At the Sky's Edge combines in a single bilingual paperback volume two essential works by one of the world's finest contemporary poets. In his first retrospective volume of poetry in English, two of Bei Dao's previous booksForms of Distance (1994) and Landscape Over Zero (1996)are gathered together in one bilingual paperback edition. At The Sky's Edge: Poems 1991-1996 marks a pivotal point in the poet's oeuvre, presenting the increasingly lyrical, meditative poems written in the years following his banishment from China in 1989. Translated into twenty-five languages, Bei Dao's work has long been appreciated internationally, but is just recently gaining a larger audience in the US. At The Sky's Edge becomes Bei Dao's seventh book published by New Directions and is the first time Forms of Distance appears in a paperback edition. The translations of David Hinton, who was awarded the prestigious Harold Morton Landon Translation Award from The Academy of American Poets in 1997, capture both the musicality and density of the original Chinese. Quiet, spare, these are poems of paradox and possibility, of words carefully balanced, of a world on edge.

Winner of the 2011 James Beard Foundation Award for International Cooking, this is the authoritative guide to stir-frying: the cooking technique that makes less seem like more, extends small amounts of food to feed many, and makes ingredients their most tender and delicious. The stir-fry is all things: refined, improvisational, adaptable, and inventive. The technique and tradition of stir-frying, which is at once simple yet subtly complex, is as vital today as it has been for hundreds of years—and is the key to quick and tasty meals. In Stir-Frying to the Sky’s Edge, award-winning author Grace Young shares more than 100 classic stir-fry recipes that sizzle with heat and pop with flavor, from the great Cantonese stir-fry masters to the culinary customs of Sichuan, Hunan, Shanghai, Beijing, Fujian, Hong Kong, Macau, Taiwan, Singapore, and Malaysia, as well as other countries around the world. With more than eighty stunning full-color photographs, Young’s definitive work illustrates the innumerable, easy-to-learn possibilities the technique offers—dry stir-fries, moist stir-fries, clear stir-fries, velvet stir-fries—and weaves the insights of Chinese cooking philosophy into the preparation of beloved dishes as Kung Pao Chicken, Stir-Fried Beef and Broccoli, Chicken Lo Mein with Ginger Mushrooms, and Dry-Fried Sichuan Beans.

Translated from the original French publication, this book provides a comprehensive analysis of 20th century Chinese literature and examines the relationship between Chinese literary theory and modernity. The author surveys the work of leading writers including Zhang Ailing, Beidao, and Mu Dan. The author seeks to answer some fundamental questions in the study of Chinese literary history, such as: How does contemporary Chinese literature go from historical narrative to the narrative of the I, where rhythm and epic merge into writing, and where the instinctive load of the rhythm substantiates the epic? What are the steps and the forms of mediation that allow such a transition? Is the subject the only agent of the transition? What is its status? What is the role of poetic language that led to the birth of the subject and which separates it from empiricism? What are the difficulties faced by Chinese writers today? Young Chinese writers set off in search of a totally new writing to rediscover subjectivity, which is in no way limited to literature; it also covers areas such as the law, and the expression of the I confronted to an overpowering we.

The Ming–Qing dynastic transition in seventeenth-century China was an epochal event that reverberated in Qing writings and beyond; political disorder was bound up with vibrant literary and cultural production. Women and National Trauma in Late Imperial Chinese Literature focuses on the discursive and imaginative space commanded by women. Encompassing writings by women and by men writing in a feminine voice or assuming a female identity, as well as writings that turn women into a signifier through which authors convey their lamentation, nostalgia, or moral questions for the fallen Ming, the book delves into the mentality of those who remembered or reflected on the dynastic transition, as well as those who reinvented its significance in later periods. It shows how history and literature intersect, how conceptions of gender mediate the experience and expression of political disorder. Why and how are variations on themes related to gender boundaries, female virtues, vices, agency, and ethical dilemmas used to allegorize national destiny? In pursuing answers to these questions, Wai-yee Li explores how this multivalent presence of women in different genres provides a window into the emotional and psychological turmoil of the Ming–Qing transition and of subsequent moments of national trauma. 2016 Joseph Levenson Book Prize, Pre-1900 Category, China and Inner Asia Council of the Association for Asian Studies

Playwriting in many forms flourished during the late Ming and early Qing dynasties. Shorter theatrical genres in particular offered playwrights opportunities for experimentation with both dramatic form and social critique. Despite their originality and wit, these short plays have been overshadowed by the lengthy masterpieces of the southern drama tradition. A Topsy-Turvy World presents English translations of shorter sixteenth-to-eighteenth-century plays, spotlighting a lesser-known side of Chinese drama. Satirical and often earthy, these mostly one-act plays depict deceit, dissembling, reversed gender roles, and sudden upending of fortunes. With zest and humor, they portray henpecked husbands, supercilious and lustful monks, all-too-human sage kings, disgruntled officials, and overreaching young scholars. These plays provide a glimpse of Chinese daily life and mores even as they question or subvert the boundaries of social, moral, and political order. Each translation is preceded by a short introduction that describes the play’s author, context, formal qualities, and textual history. A Topsy-Turvy World offers a new view of a significant period in the development of the Chinese theatrical tradition and provides insight into the role of drama as cultural critique.