This sweeping, eighty-year memoir is the last work of veteran journalist Israel Epstein (1915-2005), one of the very few Western writers to experience the Chinese Communist Revolution firsthand. Born in Poland and raised in China, Epstein served as a war correspondent from the front lines of the Chinese War of Resistance against Japan, as well as during the Communist-Nationalist struggle. Inspired by the immense social revolution taking place, Epstein took Chinese citizenship, only to be imprisoned during the Cultural Revolution. During this dark period, Epstein found his ideals challenged in ways he never imagined, yet his lifelong struggle for social equality has never wavered. This powerful memoir resonates with some of the twentieth century's most turbulent years and is a fascinating read for anyone interested in Chinese history.

Born in Vancouver in 1920 to immigrant parents, Lin became a passionate advocate for China while attending university in the United States. With the establishment of the People's Republic, and growing Cold War sentiment, Lin abandoned his doctoral studies, moving to China with his wife and two young sons. He spent the next fifteen years participating in the country's revolutionary transformation. In 1964, concerned by the political climate under Mao and determined to bridge the growing divide between China and the West, Lin returned to Canada with his family and was appointed head of McGill University's Centre for East Asian Studies. Throughout his distinguished career, Lin was sought after as an authority on China. His commitment to building bridges between China and the West contributed to the establishment of diplomatic relations between Canada and China in 1970, to US President Richard Nixon's visit to China in 1972, and to the creation of numerous cultural, academic, and trade exchanges. In the Eye of the China Storm is the story of Paul Lin's life and of his efforts - as a scholar, teacher, business consultant, and community leader - to overcome the mutual suspicion that distanced China from the West. A proud patriot, he was devastated by the Chinese government's violent suppression of student protestors at Tiananmen Square in June 1989, but never lost faith in the Chinese people, nor hope for China's bright future.

FINALIST FOR THE NATIONAL BOOK AWARD FOR POETRY Winner of the Walt Whitman Award of the Academy of American Poets, selected by Juan Felipe Herrera For years now, I’ve been using the wrong palette. Each year with its itchy blue, as the bruise of solitude reaches its expiration date. Planes and buses, guesthouse to guesthouse. I’ve gotten to where I am by dint of my poor eyesight, my overreactive motion sickness. 9 p.m., Hanoi’s Old Quarter: duck porridge and plum wine. Voices outside the door come to a soft boil. —from “Phnom Penh Diptych: Dry Season” Jenny Xie’s award-winning debut, Eye Level, takes us far and near, to Phnom Penh, Corfu, Hanoi, New York, and elsewhere, as we travel closer and closer to the acutely felt solitude that centers this searching, moving collection. Animated by a restless inner questioning, these poems meditate on the forces that moor the self and set it in motion, from immigration to travel to estranging losses and departures. The sensual worlds here—colors, smells, tastes, and changing landscapes—bring to life questions about the self as seer and the self as seen. As Xie writes, “Me? I’m just here in my traveler’s clothes, trying on each passing town for size.” Her taut, elusive poems exult in a life simultaneously crowded and quiet, caught in between things and places, and never quite entirely at home. Xie is a poet of extraordinary perception—both to the tangible world and to “all that is untouchable as far as the eye can reach.”

First published in 1958. This volume translates and places in the appropriate historical context a number of private documents, such as diaries, autobiographies and confessions, which explain what the Opium War felt like on the Chinese side.

A map of the mutual influence of Bloomsbury, the Crescent Moon Society, and modernism in English and Chinese culture Lily Briscoe's Chinese Eyes traces the romance of Julian Bell, nephew of Virginia Woolf, and Ling Shuhua, a writer and painter Bell met while teaching at Wuhan University in China in 1935. Relying on a wide selection of previously unpublished writings, Patricia Laurence places Ling, often referred to as the Chinese Katherine Mansfield, squarely in the Bloomsbury constellation. In doing so, she counters East-West polarities and suggests forms of understanding to inaugurate a new kind of cultural criticism and literary description. Laurence expands her examination of Bell and Ling's relationship into a study of parallel literary communities—Bloomsbury in England and the Crescent Moon group in China. Underscoring their reciprocal influences in the early part of the twentieth century, Laurence presents conversations among well-known British and Chinese writers, artists, and historians, including Virginia Woolf, Vanessa Bell, G. L. Dickinson, Xu Zhimo, E. M. Forster, and Xiao Qian. In addition, Laurence's study includes rarely seen photographs of Julian Bell, Ling, and their associates as well as a reproduction of Ling's scroll commemorating moments in the exchange between Bloomsbury and the Crescent Moon group. While many critics agree that modernism is a movement that crosses national boundaries, literary studies rarely reflect such a view. In this volume Laurence links unpublished letters and documents, cultural artifacts, art, literature, and people in ways that provide illumination from a comparative cultural and aesthetic perspective. In so doing she addresses the geographical and critical imbalances—and thus the architecture of modernist, postcolonial, Bloomsbury, and Asian studies—by placing China in an aesthetic matrix of a developing international modernism.

An adopted Korean girl gets a lesson in how unimportant it is that some people think she is different.