这种毫不修饰的白话,让荒诞与惨烈不再有缓冲地带。值得留意的是,小说的结构取自中国人的“头七”习俗,七章如七日守灵,读来有一种缓慢下沉的节奏。而结尾那片“死无葬身之地”,是全书最温柔也最锋利的想象:人间不给他们的,死后他们自己造了一个。若你想看一个作家如何用鬼魂的眼睛打量这个时代,这本书值得一读。

Who it's for

A good fit for

  • 读过《活着》《许三观卖血记》,想了解余华后期创作的读者
  • 关注当代中国社会现实题材小说的读者
  • 对亡灵叙事、荒诞派手法感兴趣的文学爱好者
  • 需要在课堂或读书会上讨论当代中文长篇的师生

Not a good fit for

  • 期待轻松阅读、想避开死亡与苦难题材的读者
  • 偏好情节精巧、叙事结构复杂烧脑小说的读者
  • 对新闻式直白语言接受度较低、偏爱精致文体的读者

Reading tips

  1. 先留意“第一天”里殡仪馆的细节,那是全书荒诞与现实对照的缩影
  2. 把七章当作七次守灵来读,每读完一天稍作停顿,梳理当天出现的亡魂
  3. 可结合余华关于“我写下的是我们的生活”的访谈来理解其创作意图
  4. 读完后回看“死无葬身之地”的段落,体会它与前面现实描写的反差

About the publisher

New Star Press China · Founded in 1989

New Star Press focuses on classic works, mystery and detective fiction, science fiction, history, foreign literature and art, and its 602 titles in the library show a balance between popular reading and humanistic depth. Representative books include The Complete Works of Shakespeare: Illustrated Collector's Edition, And Then There Were None, Murder on the Orient Express, The Player of Games, Local Government in Qing China, A Good Man Is Hard to Find and A Collection of Fine Ukiyo-e Prints, spanning classic literature, detective fiction, science fiction, local history and visual art. Its authors and contributors include William Shakespeare, Agatha Christie and Iain M. Banks, as well as translators such as Zhu Shenghao and Su Fuzhong and illustrators such as John Gilbert and George Cruikshank. Known for the detective series Midnight Library and for social-science and humanities titles, the press emphasizes edition design and reading experience; public information is limited, so this profile highlights the publishing features reflected in the library's books.

Contents

  1. Day One
  2. Day Two
  3. Day Three
  4. Day Four
  5. Day Five
  6. Day Six
  7. Day Seven

FAQ

这本书和《活着》相比,风格有什么不同?
《活着》回望历史,写一个人在时代变迁中失去一切;《第七天》则正面切入当下,用亡魂视角把强拆、医疗事故、网络暴力等现实事件编织进七天叙事。余华自述这是他与现实最近的一次写作,语言更白,荒诞感也更外露。
“第七天”这个书名有什么含义?
书名有多重呼应。扉页引《旧约·创世记》“到第七日,神造物的工已经完毕……安息了”;同时中国民间有人死后“头七”的丧俗,小说正好以七章写一个死者死后七日的见闻与归宿。
没读过余华其他作品,可以直接读这本吗?
可以。本书独立成篇,不依赖前作。不过它延续了余华一贯关注小人物与苦难的写作取向,先读《活着》或《许三观卖血记》,会更容易看出这本书在语言和题材上的变化。
这本书的豆瓣评分为什么不算高?
本书2013年出版后评价两极,豆瓣评分约在7.1分上下。争议主要集中在语言直白、部分情节与新闻事件贴得过近;也有读者认为这种白描正是其力量所在。评分可作参考,不必当作唯一标准。

Comments

Find this book

This site is an index: you start “Search all sources” in your browser, and the entries it lists all point to third-party sites; please judge their availability yourself.

About the author

Yu Hua Author · Chinese · 1960

Yu Hua, born in Hangzhou, Zhejiang Province, in 1960, with ancestral roots in Gaotang, Shandong, is a contemporary Chinese writer and a representative figure of the avant-garde fiction movement. He began publishing fiction in 1983. His work spans novels, novellas and short stories, and prose essays. The library holds eleven of his titles, including a five-volume collection of novellas and short stories, Leaving Home at Eighteen, The Mistake by the River, Woman's Victory, and the essay collection I Only Know What Man Is. His fiction often focuses on ordinary people struggling under the pressures of reality and history; the narration is calm and restrained, the language spare, and he frequently reveals human resilience and warmth between the absurd and the everyday. His essays draw on personal experience to discuss literature, life and observation in a plain, reflective style. His major works include To Live, Chronicle of a Blood Merchant, Cries in the Drizzle, Brothers, The Seventh Day and Wen City. His writing has been translated into more than twenty languages, and he has received Italy's Grinzane Cavour Prize and the French Ordre des Arts et des Lettres.

More by the same author

Top rated in the same category