2005 China Annual Short Story

Author: Novel Selection
Publisher:
Publishing Date: 2006-01-01
Features: Mo Yan mercilessly satirizes and mocks the vanity, greed, and shamelessness in human nature on the (Mo Yan, Meeting the Masters). The son of Chen Suzhen kills Fu San, and the villagers of Fu San arrive in the town, smashing Chen Suzhen's home. After the police station calms the commotion, the novel seems to reach its conclusion, only to unexpectedly branch out in a new direction (Su Tong, Watermelon Boat). Bi Feiyu's novels have a leisurely and unhurried narrative, interspersed with occasional humor, yet they still maintain their inherent simplicity and clarity (Bi Feiyu, Rainbow). The passionate and feigned kisses at midnight, the on the square without regard for others, the duality of true and false feelings, the performance and challenge, the subtleties and complexities between men and women—all are vividly depicted (Xu Kun, Tango After Midnight Square).
Fifty-five writers—Ye Mi, Gao Jun, A Cheng, Mo Yan, Su Tong, Duo Duo, Zhu Wenying, Jing Yongming, Qiao Ye, Guo Wenbin, Fan Xiaoqing, Deng Yiguang, Wang Xiangfu, Xu Yan, Xu Kun, and Li Shijiang—present 35 outstanding works, all focusing on reality and life. Some pursue simplicity and truth, stripping away the superficial, while others push the boundaries of storytelling, seeking the power of narration. Within limited space, they achieve the effect of "seeing a thousand miles in a single glance," each showcasing unique styles in embodying the concise yet rich qualities of the short story.
Selected and edited by authoritative figures in China's fiction world, the 2005 annual short story collection is carefully curated from over 1,000 short stories (more than 8 million words) published in over 100 literary journals that year. It aims to review the achievements of short story writing in that year and objectively select the most thought-provoking and artistically outstanding works with lasting influence.
When compiling this year's selection, the editorial team discussed a topic in unison: why has this annual collection remained consistently popular for nine consecutive years? They believe it may have become a recognized brand with a relatively stable readership. This conclusion serves as both encouragement and pressure, urging us to remain diligent in selection. Fortunately, each year brings a wealth of excellent works, giving us ample choices and ensuring we do not disappoint our readers' expectations.
—Novel Selection Editorial Department (December 2005)
Su Tong is one of the writers who has always been devoted to the short story. The narrative in Watermelon Boat retains Su Tong's characteristic calm and unhurried style. A typical short story can only accommodate one dramatic turn, but Watermelon Boat boldly branches out while remaining flexible in its structure. This indeed demonstrates the author's remarkable skill.
—Critic Nan Fan, The Formation of Narrative and Experience (July 2005 issue of Novel Selection)
A famous Latin American dancer once said that the tango is a lewd dance, embodying raw sexual awareness and the union and confrontation between men and women. Xu Kun's Tango After Midnight Square merely tells the story of a romantic affair, but whether readers interpret it as an allegory of gender consciousness or simply as a reflection on life is a matter of personal perspective.
—Su Mu, Discovering Virtue in Every Kind of Foolishness (December 2005 issue of Novel Selection)
Fang Gezi's One Night in Shanghai, or Zhu Wenying's Cat Eye, where Yang Qing gradually transforms into a city dweller. She frequents luxury hotels, smokes, uses mobile phones, hires cleaning staff, and chats online—this isn't the life of a city dweller? Indeed, her profession of flesh trade may invite some disdain, but the money in her pocket is the foundation of urban life. The city cannot erase her sense of rootlessness. They firmly fix their gaze on a certain part of the city, knowing what they can and cannot do. When they earn a little money or suffer a slight grievance, they quickly look back to their origins.
—Critic Nan Fan, The Formation of Narrative and Experience (July 2005 issue of Novel Selection)