Old Floating Cloud brings together two of Can Xue’s early novellas, Yellow Mud Street and the titular Old Floating Cloud.
Yellow Mud Street tells of a street, its people, and a strange event that happens there. The street is dilapidated, though it once saw better times. The “S” Machinery Factory, which used to run day and night, is rusty and decaying, though people still deceive themselves into thinking this factory is a fine place, the envy of “foreign devils” and an important connection with “the authorities.” One day, “a thing” appears. No one is sure if it is a person, a flash of light, or a cloud of will-o'-the-wisp. It prompts rumor, superstition, political slogans, and an investigation by the authorities. A chorus of paranoid preoccupations wind up and down Yellow Mud Street, in a series of muttered refrains that build to a screaming frenzy.
Old Floating Cloud is the ruthlessly unsentimental story of a man who has an affair with his neighbor's wife. Can Xue describes the damage people do to each other, their obsessions, their lack of connection, and their attempts to exert power over one another. Lovers are not the only targets of Can Xue’s biting humor. Resentment flares between parents and children, in-laws spy, and employees abase themselves before their bosses. Like Yellow Mud Street, this novella teems with insects, excrement, and distorted bodies—visceral reminders of our earthbound state.
CAN XUE (the pseudonym of Deng Xiao-hua) was born in Changsha, Hunan Province, China in 1953. She has twice been longlisted for the International Booker Prize, and is the author of Dialogues in Paradise and Old Floating Cloud, among many others.
Praise for Dialogues in Paradise: “Chinese Can Xue's first book to appear in English radically departs from the realism governing the fiction of her compatriots . . . The stories here reflect an interior vision in which conflict is represented impressionistically, symbolically.” —Publishers Weekly
Praise for Old Floating Cloud: “[Can Xue] calls to mind a painter at once untrained and visionary, sketching twisted figures against a disturbing landscape; and at times she invites comparison to the century's masters of decay made meaningful, to Kafka especially, in that she's coined a fresh language of images out of a world that seems terminally sick. Art that emerges from harsh circumstances is sometimes called a "miracle." In Can Xue's case, the word is appropriate as much for the work itself as for how it's happened into print.” —The New York Times Book Review
"Both novellas describe hell on earth in a fragmented style matching the disjointed world depicted, an often frightful picture that could be a canvas painted jointly by Bosch and Dali." --Library Journal
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