Lin Huiyin Collection--Literary Volume

Author: Liang Congjie (Editor)
Publisher:
Publishing Date: April 1, 1999
Features:
Revised Preface: Since the People's Literature Publishing House edited and published The Collected Poems of Lin Huiyin in 1985 and Selected Modern Chinese Writers: Lin Huiyin in 1992, the publishing industry has shown increasing attention to Lin Huiyin. In addition to the scattered inclusion of her poems and writings in various anthologies, I have come across two more selected collections: one compiled by Taibai Publishing House in Shaanxi, featuring a joint collection with Liang Sicheng, and Lin Huiyin from the "100 Modern Chinese Literary Masters" series published by Huaxia Publishing House. Additionally, there are biographies or semi-biographical works about her. However, the issues in their editing and writing truly do not do justice to Lin. There is also the book Liang Sicheng and Lin Huiyin by (American) Emily Hahn, which was originally a good biography, but the translation we have is far from reliable. This collection, "Hua Bai," may be the most comprehensive to date in gathering various types of texts left by Lin Huiyin. It was first published in April 1999. However, due to my own shortcomings in proofreading, many issues were left unresolved until the revised edition corrected them. For this, I sincerely apologize to the readers of the revised edition.
As a scholar and writer, Lin Huiyin wrote far more than she published, and far more of her works were lost than those preserved. This is a true loss to modern Chinese culture. The reasons can only be found in the painful history of China over the past half-century, not in blaming anyone. The greatest difference between this collection and other works by Lin lies in its inclusion of both her literary and architectural works. Being both a poet and an architect was an inherent cultural characteristic of Lin Huiyin. Unfortunately, most of the past collections of her works were compiled by literary publishing institutions, leaving her role as an architect largely unrepresented. Another feature of this collection is its effort to gather as many of her letters as possible, though far from complete, they cover her life from her study abroad days to her later years, and all are personal letters. They vividly reveal her inner journey in literature, architecture, politics, emotions, family, and the social life that intertwines all these aspects, reflecting the era with blood, tears, and raw honesty. Some passages show how hastily and passionately she wrote, with handwriting so messy that the words even seemed disorganized. For those who intend to study Lin Huiyin and the era and culture she represented, these are truly reliable primary sources. As her descendants, I can only share these personal belongings with readers in this sense.
This collection also includes several of her letters in English, offering a glimpse into another side of Lin Huiyin. Lin Huiyin herself once said that she grew up with a dual cultural education, so for her, English was not just a "tool" but an intrinsic way of thinking and expression, a source of inspiration, and a complete cultural world. It can be said that without English, there would be no "cultural Lin Huiyin." Lin Huiyin is a representative of the talented women of modern China for a century. Her appearance, temperament, and knowledge captivated many intellectuals of her time and even today. Among modern Chinese female writers, Lin Huiyin stands out as exceptionally talented, unique, and extraordinary—this collection of Lin Huiyin presents a Renaissance figure to us.
The "Literary Volume" of Lin Huiyin's Collected Works includes her essays, novels, poems, plays (including stage design), translations, and as many Chinese and English letters as possible. Additionally, dozens of photographs are included at the beginning, almost forming her portrait. Reading the "Literary Volume," we are amazed by her literary talent—the works from half a century ago still possess the power to move us. This book includes Lin Huiyin's essays, novels, poems, plays (including stage design), translations, and as many Chinese and English letters as possible. Moreover, dozens of photographs are included at the beginning, almost forming her portrait, presenting a Renaissance figure to us.