Economist school

Author: Lin Xingzhi
Publisher:
Publish Date: 2002-02-01
Features: A perfect match with Economic Doorframe, filled with wit and satire, with a natural charm. It delves into the history of economics over a century, effortlessly drawing on cultural anecdotes, making it both engaging and entertaining.
Author Bio: Lin Xingzhi, originally named Lin Shanmu, was the founder of Hong Kong's Xinbao. He graduated from the London School of Economics. From 1973 to the present day, almost all the daily commentaries in Xinbao have been penned by him. With profound knowledge and a composed writing style, he exudes the demeanor of a seasoned scholar. His works are frequently compiled and published, with a total of 72 books to his name.
"Zhang Wucai wrote in One Weekly about The Fragrance River Pen, saying he once spotted an advertisement on a newspaper held by a passenger on an airplane: 'The Fragrance River Pen Leads the Way.' He said, 'I told myself, I didn’t place this ad—was it Ah Kang who lost his mind? Unable to resist, I asked the passenger to borrow the paper. Turns out, the protagonist was Lin Xingzhi. I thought, well, that makes sense—Shanmu is truly the Fragrance River Pen!' A fine line—‘I didn’t place this ad’! Professor Zhang has always been proud of his work, treating his articles like his wife. Neither a broom nor a treasure, he cherishes them even more, even boasting about them—this has long been a celebrated tale. This time, even he admits that Lin Shanmu is the Fragrance River Pen, proving that the claim of being the leader of the pack is settled." — Apple Daily, Dong Qiao
"In one of my small writing spots in Chinese, Shanmu (Lin Xingzhi) and I were rare and wonderful partners. We all had beliefs but no prejudices; we were all willing to take risks and try new things; we were all not tied to material things, no matter what others said; we all believed that the art of writing should be concise and sincere, and old-fashionedness was unacceptable." — Zhang Wucai
"Lin Shanmu (Lin Xingzhi) and Qian Liangyong (Jin Yong) can both be considered special products of Hong Kong’s cultural scene. If Qian Liangyong is the master of the ‘free’ intellectuals of the 1960s in Hong Kong, then Lin Shanmu, who hails from the ‘Ming’ school and is a disciple of Qian Liangyong, can be said to be the standout of the 1980s." — Fang Kam-miu