The People’s West Lake examines the Chinese Communist Party’s (CCP) efforts to reconfigure Hangzhou’s urban space, alter the natural environment in West Lake (Xihu), and refashion the city’s culture in post-1949 China. It pieces together five initiatives between the 1950s and the 1970s: the dredging of the lake, the construction of the public park of Watching Fish at the Flower Harbor (Huagang guanyu), the afforestation movement, the development of collectivized pig farming around West Lake, and the two campaigns to remove lakeside tombs. These projects were intended to generate visible and tangible results—a lake with a good depth, a scenic public garden, greener hills surrounding the lake, a growing swine population and rising productivity of fertilizer, and a tourist site cleansed of burial grounds—while also being readily subject to the Party’s propaganda. These initiatives were designed both to achieve economic, cultural, and ecological utilities and to forge and popularize a sense of socialist nationhood. The CCP’s endeavor to fundamentally transform the West Lake area also opened up possibilities for both human and nonhuman actors to variously benefit from, get along with, and undermine the political authorities’ planning. This book thus emphatically foregrounds and unifies the agency of both humans and nonhuman entities that are not necessarily tied to intentionality, bringing into question the legitimacy of the human/nonhuman binary. Author Qiliang He explores the agency of both humans and nonhumans (including water, microbes, aquatic plants, the park, pigs, trees, pests, and tombs) to affect, deflect, and undercut the CCP’s sociopolitical programs, thereby diminishing the efficacy of state propaganda. Highlighting the nonpurposive agency of both actors problematizes the long-held resistance-accommodation paradigm, which presumes the resisters’ a priori subjectivities independent of the socialist system, in studying the state-society relationship in the People’s Republic of China. Using a project-based approach, The People’s West Lake gives the nature-human relationship in Mao’s China (best known as Mao’s “war against nature”) historical and cultural specificities to reexamine the PRC regime’s central planning and the issues related to it.

The People's West Lake examines the Chinese Communist Party's (CCP) efforts to reconfigure Hangzhou's urban space, alter the natural environment in West Lake (Xihu), and refashion the city's culture in post-1949 China. It pieces together five initiatives between the 1950s and the 1970s: the dredging of the lake, the construction of the public park of Watching Fish at the Flower Harbor (Huagang guanyu), the afforestation movement, the development of collectivized pig farming around West Lake, and the two campaigns to remove lakeside tombs. These projects were intended to generate visible and tangible results--a lake with a good depth, a scenic public garden, greener hills surrounding the lake, a growing swine population and rising productivity of fertilizer, and a tourist site cleansed of burial grounds--while also being readily subject to the Party's propaganda. These initiatives were designed both to achieve economic, cultural, and ecological utilities and to forge and popularize a sense of socialist nationhood. The CCP's endeavor to fundamentally transform the West Lake area also opened up possibilities for both human and nonhuman actors to variously benefit from, get along with, and undermine the political authorities' planning. This book thus emphatically foregrounds and unifies the agency of both humans and nonhuman entities that are not necessarily tied to intentionality, bringing into question the legitimacy of the human/nonhuman binary. Author Qiliang He explores the agency of both humans and nonhumans (including water, microbes, aquatic plants, the park, pigs, trees, pests, and tombs) to affect, deflect, and undercut the CCP's sociopolitical programs, thereby diminishing the efficacy of state propaganda. Highlighting the nonpurposive agency of both actors problematizes the long-held resistance-accommodation paradigm, which presumes the resisters' a priori subjectivities independent of the socialist system, in studying the state-society relationship in the People's Republic of China. Using a project-based approach, The People's West Lake gives the nature-human relationship in Mao's China (best known as Mao's "war against nature") historical and cultural specificities to reexamine the PRC regime's central planning and the issues related to it.

In an all-too-brief life and literary career, Wayne Kaumualii Westlake (1947–1984) produced a substantial body of poetry. He broke new ground as a poet, translated Taoist classical literature and Japanese haiku, interwove perspectives from his Hawaiian heritage into his writing and art, and published his work locally, regionally, and internationally. Westlake was born on Maui and raised on the island of O‘ahu, where he attended Punahou School, and later the University of Oregon. He earned his B.A. in Chinese studies at the University of Hawai‘i. At the time of his tragic death in 1984, Westlake was at the height of his poetic career. Unfortunately, the only collection of his poems available at the time was a 32-page, limited edition chapbook independently published by a small press. The present volume, long overdue, includes nearly two hundred of Westlake’s poems—most unavailable to the public or never before published.

Westlake is in a permanent vegetative state. He can't move, has no response to stimuli, and can only communicate with Hub, the faithful family dog. And like all superheroes, Westlake has an archenemy: Dr. Quietus--a nightmarish embodiment of Death itself.

This exhibition reevaluates Southern Song art in the context of the geography, cultural traditions and historical references of West Lake in Hangzhou. The Southern Song (1127 - 1279) capital of Lin'an, located near beautiful West Lake, was the center of a dynasty that looked largely inward. In this regard, the story of Southern Song art can be presented in a manner that is site-specific. The exhibition includes over 50 paintings (album leaves, hanging scrolls and fan paintings) and lustrous ceramics from premier collections, from the U.S. and abroad, and utilizes maps and literary accounts to further emphasize the influence of place in Southern Song art from a period known to many as one of the most 'exquisite moments' in art history.

Fleeing a failed marriage and haunted by ghosts of his past, Luis Alberto Urrea jumped into his car several years ago and headed west. Driving cross-country with a cat named Rest Stop, Urrea wandered the West from one year's Spring through the next. Hiking into aspen forests where leaves "shiver and tinkle like bells" and poking alongside creeks in the Rockies, he sought solace and wisdom. In the forested mountains he learned not only the names of trees—he learned how to live. As nature opened Urrea's eyes, writing opened his heart. In journal entries that sparkle with discovery, Urrea ruminates on music, poetry, and the landscape. With wonder and spontaneity, he relates tales of marmots, geese, bears, and fellow travelers. He makes readers feel mountain air "so crisp you feel you could crunch it in your mouth" and reminds us all to experience the magic and healing of small gestures, ordinary people, and common creatures. Urrea has been heralded as one of the most talented writers of his generation. In poems, novels, and nonfiction, he has explored issues of family, race, language, and poverty with candor, compassion, and often astonishing power. Wandering Time offers his most intimate work to date, a luminous account of his own search for healing and redemption.