The inspiration for the new action role-playing game for PlayStation and Xbox Black Myth: Wukong.

A shape-shifting trickster on a kung-fu quest for eternal life, Sun Wukong, or Monkey King, is one of the most memorable superheroes in world literature, known to legions of fans of the most popular anime of all time, Dragon Ball, and the world's largest e-sport, the video game League of Legends. High-spirited and omni-talented, he amasses dazzling weapons and skills on his journey to immortality: a gold-hooped staff that can grow as tall as the sky and shrink to the size of a needle; the ability to travel 108,000 miles in a single somersault. A master of subterfuge, he can transform himself into whomever or whatever he chooses and turn each of his body's 84,000 hairs into an army of clones. But his penchant for mischief repeatedly gets him into trouble, and when he raids Heaven's Orchard of Immortal Peaches and gorges himself on the elixirs of the gods, the Buddha pins him beneath a mountain, freeing him only five hundred years later for a chance to redeem himself: He is to protect the pious monk Tripitaka on his fourteen-year journey to India in search of precious Buddhist sutras that will bring enlightenment to the Chinese empire.

Joined by two other fallen immortals--Pigsy, a rice-loving pig able to fly with its ears, and Sandy, a depressive man-eating river-sand monster--Monkey King undergoes eighty-one trials, doing battle with Red Boy, Princess Jade-Face, the Monstress Dowager, and all manner of dragons, ogres, wizards, and femmes fatales, navigating the perils of Fire-Cloud Cave, the River of Flowing Sand, the Water-Crystal Palace, and Casserole Mountain, and being serially captured, lacquered, sautéed, steamed, and liquefied, but always hatching an ingenious plan to get himself and his fellow pilgrims out of their latest jam.

Monkey King: Journey to the West is at once a rollicking adventure, a comic satire of Chinese bureaucracy, and a spring of spiritual insight. With this new translation, the irrepressible rogue hero of one of the Four Great Classical Novels of Chinese literature has the potential to vault, with his signature cloud-somersault and unerring sense for fun, into the hearts of millions of Americans.

Cultural creativity in China between 1796 and 1912 demonstrated extraordinary resilience at a time of intense external and internal warfare and socioeconomic turmoil. Innovation can be seen in material culture (including print, painting, calligraphy, textiles, fashion, jewellery, ceramics, lacquer, glass, arms and armour, silver, and photography) during a century in which China’s art, literature, crafts and technology faced unprecedented exposure to global influences. 1796 – the official end of the reign of the Qianlong emperor – is viewed as the close of the ‘high Qing’ and the start of a period of protracted crisis. In 1912, the last emperor, Puyi, abdicated after the revolution of 1911, bringing to an end some 2,000 years of dynastic rule and making way for the republic. Until recently the 19th century in China has been often defined – and dismissed – as an era of cultural decline. Built on new research from a four-year project supported by the Arts and Humanities Research Council and with chapter contributions by international scholars from leading institutions, this beautifully illustrated, 336-page book edited by Jessica Harrison-Hall and Julia Lovell sets out a fresh understanding of this important era. It presents a stunning array of objects and artworks to create a detailed visual account of responses to war, technology, urbanisation, political transformations and external influences.

Discover the stories of 100 women and men whose activities in the 19th century laid the foundations of modern China. Through telling the lives of one hundred significant individuals, this book explores how China transformed from dynastic empire to modern republican nation during the period 1796 to 1912. Both famous and surprisingly little-known women and men are brought together in eight thematic sections that bring to life the complexities of China’s path to modernity. Featured figures include the Dowager Empress Cixi, the power behind the throne of the Qing dynasty for fifty years; Yu Rongling, the aristocratic daughter of a Qing diplomat who trained in Paris with Isadora Duncan and is now seen as one of the founders of modern dance in China; Shi Yang, the most powerful woman pirate in the world, celebrated in popular culture as a female icon; the Manchu-Chinese Duanfang, a lynchpin of late Qing government and an avid collector of international art, murdered by his own troops in the 1911 Revolution that ended dynastic rule; Luo Zhenyu, a pioneer of Chinese archaeology whose discoveries and research empirically confirmed the antiquity of Chinese civilization; and many others. Written by an international team of specialists, this book populates the landscapes of modern Chinese history with extraordinary individuals, making sense of the drama and creativity of the country’s ‘long 19th century’.

