Creative Writing: Loss Of Innocence

The shocked and flabbergasted diction of this section lends itself to a similar purpose. The surprise that the narrator shows when Luo initially begins the procedure is indicative to the fear within the protagonists and the absurdity of the situation as a whole. When the narrator says: “what the devil had got into him?” (Sijie 142) it shows the reader that the strangeness of the scene had not escaped the notice of those involved. The befuddled diction continues when the narrator says: “even today it confounds me” (Sijie 142) showing that the situation his oddness was not reduced with time. Overall, this section sets the scene for an intense and decisively odd situation.

Even with her previous experiences at Beijing University and at Big Joy Farm, Wong still held some belief that the Chinese system wasn’t as bad as it was sometimes made out to be. This event proved to her that it was. “The enormity of the massacre hit home…Although it had been years since I was a Maoist, I still had harbored some small hope for China. Now even that was gone” (259). As a reporter Wong was able to view the progression of the protests in leading up to the massacre, and in viewing it understood that the Chinese people were much more independent than they had previously demonstrated over the past 50 years. She had continuously seen the Chinese people following what they were told between learning in school or with physical labor, yet this protest was one of the first large scale displays of the unacceptance of the regime by the people, and the government did not know what to do with it. But because of this, Wong was able to recognize that the people were not reliant on this way of life that they had previously been bound to, but truly could lead for themselves and take control. The massacre awakened Wong both to the reality that the government was not acting to benefit the people, and that the people were more than capable of acting for

Originally, Liang’s “parents were deeply involved in all the excitement of working to transform China into a great Socialist country” (4). Over a serious of unfortunate events, though, he became the child of a “Rightist’s cap” mother and a “Reactionary Capitalist stinking intellectuals” father (9, 51). Impacted by the shattering of his family and horrific bloodshed created by fighting, Liang Heng began to question the Cultural Revolution. He claimed that his “family had scarified so much… but it had given [them] nothing in return” (148). Liang Heng presents his shift in ideology to demonstrate that most Chinese were no longer in support of a Communist nation. His “troubles were common enough and anyone could see there was a discrepancy between the glorious words of the newspapers and [their] painful reality (232). Even Liang Heng’s father, after many years of devotion, found that he could no longer defend the Party’s policies after he experienced the ill-treatment of the peasants in the country

However, their fortune is short-lived when bad omens rise because of Wang Lung’s insolent behavior towards his uncle’s family. Not only is their third child born a daughter, but a drought begins, preventing the land from cultivating and spreading both poverty and starvation through the North.

This memoir of Ma Bo’s sent shock waves throughout China when it was published and was even first banned by the Communist Government. This passionate story paints a clear picture for what the Great Chinese Cultural Revolution was really like. Many Chinese living today can attest to similar if not identical ordeals as expressed in Ma Bo’s story. The toils of being a young Red Guard in inner China were experienced by many if not millions. The horrors and atrocities were wide spread throughout the country, not just in Inner Mongolia. The experiences illustrated in Blood Red Sunset uniquely belong to Ma Bo’s entire generation of mislead Chinese. As expressed in the books dedication the Cultural Revolution

She also writes of her experience with Maoism, which she had worshipped as a student before realizing the harsh realities and witnessing the Tiananmen Square Massacre. In one event, a fellow student had asked her to help flee the country but under the influence of Maoism, Wong turned her in to the authorities. She writes she still does not know what happened to the distressed woman after she turned her in. Throughout her book, it is evident that she regrets some of her actions that were misguided under the notion that it was for the better, although she says it was a major part of her life so she doesn’t know if she would change what happened or

Jayna said, “No, it's working right, stop fighting it, move with it, not against it.”

It is this combination of a duel revealing that establishes the psychological fine points of the characters. The characters within are not simply physical beings designed to carry out the action, but instead they are developed and complicated. Therefore, Lee not only creates multi-dimensional characters, but he also displays an acute understanding of the codes and conventions of the Taoist and Buddhist ideas.

The majority of the book looks deep into Mao’s Cultural Revolution, the main focus was Mao’s campaign was created with the simple means to destroy China’s history of hopes of a free and pure culture that would separate itself from the old Chinese culture which existed before during 1949. We will mainly focus on Liang’s treacherous life, and the obstacles he endured in spite of Mao’s Cultural Revolution, we look at the different events in which led up to the Cultural Revolution and the purpose of Mao’s culture Revolution.

          "....I feel no shame, with shield and sword and armor, against this monster: when                he comes to me I mean to

"...I feel no shame, with shield and swordand armor, against this monster: when he comes to me I mean to stand, not to run from his shooting flames, stand still fate decides which one of us wins. My heart is firm, my hands calm: I need no hot words. Wait for me close by, my friends. We shall see, soon, who will survive this bloody battle, stand when the fighting is done. No one else could do what I mean to, here, no man but me could hope to defeat this monster. No one could...try..."

Unable to withstand the embarrassment of having a wife he is not proud of, he abandons her. Han Kang used the sense of pressure emotionally to depict not only the public opinion but also the force that drives Mr. Cheong’s actions.

“Better a live coward than a dead hero”, a proverb passed down by the Chinese since ancient time, it coexisted with China’s constantly in volatile state and periodical social unrest. Coincidentally, the saying resonates with the life of Fugui in the novel “To Live” by Yu Hua, a prominent novel which touched many souls and emotions within and outside China. Meanwhile life, a key component and a main theme of the novel, is being valued and portrayed vividly through Fugui’s life, demonstrated by the use of literary devices and among them characterization evident.

When Pangu died, his breath became the wind and clouds, his voice the rolling thunder, and his eyes the sun and the moon. His hair and beard became the stars in the sky, the flowers and trees from his skin, the marrow in his bones became jade and pearls, and his sweat the good rain

Classic of the Yellow Emperor. The Yellow Emperor Huangdi is one of China’s most ancient