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Lenin's Kisses, by Yan Lianke
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A mystifying climatic incongruity begins the award-winning novel Lenin’s Kisses—an absurdist, tragicomic masterpiece set in modern day China. Nestled deep within the Balou mountains, spared from the government’s watchful eye, the harmonious people of Liven had enough food and leisure to be fully content. But when their crops and livelihood are obliterated by a seven-day snowstorm in the middle of a sweltering summer, a county official arrives with a lucrative scheme both to raise money for the district and boost his career. The majority of the 197 villagers are disabled, and he convinces them to start a traveling performance troupe highlighting such acts as One-Eye’s one-eyed needle threading. With the profits from this extraordinary show, he intends to buy Lenin’s embalmed corpse from Russia and install it in a grand mausoleum to attract tourism, in the ultimate marriage of capitalism and communism. However, the success of the Shuanghuai County Special-Skills Performance Troupe comes at a serious price.
Yan Lianke, one of China’s most distinguished writers—whose works often push the envelope of his country’s censorship system—delivers a humorous, daring, and riveting portrait of the trappings and consequences of greed and corruption at the heart of humanity.
- Sales Rank: #248978 in eBooks
- Published on: 2012-10-02
- Released on: 2012-10-02
- Format: Kindle eBook
Review
Yan Lianke is a finalist for the 2013 Man Booker International Prize!
Winner of the Lao She Literary Award
* New York Times Editors' Choice
* New Yorker Best Book of 2012
* MacLeans Best Books of 2012
* Kirkus Best Fiction of 2012
"Both a blistering satire and a bruising saga . . . Yan boldly plunges into the psychic gap between China’s decades-old conditioned response to communist doctrine and its redefinition of itself as a capitalist power, creating with bold, carnivalesque strokes a heartbreaking story of greed, corruption, and the dangers of utopia." —Publishers Weekly (starred review)
"[An] epic jest of a novel . . . Yan’s postmodern cartoon of the Communist dream caving to run-amok capitalism is fiendishly clever." —New York Times Book Review
"Yan, one of China’s most successful writers, is still gaining attention abroad, but this story of a village that decides to buy Lenin’s corpse is Yan at the peak of his absurdist powers. He writes in the spirit of the dissident writer Vladimir Voinovich, who observed that 'reality and satire are the same.'" —The New Yorker
"Lenin’s Kisses wickedly satirizes a sycophantic society where money and power are indiscriminately worshiped." —Wall Street Journal
"A funny yet dark satirical novel . . . [that] offers Western readers a unique perspective on rural China . . . Lenin’s Kisses [is] hard to put down." —Chicago Tribune
"[A] complex, captivating masterpiece. . . . [Lianke] summons rare wonder: he manages to create a wretched, absurd and beautiful universe both brand-new and newly eternal." —Macleans
"Yan Lianke is one of the best contemporary Chinese writers. . . . As incisive as his social criticism is, he manages to protect his literary strength." —The Independent
"Sprawling, sometimes goofy, always seditious novel of modern life in the remotest corner of China . . . Set Rabelais down in the mountains of, say, Xinjiang, mix in some Günter Grass, Thomas Pynchon and Gabriel García Márquez, and you’re in the approximate territory of Lianke’s latest exercise in épatering the powers that be . . . A satirical masterpiece." —Kirkus Reviews
"[A] mind-blowing story . . . incorporating satire, social and political criticism of life under Chinese Communism, as well as the limitations of capitalism—especially when the formerly oppressed become filthy rich—under such a political system. Lenin’s Kisses provides illuminating insight." —Counterpunch
"Lenin's Kisses is a grand comic novel, wild in spirit and inventive in technique. It's a rhapsody that blends the imaginary with the real, raves about the absurd and the truthful, inspires both laughter and tears. Carlos Rojas's translation captures the vigor of the original, funny, poised, peculiar but always rational. The publication of this magnificent work in English should be an occasion for celebration." —Ha Jin, author of Waiting and Nanjing Requiem
"A masterpiece on many levels, most pertinently literary. It is crafted in the most lyrical prose style, and in an intimate voice filled with poetic flourishes and narrative craftsmanship. This is a tale of modern China with all its wonders, marvels and absurdities and ironies roped together, making it a must-read. It's little wonder that the author has won both China's equivalences of the National Book Award and the Pulitzer Prize. And this book is the finest gem to reflect this man's gift." —Da Chen, author of My Last Empress
"Lenin's Kisses shines with both the lyrical flourishes of magical realism and the keenly sharpened knives of great satire. The reader joins the inhabitants of the village of Liven as they confront the great upheavals of 20th Century Chinese history armed with both whimsy and their obsessive determination to prevail. This tale is at once breathtaking and seriously funny. Anyone who wishes to understand the psychic world-view of the modern People's Republic of China must read this fine novel." —Vincent Lam, author of The Headmaster's Wager
Praise for Yan Lianke:
"One of China's greatest living authors and fiercest satirists." —The Guardian
"[Yan Lianke] is one of China’s most successful fiction writers." —The New York Times
About the Author
YAN LIANKE was born in 1958 in Henan Province, China. He is the author of numerous novels and short-story collections, including Serve the People! and Dream of Ding Village, which was short-listed for the Man Asian Literary Prize and adapted into a film, renamed Til Death Do Us Part.
