Western critics have expected Chinese authors to unambiguously answer political questions, to stake out their positions, to be in opposition to Mainland China's prevailing social order. Chinese books are mostly translated into English and published by university and academic presses to support Western ideological claims, and everybody stopped reading them a long time ago.
So, if I had to jot a list of reasons that Jia Pingwa has never really been translated into English in a major way... somewhere on that list, I'd note a cultural conservatism that doesn't appeal to Western readers of Chinese fiction, and I'd also list a general ideological subtlety. When Jia Pingwa's Turbulence dropped, it was met with kindhearted confusion, and reviews of it still resorted to calling it a critique of "the bureaucracy that hamstrings modern China." They had nothing else to say. Okay. What if Jia wrote a novel set during the Cultural Revolution?
Just like you've always wanted to hear Rod Stewart rip into "My Funny Valentine," there are those that are stoked to have, say, Mo Yan tear into the central government's family planning policy or have Jia Pingwa really get into the Cultural Revolution.
Jia's early writing, which is not very highly regarded (even by Sun Jianxi, really), is often set casually during the Cultural Revolution ("casually" because it's not the Cultural Revolution of Scar Literature or Western imagination). He has never really laid into the subject, as, I guess, he's been expected to. But... he has now.
By Dylan Levi King, October 26 '10, 11:52p.m.