Cultural creativity in China between 1796 and 1912 demonstrated extraordinary resilience in a time of warfare, land shortages, famine, and uprisings. Innovation can be seen in material culture (including print, painting, calligraphy, textiles, jewelry, ceramics, lacquer, arms and armor, and photography) during a century in which China’s art, literature, crafts, and technology faced unprecedented exposure to global influences. Until recently the nineteenth century in China has been defined as an era of cultural stagnation. Built on new research, this book sets out a fresh understanding of this important period and creates a detailed visual account of responses to war, technology, urbanization, political transformations, and external influences. The narratives are brought to life and individualized through illustrated biographical accounts that highlight the diversity of voices and experiences contributing to this fascinating, turbulent period in Chinese history. Exhibition dates: British Museum, May–October 2023

The Opium War of 1839-42, the first military conflict to take place between China and the West, is a subject of enduring interest. Mao Haijian, one of the most distinguished and well-known historians working in China, presents the culmination of more than ten years of research in a revisionist reading of the conflict and its main Chinese protagonists. Mao examines the Qing participants in terms of the moral standards and intellectual norms of their own time, demonstrating that actions which have struck later observers as ridiculous can be understood as reasonable within these individuals' own context. This English-language translation of Mao's work offers a comprehensive response to the question of why the Qing Empire was so badly defeated by the British in the first Opium War - an answer that is distinctive and original within both Chinese and Western historiography, and supported by a wealth of hitherto unknown detail.

'A gripping read as well as an important one.' Rana Mitter, Guardian In October 1839, Britain entered the first Opium War with China. Its brutality notwithstanding, the conflict was also threaded with tragicomedy: with Victorian hypocrisy, bureaucratic fumblings, military missteps, political opportunism and collaboration. Yet over the past hundred and seventy years, this strange tale of misunderstanding, incompetence and compromise has become the founding episode of modern Chinese nationalism. Starting from this first conflict, The Opium War explores how China's national myths mould its interactions with the outside world, how public memory is spun to serve the present, and how delusion and prejudice have bedevilled its relationship with the modern West. 'Lively, erudite and meticulously researched' Literary Review 'An important reminder of how the memory of the Opium War continues to cast a dark shadow.' Sunday Times

The Opium War of 1839-42, the first military conflict to take place between China and the West, is a subject of enduring interest. Mao Haijian, one of the most distinguished and well-known historians working in China, presents the culmination of more than ten years of research in a revisionist reading of the conflict and its main Chinese protagonists. Mao examines the Qing participants in terms of the moral standards and intellectual norms of their own time, demonstrating that actions which have struck later observers as ridiculous can be understood as reasonable within these individuals' own context. This English-language translation of Mao's work offers a comprehensive response to the question of why the Qing Empire was so badly defeated by the British in the first Opium War - an answer that is distinctive and original within both Chinese and Western historiography, and supported by a wealth of hitherto unknown detail.

One of the world's greatest fantasy novels and a rollicking classic of Chinese literature, in a sparkling new translation and published in a Clothbound Classics edition. A shape-shifting trickster on a kung-fu quest for eternal life, Monkey King is one of the most memorable superheroes in world literature. High-spirited and omni-talented, he can transform himself into whatever he chooses and turn each of his body's 84,000 hairs into an army of clones. But his penchant for mischief repeatedly gets him into trouble, and when he raids Heaven's Orchard of Immortal Peaches, the Buddha pins him beneath a mountain. Five hundred years later, Monkey King is finally given a chance to redeem himself: he must protect the pious monk Tripitaka on his journey in search of precious Buddhist sutras that will bring enlightenment to the Chinese empire. Joined by two other fallen immortals - Pigsy, a rice-loving flying pig, and Sandy, a depressive river-sand monster - Monkey King does battle with Red Boy, Princess Jade-Face, the Monstress Dowager, and all manner of dragons, ogres, wizards and femmes fatales; navigates the perils of Fire-Cloud Cave, the River of Flowing Sand and the Water-Crystal Palace; and is serially captured, lacquered, sauteed, steamed and liquefied - but always hatches an ingenious plan to get himself and his fellow pilgrims out of their latest jam. Comparable to The Canterbury Tales or Don Quixote, Monkey King is at once a gripping adventure, a comic satire and a spring of spiritual insight. With this new translation by the award-winning Julia Lovell, the irrepressible rogue hero of one of the Four Great Classical Novels of Chinese literature has the potential to vault, with his signature cloud-somersault, into the hearts of a whole new generation of readers.