Most helpful customer reviews
7 of 9 people found the following review helpful.
Kissing it all goodbye
By Hande Z
This is a 2012 translation by Carlos Rojas of a 2004 book by Yan Lianke. Mao Zedong is arguably the most renowned leader of modern China. His body lies in a crystal coffin in a mausoleum in Beijing though he expressly declared when he was alive that he wished to be cremated. Yan's story revolved around the brainwave of a deputy county chief called Liu Yingque to buy the corpse of cash-strapped Russia, and moving it to a mausoleum in the new Lenin Memorial Hall that he was building in the Balou Spirit Mountain. Up in the Balou Mountains was a village called "Liven" which was populated by disabled but happy people. The village spirit was guided by an old woman known as Grandma Mao Zhi. She was also the matriarch in a family consisting of her daughter Jumei and her stonemason husband, their four daughters, one of whom was blind, and three were dwarf-like although one of them later blossomed into a normal person (known in the village and the book as a "Wholer"). That was Huaihua, who also grew to be a beautiful woman, drawing jealousy from her sisters, Tonghua, Yuhua, and Mothlet. Mao Zhi was assisted by a cripple called "One-Legged Monkey".
Liu's plans depended on the use of the cripples from the Liven village to form a performing troupe where people all over China would pay large admission fees to watch their performances. Mao Zhi resisted Liu's plans. The village rebelled and even One-Legged Monkey was turned dizzy by the promise of money. She admonished them, telling the one-eyed performer that it "was a profound humiliation for both you and your eye to thread needles for an audience. It is a loss of face, and basically reduces you to the status of a performing monkey." Nonetheless, the troupe was formed initially with 67 performers. When it became successful, a second troupe was formed, but not before Mao Zhi negotiated a deal with Liu. When Lenin's corpse was bought and brought back to China, Liu would get official sanction for Liven to withdraw from society and go back to its former status. Yan had woven deep and subtle ideas into the novel. He used extensive footnotes which he entitled "Further Readings" and specially created phrases such as "liven", "soc-ed", "entering society", and "withdrawing from society."
The use of money to entice disabled people, and the greed of the able ones who subsequently stole and rob the performers of all the wealth they earned, the rape and humiliation of the poor and disabled, were means in which Yan questioned the values of society; and through the resistance and perseverance of Mao Zhi, Yan tried to work out how far back to the past does one need to go in order to achieve rejuvenation and redemption. In the case of the village Liven, should they have gone back to the days before they "entered society" or after? If Mao Zhi also exemplified the nature of redemption, she would not have succeeded if Liu had not brought her and Liven down. The relationship and dealings between Mao Zhi and Liu were some of the more fascinating undertones in this hugely complex novel. The clues to the political undertones are in the title and the object of buying a dead Lenin. Yan painted shades of grey that sometimes mesmerize as if they were lily white, and sometimes obfuscate as if they were charcoal black. Perhaps Yan's idea of society is distilled in the last four lines of the book:
I am a blind man, and your leg is lame,
You sit on the cart while I pull it,
My feet stand in for yours,
While I borrow your eyes from you.
