Tibetan Mastiff: Howling in the city: Howling in the city

Author: Zang Jie
Publisher:
Publish Date: 2006-04-01
Features: This book depicts and showcases the spiritual essence of a desert writer and an urban fringe cultural explorer who wanders alone in the city. Focusing on the survival and creation of "desert writer" Yang Zijun in the metropolis, it scans the state of urban culture and the survival of intellectuals. From the western desert to the spiritual wasteland in the city, Yang Zijun has undergone a spiritual journey of suffering, and the novel Tibetan Mastiff is his spiritual breakthrough after ten years of life in Qingdao. The survival struggles of Yang Zijun in the city and his bloodthirsty creation in the wilderness were reviewed and posted online by netizen Damo, sparking a debate on urban culture and the stance of writers. With the publication and success of Tibetan Mastiff, Yang Zijun and his works once again became the focus of "online warfare," leading to a clash over the creation of urban spiritual homes and the public nature of intellectuals. Yang Zijun is like a rich mine—every dig reveals resources. And this digger, besides Yang Zijun's pen, is the dialogue with Yang Zijun. —Zang Jie
Yang Zijun's spiritual wanderer's temperament determines his perspective and ability to reach the core of things. He takes on the suffering of the silent with a rare, genuine bloodthirstiness, facing the brutal of life—Heart of the Sahara
In Qingdao, Yang Zijun is like a fish that has finally struggled to the edge of the water. But at this moment, he realizes: the saltiness of the sea he longs for is too high for a freshwater creature to survive. Thus, he is forever abandoned outside the sea. —Alliance and Supremacy
Yang Zijun himself is more extraordinary than his works. He has such an acute insight into the world and has persistently honed his soul to a crystalline clarity amidst the complexities of life. —Mirror
When literature declines, Yang Zijun's novels show me a sky that has not simultaneously fallen. —Divine Rain
I feel as if Yang Zijun is a passerby from Wild Grass, as well as a Chinese-ized Hamlet and Don Quixote. —Water Ripple Gentleman
When Yang Zijun dances in pain and joy in his fate, a true writer is born. —Xiao Shu
The image of Yang Zijun holding a brush and writing a novel and the compromise between his survival and the stubbornness of his spiritual character in his environment. —Xue Yuan
I enter the wilderness, using my entire life and every moment to listen to its whispers. —Yang Zijun
When Lu Xun was once "retired" in Shanghai, he still had a fondness for the houses of the new village on the mainland, the films at Shanghai Grand Theatre, the coffee at "Gong Fei" coffee shop, and the elevators in the Huamei Hotel. In fact, civilization is not so frightening; it may not be less lovely than the wilderness: commercialization is also not so frightening; it may not be the "killer" of clear and tranquil spiritual homes. The key lies in integrity. If one can remain steadfast in their integrity, no matter how dire the circumstances, it will not be unbearable. If integrity is lost, no matter how much you boast, it will not be the same. —Damo
I seem to see a rare scene in literary history. In China, the respect a writer shows for another writer requires a certain magnanimity and responsibility, just as when masters spar in the martial arts world. To truly admire each other, one must have timing, terrain, harmony, and a broad mind. —Heart of the Sahara
Zang Qi is the melancholic shadow of our era. Its kingdom and all the values it carries have retreated and faded from our sight. We can only bow our heads in prayer for it. —Shanghai Solitary Sage
Qingdao has beautiful natural scenery and also hopes for magnificent cultural scenery, but hope is just that—a hope. Does it really exist? What can You Fengwei and Yang Zijun take on? —Ten Days' Talk
I live in Hangzhou. In recent years, our city's writers have made little noise: some have frequented brothels, some have fought, and another, somehow connected to writers, has taken a mistress. The outside world buzzes with rumors, but the writers of Hangzhou remain silent. Of course, what I say may be somewhat hasty. They may have made some noise, but perhaps it was just one person sneaking off to a corner and quietly letting it out without a sound. —Xiao Shu
We still live in the hypocrisy and oppression of urban civilization. The dilemma of ideal choices has created one tragic scene after another. Countless moments of brilliance are tragedies of time—this is the only tragedy. —Grass Mushroom
Although we all want to know what the hen that laid the egg thinks, how can a rooster know about eggs? Only hens and those who eat eggs know what eggs are. We are those who have eaten eggs, nourished readers, and we have the right to speak. —Less and Less
May we always live in peace and tranquility under the protection of the Tibetan Mastiff. —Yang Zijun
The book depicts and showcases the spiritual essence of a desert writer and an urban fringe cultural explorer who wanders alone in the city. Focusing on the survival and creation of "desert writer" Yang Zijun in the metropolis, it scans the state of urban culture and the survival of intellectuals. From the western desert to the spiritual wasteland in the city, Yang Zijun has undergone a spiritual journey of suffering, and the novel Tibetan Mastiff is his spiritual breakthrough after ten years of life in Qingdao. The survival struggles of Yang Zijun in the city and his bloodthirsty creation in the wilderness were reviewed and posted online by netizen Damo, sparking a debate on urban culture and the stance of writers. With the publication and success of Tibetan Mastiff, Yang Zijun and his works once again became the focus of "online warfare," leading to a clash over the creation of urban spiritual homes and the public nature of intellectuals.