Reflection of Colombia: Book spine or cover with flaws

Author: Mu Xin
Publisher:
Publish Date: 2006-01-01
Features: Reflections on Columbia is a edition of Mu Xin's works, featuring 13 essays such as The Ninth of the Ninth Month, Reflections on Columbia, and A Eulogy for Shanghai, all showcasing Mu Xin's distinctive writing style. It also includes the full text of the "Mu Xin Essay Symposium" published in the Oriental Wind supplement of the China Press on May 9, 1986, in New York. Chen Danqing described this book as Mu Xin's work from 20 years ago, noting that when Mu Xin received the proofs, he carefully revised inappropriate words or phrases, which deeply moved Chen. Chen Danqing said, "Reading these proofs feels like traveling through the entire literary history." When the writer Chen Cun read A Eulogy for Shanghai, he described himself as "struck by lightning," declaring, "Not informing readers about Master Mu Xin is my cold-bloodedness, an insult to beautiful Chinese." He added, "For those who aspire to write in Chinese, reading Mu Xin early on will give them a sense of their own abilities." Because "Mu Xin is the benchmark of Chinese writing." Chen Danqing further pointed out that Mu Xin may have surpassed the literary realm constructed by Lu Xun, being the only literary author of our time who seamlessly connects the classical Chinese tradition with the May Fourth tradition. "I call Master Mu Xin a rare gem, a 'child of the May Fourth culture'," he said, noting that his relationship with tradition was one of mutual abandonment. Purchasing this collection of Mu Xin's essays comes with a bonus copy of About Mu Xin, which arrived late but has finally arrived. Mu Xin, revered by Chen Danqing (Retreat and Advance) as "my master," is a literary master recommended by experts such as Chen Zishan, Chen Cun, and He Liwei in a special column by The Southern Weekly. Mu Xin is a "rare gem," a "rare gem of dual nature." His temperament and talent would have stood out in any era, yet he was born into a period destined to suppress individual talent, a time where he was meant to wither and fade. Yet he existed, matured, remained silent for decades, and finally gained fame abroad. A special commentary on Mu Xin's literary activities is a posthumous event, a major event, and a grand event. His words are such humanistic and culturally expressive Chinese characters—elegant, composed, refined, and subtle, exquisitely crafted. He understood both Western and Chinese essence, but he was not a simple fusion of East and West, like a "sandwich." He painted his landscapes with ink and wash, using pure Chinese to articulate his thoughts, expressing his understanding and reflections on the world. Mu Xin once wrote a about Eileen Chang, but since she was not named, only referred to as "she," it is less well-known. "She is the beauty of chaos, but when the world is no longer chaotic, people are no longer good." The opening line is startlingly insightful. Mu Xin's critique of Eileen Chang is sharp and incisive. He was astonished by her smoothness. He also used unusual words like a "tough woman," but it was not surprising. His words have rhythm, and one quickly notices the importance of punctuation. He could wander from one topic to another, but in the end, he settled into simplicity. In my lifetime, I have read countless Chinese works and met many writers. Those who enjoy writing as a hobby know even more, and I say without exaggeration that Mu Xin's writing, among the living Chinese writers I have encountered, is still beautiful, profound, and extensive. Without realizing it, there are too many "masters" surrounding us, and they are always vying for the Nobel Prize. True lovers of Chinese should read Mu Xin—they will immediately feel humble, shrink, and even laugh. Recently, I broke my rule and watched TV, which featured writers from Shanghai. While watching, I couldn't help but sigh. If Mu Xin were still in Shanghai, would there even be a place for us to speak?—Chen Cun