The Matchmaker, the Apprentice, and the Football Fan moves between anarchic campuses, infuriating communist factories, and the victims of China's economic miracle to showcase the absurdity, injustice, and socialist Gothic of everyday Chinese life. This new collection of short fiction establishes Zhu Wen as that rare creature among Chinese writers today: an author with both a fearless grasp of the chaotic violence of capitalist-Communist China and a sense of humor. In The Football Fan, readers fall in with an intriguingly unreliable narrator who may or may not have killed his elderly neighbor for a few hundred yuan. The bemused antihero of Reeducation is appalled to discover that, ten years after graduating during the pro-democracy protests of 1989, his alma mater has summoned him back for a punitive bout of political reeducation with a troublesome ex-girlfriend.Dama's Way of Talking is a fast, funny recollection of China's picaresque late 1980s, told through the life and times of one of our student narrator's more controversial classmates; while The Apprentice plunges us into the comic vexations of life in a more-or-less planned economy, as an enthusiastic young graduate is over-exercised by his table-tennis-fanatic bosses, deprived of sleep by gambling-addicted colleagues, and stuffed with hard-boiled eggs by an overzealous landlady. Full of Zhu Wen's acute observations, political bite, and insights into friendships and romance, these stories further confirm his status as a major commentator on contemporary China.

Legendarily 2,200 years old and 4,300 miles long, the Great Wall of China seems to make an overwhelmingly confident physical statement about the country it spans: about China's age-old sense of itself being an advanced civilization anxious to draw a clear line between itself and the "barbarians" at its borders. But behind the wall's intimidating exterior and the myths that have built up around it is a complex history that has both defined and undermined China. Author Julia Lovell has written a new and important history of the Great Wall that guides the reader through the conquests and cataclysms of the Chinese empire, from the second millennium BC to the present day. In recent years, the Wall has become an ever more potent symbol of Chinese nationalism, of a determination to resist foreign domination. But how successful was the Wall in reality, and what was its real purpose? Was it a precursor, albeit on a huge scale, of the Berlin Wall a barrier designed to keep its population in as much as undesirables out? Lovell looks behind the modern mythology of the Great Wall, uncovering a three-thousand-year history far more fragmented and less illustrious than its crowds of visitors imagine today. The story of the Wall winds through that of the Chinese state and the frontier policy that defined it, through the lives of the millions of individuals who supported, criticized, built, and attacked it.

In five richly imaginative novellas and a short story, Zhu Wen depicts the violence, chaos, and dark comedy of China in the post-Mao era. A frank reflection of the seamier side of his nation's increasingly capitalist society, Zhu Wen's fiction offers an audaciously plainspoken account of the often hedonistic individualism that is feverishly taking root.

Set against the mundane landscapes of contemporary China-a worn Yangtze River vessel, cheap diners, a failing factory, a for-profit hospital operating by dated socialist norms-Zhu Wen's stories zoom in on the often tragicomic minutiae of everyday life in this fast-changing country. With subjects ranging from provincial mafiosi to nightmarish families and oppressed factory workers, his claustrophobic narratives depict a spiritually bankrupt society, periodically rocked by spasms of uncontrolled violence.

For example, "I Love Dollars," a story about casual sex in a provincial city whose caustic portrayal of numb disillusionment and cynicism, caused an immediate sensation in the Chinese literary establishment when it was first published. The novella's loose, colloquial voice and sharp focus on the indignity and iniquity of a society trapped between communism and capitalism showcase Zhu Wen's exceptional ability to make literary sense of the bizarre, ideologically confused amalgam that is contemporary China.

Julia Lovell's fluent translation deftly reproduces Zhu Wen's wry sense of humor and powerful command of detail and atmosphere. The first book-length publication of Zhu Wen's fiction in English, I Love Dollars "and Other Stories of China" offers readers access to a trailblazing author and marks a major contribution to Chinese literature in English.

For decades, the West has dismissed Maoism as an outdated historical and political phenomenon. Since the 1980s, China seems to have abandoned the utopian turmoil of Mao’s revolution in favour of authoritarian capitalism. But Mao and his ideas remain central to the People’s Republic and the legitimacy of its Communist government. With disagreements and conflicts between China and the West on the rise, the need to understand the political legacy of Mao is urgent and growing.