1 of 1 people found the following review helpful.
Natural community living wins out against mega social structures
By Geoff Crocker
In the disabled persons' village of Liven, Grandma Mao Zhi is the figure standing for natural local community rural living, unattached to wider national social structures, which she wants to leave. The word `liven' is used to describe a fundamental enlivening process which reaches all aspects of life. Crucially it doesn't depend on capability, and equally naturally fits disability. Lianke contrasts this natural state to alternative social structures of communism and commercialism, and finds them wanting. The general population is gullible and easily manipulated.
Mao Zhi has experienced the horrors of Mao Zedong's China - the Great Leap Forward, the Cultural Revolution, the denunciations, the famine, the smelting of all domestic iron and steel items. In Chief Liu's schemes to make Liven a mega tourist attraction, she sees the equally derisory alternative of capitalist money making. Chief Liu's initial scheme for a performing troupe of disabled people appears to work and starts to generate huge revenues and personal fortunes, until disaster strikes.
In the final reckoning, the community returns to its default natural state. Lianke's critique of social systems, of imposed megalomaniac programmes, of human weaknesses of selfishness and violent tendencies, of prejudice towards those labelled `disabled', is all very powerful. His critical weapon is farce which he deploys to very amusing and devastating effect.
0 of 0 people found the following review helpful.
Fascinating Chinese literary fiction prize winner - beautifully translated
By Ripple
Yan Lianke's 2004 novel, "Lenin's Kisses", newly and beautifully translated by Carlos Rojas, is a rare and fascinating example, not just of Chinese fiction from a writer living and working in China, but also a book that has won literary awards (the prestigious Chinese Lao She Literary Award), now available in English. In many respects, the fact that this book won such a literary prize is somewhat surprising - not I hasten to add because of any lack of quality - but because Lianke, who has previously sailed too close to the political wind for Chinese censors, here presents a not altogether flattering view of Chinese politics. It's a book that is literary with a capital L, and while the core of the plot is relatively simple, what makes this book so interesting is the structure and way the story is told.
The basic plot is that somewhere in rural China there is a small village, Liven, populated almost wholly by the disabled but whose relationship with the Chinese system is mixed and for much of the book, led by the charismatic matriarch of the village, Granny Mao Zhi, the village seeks to remove itself from the socialist ideals, in what is termed "withdrawing from society". An ambitious political big wig, Chief Liu meanwhile has an audacious plan to build a giant mausoleum in the region which he intends to fill with the remains of Lenin which he wants to purchase from the Russians. His idea is that the tourism income from this will be so vast that everyone in the region will struggle to spend their money. Using the villagers of Liven as a circus troop of special skills, he plans to mount a travelling show to raise the cash required to make the Russians an offer they cannot refuse. The result is a complex and interesting tale of the challenges of the Chinese political and economic system faces in the modern world with the lure of cash fighting with the socialist ideals.
In terms of structure, the book is, as you might expect from Chinese fiction, strong on images, here that of agriculture and the life cycle of a tree. Chapters are all odd numbers, unlucky numbers in Chinese culture. The other notable thing is the extensive use of footnotes (called "further reading"), which really shouldn't be read as footnotes where they are noted in the text but rather at the end of the main chapters, which both explain some aspects of dialogue but more interestingly Lianke uses to give back story to the village and its characters.
Often when the translator introduces a novel with their notes, this is dangerous territory. They often reveal unwelcome plot spoilers, making it better to read at the end of the book rather than at the beginning. Not so here. Rojas presents a rich commentary and background to the book, without any plot spoilers, that genuinely adds to the reader's experience.
He emphasises the importance of the "out of joint" nature of the narrative, with summer snows and oft noted variations in seasonal expectations as well as the jumping around between present and past. He also comments on Lianke's brushes with censorship and it's a fair bet that the disabled of Liven are an allegory for the plight of a writer living in a censored world. Yes, they can still achieve often remarkable things, and things that are different from what they might do without that censorship, but in the end the able bodied, "wholers" in charge generally come out on top.
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