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China's runaway bestseller and winner of the inaugural Man Asian Literary Prize
Published in China in 2004, Wolf Totem has broken all sales records, selling millions of copies (along with millions more on the black market). Part period epic, part fable for modern days, Wolf Totem depicts the dying culture of the Mongols--the ancestors of the Mongol hordes who at one time terrorized the world--and the parallel extinction of the animal they believe to be sacred: the fierce and otherworldly Mongolian wolf. Beautifully translated by Howard Goldblatt, the foremost translator of Chinese fiction, this extraordinary novel is finally available in English.
- Sales Rank: #189102 in Books
- Brand: Jiang, Rong/ Goldblatt, Howard (TRN)
- Published on: 2009-03-31
- Released on: 2009-03-31
- Original language: English
- Number of items: 1
- Dimensions: 8.40" h x 1.60" w x 5.40" l, .95 pounds
- Binding: Paperback
- 544 pages
From Publishers Weekly
A publishing sensation in China, this novel wraps an ecological warning and political indictment around the story of Chen Zhen, a Beijing student sent during the 1960s Cultural Revolution to live as a shepherd among the herdsmen of the Olonbulang, a grassland on the Inner Mongolia steppes. Chen Zhen is fascinated by the herdsmen, descendants of Genghis Khan, and by the grassland's wolves, with whom the herdsmen live in uneasy harmony. When Mao's government orders the mass execution of the wolves to make way for farming collectives run by Chen Zhen's own people, the Han Chinese, he makes for a somewhat passive hero. Except for Bilgee, the wise old herdsman, and Director Bao, the face of the Communist government in the Olonbulang, the novel's secondary characters make little impression. The wolf packs, however, are vividly and beautifully described. As Chen Zhen helplessly witnesses the consequences of the order, he risks the enmity of both the herdsmen and the state officials by capturing a wolf cub and lovingly raising it as his own wolf totem. Jiang Rong writes reverently about life on the steppes in a manner that recalls Farley Mowat's Never Cry Wolf. (Mar.)
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
"An intellectual adventure story. . . . Five hundred bloody and instructive pages later, you just want to stand up and howl."
-Alan Cheuse, San Francisco Chronicle
"[Jiang Rong] is on the way to becoming one of the most celebrated and controversial Chinese novelists in the world."
-The Guardian (London)
"Electrifying. . . . The power of Jiang's prose (and of Howard Goldblatt's excellent translation) is evident. . . . This semi-autographical novel is a literary triumph."
-National Geographic Traveler (Book of the Month)
About the Author
Jiang Rong was born in Jiangsu in 1946. His father’s job saw the family move to Beijing in 1957, and Jiang entered the Central Academy of Fine Art in 1967. His education cut short by events in China, the twenty-one-year-old Jiang volunteered to work in Inner Mongolia’s East Ujimqin Banner in 1967, where he lived and labored with the native nomads for the next eleven years of his life. He took with him two cases filled with Chinese translations of Western literary classics, and spent years immersed in personal studies of Mongolian history, culture, and tradition. A growing fascination for the mythologies surrounding the wolves of the grasslands inspired him to learn all he could about them and he adopted and raised an orphaned wolf cub. In 1978 he returned to Beijing, continuing his education at the Chinese Academy of Social Sciences one year later. Jiang worked as an academic until his retirement in 2006. Wolf Totem is a fictional account of life in the 1970s that draws on Jiang’s personal experience of the grasslands of China’s border region.
Most helpful customer reviews
79 of 83 people found the following review helpful.
Powerful Naturalism and an Extraordinary View into China's National Psyche
By Steve Koss
During Mao's Cultural Revolution of the late 1960's, a young college student from Beijing named Lu Jiamin was "sent down" like so many of his fellow classmates to live among and learn from the peasants. In Lu's case, his "down" was actually "up" as he was sent to the far northern planes of Inner Mongolia. Some thirty years later, that young man had become a senior academician back again in Beijing and as well the pseudonymous author as Jiang Rong of a startling (for mainland China) book first published in 2004 under the name "Lang Tuteng." The book became an instant best-seller in China, spawning enormous Internet debate along with pirated copies, unauthorized spin-offs and sequels, and reported a movie version in the works. Recently translated by the venerable Howard Goldblatt and published in English under the name WOLF TOTEM (a direct translation of Lang Tuteng), the book has already been honored as the first-ever recipient of the Man Asian Literary Prize (the Asian equivalent of the Man Booker Prize for English Literature).
Although drawn almost autobiographically from Jiang Rong's personal experiences, WOLF TOTEM is essentially an allegorical novel. Its hero is the author's alter-ego, the young and impressionable "sent down" college student Chen Zhen. Chen and other students are assigned to live with sheepherders and learn their ways. Along the way, he learns about animal husbandry and the customs of a Chinese minority group, hunts wolves, steals a wolf cub from its mother's den in order to raise it, and watches the sudden, unstoppable intrusion of Beijing's destructive bureaucracy into Mongolia's life and lands (as embodied to the point of caricature by the stunningly indifferent Bao Shungui).