The power and appeal of Maoism have extended far beyond China. Maoism was a crucial motor of the Cold War: it shaped the course of the Vietnam War (and the international youth rebellions that conflict triggered) and brought to power the murderous Khmer Rouge in Cambodia; it aided, and sometimes handed victory to, anti-colonial resistance movements in Africa; it inspired terrorism in Germany and Italy, and wars and insurgencies in Peru, India and Nepal, some of which are still with us today – more than forty years after the death of Mao.

In this new history, Julia Lovell re-evaluates Maoism as both a Chinese and an international force, linking its evolution in China with its global legacy. It is a story that takes us from the tea plantations of north India to the sierras of the Andes, from Paris’s fifth arrondissement to the fields of Tanzania, from the rice paddies of Cambodia to the terraces of Brixton.

Starting with the birth of Mao’s revolution in northwest China in the 1930s and concluding with its violent afterlives in South Asia and resurgence in the People’s Republic today, this is a landmark history of global Maoism.

The Matchmaker, the Apprentice, and the Football Fan moves between anarchic campuses, maddening communist factories, and the victims of China's economic miracle to showcase the absurdity, injustice, and socialist Gothic of everyday Chinese life. In "The Football Fan," readers fall in with an intriguingly unreliable narrator who may or may not have killed his elderly neighbor for a few hundred yuan. The bemused antihero of "Reeducation" is appalled to discover that, ten years after graduating during the pro-democracy protests of 1989, his alma mater has summoned him back for a punitive bout of political reeducation with a troublesome ex-girlfriend. "Da Ma's Way of Talking" is a fast, funny recollection of China's picaresque late 1980s, told through the life and times of one of our student narrator's more controversial classmates; while "The Apprentice" plunges us into the comic vexations of life in a more-or-less planned economy, as an enthusiastic young graduate is over-exercised by his table-tennis-fanatic bosses, deprived of sleep by gambling-addicted colleagues, and stuffed with hard-boiled eggs by an overzealous landlady. Full of acute observations, political bite, and piercing insight into friendships and romance, these stories further establish Zhu Wen as a fearless commentator on human nature and contemporary China.

Read the "Time" magazine review about "the most significant Penguin Classic ever published."

In the early twentieth century, as China came up against the realities of the modern world, Lu Xun effected a shift in Chinese letters away from the ornate, obsequious literature of the aristocrats to the plain, expressive literature of the masses. His celebrated short stories assemble a powerfully unsettling portrait of the superstition, poverty, and complacency that he perceived in late imperial China and in the revolutionary republic that toppled the last dynasty in 1911. This volume presents Lu Xun's complete fiction in bracing new translations and includes such famous works as "The Real Story of Ah-q," "Diary of a Madman," and "The Divorce." Together they expose a contradictory legacy of cosmopolitan independence, polemical fractiousness, and anxious patriotism that continues to resonate in Chinese intellectual life today.

One of the most-talked about works of fiction to emerge from China in recent years, this novel about an urban youth "displaced" to a small village in rural China during the Cultural Revolution is a fictionalized portrait of the author's own experience as a young man. Han Shaogong was one of millions of students relocated from cities and towns to live and work alongside peasant farmers in an effort to create a classless society. Translated into English for the first time, Han's novel is an exciting experiment in form -- structured as a dictionary of the Maqiao dialect -- through which he seeks to understand and translate the local life and customs of his strange new home.

Han encounters an upside-down world among the people of Maqiao: a con man dupes his neighbors into thinking that he has found the fountain of youth by convincing them that his father is in fact his son; to be scientific" is to be lazy; time and relationships are understood using the language of food and its preparation; and to die young is considered "sweet," while the aged reckon their lives to be "cheap."

As entries build one upon another, Han meditates on the ability of a "waidi ren" (outsider) to represent the ways of life of another community. In this light, the Communist effort to control the language and history of a people whose words and past are bound together in ineluctably local ways emerges as an often comical, sometimes tragic exercise in miscommunication.

From the daring imagination of one of China's greatest living novelists comes a work of startling power and originality-the story of a young man "displaced" to a small village in rural China during the 1960s. Told in the format of a dictionary, with a series of vignettes disguised as entries, "A Dictionary of Maqiao" is a novel of bold invention-and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution.
Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language-where the word for "beginning" is the same as the word for "end"; "little big brother" means older sister; to be "scientific" means to be lazy; and "streetsickness" is a disease afflicting villagers visiting urban areas. Filled with colorful characters-from a weeping ox to a man so poisonous that snakes die when they bite him-"A Dictionary of Maqiao" is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.