Of course, the allegorical aspect of the novel is the proximate cause of its notoriety in China. Jiang Rong makes clear that the aggressive wolves represent historically the warlike nomadic tribes such as the Mongols. They are the meat-eaters, the makers of history, and their spirit has been transferred over time to the West. By contrast, the passive and meek sheep represent the Han Chinese by his estimation - settlers, farmers, vegetable eaters, ruiners of the great grasslands, and the people mortally fearful of wolves. Through Chen Zhen's gradual awakening to Mongolian life and that of wolves, the author questions the spirit and soul of the Han Chinese, the massive majority of mainland Chinese people. In a very real sense, WOLF TOTEM calls into question the Chinese national character. It is this national psyche that has been habitually belabored within China by feelings of powerlessness in the face of the West, from the march of the Eight Powers into Beijing in 1900 to sayings like, "In the West, even the moon is bigger." It is also this national inferiority complex that motivates China's responses to currency devaluation, the Olympics, Tibet, and nearly every other aspect of its present-day relationship to the West.
Jiang Rong clearly poses other awkward questions as well about Chinese government policy. The Chinese steamroll blindly or blithely over Mongolian culture and tradition; even the well-intentioned Chen Zhen violates centuries-old custom of not raising a wolf out of self-centered curiosity. Equally discomfiting, the Han Chinese are portrayed as horrific despoilers of grasslands that have supported nomadic tribal existence for thousands of years. Later scenes in the book portray a virtual Mongolian Eden of rich grassland, pure water, and abundant wildlife callously plundered to destruction by ignorant and avaricious Chinese officials and "settlers." Heart-rending descriptions of Chinese wolf hunting by rifle, mass killing of marmots, and slaughter of swans generate strong emotional feelings of anger and irretrievable loss in the reader. The sense of loss is palpable, particularly as expressed through Chen's "adoptive father" Old Man Bilgee. At times, old Bilgee's powerless horror at unfolding events and inescapable loss was reminiscent of Iron Eyes Cody, the "crying Indian" from the 1970's anti-littering television commercial campaign.
On the plus side, Jiang Rong's book is a wonder of wolf naturalism, a literary work that draws pictures of life on the Mongolian steppe as effectively as a National Geographic photo spread. While not nearly competitive with the literary strengths of Cormac McCarthy, some of the "wolf as hunter" and "wolf as hunted" scenes are reminiscent of McCarthy's extraordinary opening scene of man versus wolf in THE CROSSING. In fact, the writing at times waxes so lyrical over wolves and their seemingly extraordinary hunting skills as to border on unbelievable, totemic in the most pantheistically religious sense of that word. The author's intimate descriptions of nomadic herding life in the harsh Mongolian lands are equally powerful. For a mainland Chinese audience perhaps not yet accustomed to the message of ecological systems and symbiosis, Jiang Rong's exposition of the living relationships among herdmen, sheep, horses, wolves, gazelle, marmots, and even field mice must also seem positively revelatory.
On the minus side, WOLF TOTEM's literary merits are somewhat less stratospheric. As the main character, Chen Zhen lacks the necessary internal depth that would enable the reader truly to empathize with him. We never learn anything about his pre-Mongolian life or background, his family, or his feelings about having his education disrupted by Mao's notions of re-education. The wolf cub Chen adopts and hopes to raise to adulthood is in many ways a more empathetic figure, as are the old wolf-hunting dogs Erland and Yellow. Jiang Rong's writing is unnecessarily polemical and too often strident if not didactic. A twenty-page Epilogue taking place as a return visit some thirty years later does not fit the main text stylistically and only detracts by overexposition from the story Jiang Rong has already told.
WOLF TOTEM adds yet another to the list of recent artistic works, mostly cinematic, that idealize Mongolia as a sort of lost Eden or lost innocence (see for example, the movies THE STORY OF THE WEEPING CAMEL, MONGOLIAN PING PONG, THE CAVE OF THE YELLOW DOG, and even the current release of TUYA'S MARRIAGE) This is a wondrously entertaining story and remarkable if only for having originated out of mainland China. Read this book for its fascinating descriptions of wolf behavior and nomadic life and also for the light of self-examination and self-doubt it shines on a growing national power.
0 of 0 people found the following review helpful.
5 Stars
By Chaz
I recommend this book. Old Chinese tail.
44 of 57 people found the following review helpful.
Worth the information about China and its ethnic miniorites
By Lloyd Lofthouse
The publisher of Wolf Totem says that this novel is an epic Chinese tale and that is true. My wife received an advanced copy requesting a blurb, and she didn't have time to read the novel, so I did and it kept my attention. The main reason I kept reading was because I have had an interest in the Mongols since I was a child. Wolf Totem taught me a lot about this almost extinct culture. The one new thing I learned was the fascinating connection between wolves and Mongols and why this connection may have been the reason why Genghis Khan was so successful in his conquests. I recommend this novel to anyone that wants to learn more about the life of the Mongols and another aspect of the Cultural Revolution (Both Balzac and the Little Chinese Seamstress by Dai Sijie Fiction Anchor Trade Paperback and Red Azalea : Berkley Trade Signature Edition by Anchee Min show different aspects too). However, the philosophy of maintaining a balance with nature is a bit overdone. I got the message the first time the characters talked about it but then the topic comes up over and over and over--a bit to much for my taste as I felt it got in the way of the story that was taking place between the main characters and the wolf pup they were attempting to raise. I won't give away the but don't expect it to be a happy. Most Chinese novels don't end with happy endings. The publisher also said that the novel was a stinging social commentary on the dangers of China's overaccelerated economic growth as well as a fascinating immersion into the heart of Chinese culture. That is also true of Wolf Totem.
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