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- Published on: 1656
- Binding: Paperback
Customer Reviews
Most Helpful Customer Reviews
0 of 0 people found the following review helpful.
By Peter Iveson
A Quite stunning piece of writing. Unbelievably tough reading at times and moving, yet this kind of work has to be read to understand fully the horrendous policies that the Chinese communist party have inflicted upon China.
0 of 0 people found the following review helpful.
By T E Kingston
This has to one of the most emotionally disturbing novels I've read. Partly because it's so real.Based on first hand research Ma Jian tells a tale of the horrifying impact of the One Child Policy and a rapidly developing country - from rape to forced abortions, cannibalism and an oppressive male dominated society - it's all there.
3 of 3 people found the following review helpful.
By Hande Z
If every unhappy family is unhappy in its own way as Tolstoy tells us, China's one-child policy must have produced millions of variations on the theme of despair and sorrow. This book by Ma Jian is one such tale of sorrow. Another Chinese writer (Mo Yan) wrote 'Frog' in 2009. That book was also based on China's one-child policy. Mo won the Nobel Prize for literature in 2012. The English translation appeared in 2014. Mo cannot have won the Nobel Prize on 'Frog' alone, but he may have inspired Ma to write 'The Dark Road' (published in May 2012) which is also based on the one-child policy. Both stories are excellent but display a contrast in style and form. They also reflect the different intellectual thinking of their authors. The main protagonist in `The Dark Road' is a young peasant girl named Meili who married Kongzi, a seventy-sixth generation descendant of Confucius, yearning, like most men in China then, for a son to carry on the family name. The problem is that they have a daughter. A sweet and adorable toddler when the story begins. In spite of the one-child policy, Kongzi was determined to have his son. Meili went through two more pregnancies hoping to make her husband's dream come true. Having a son in rural China is not easy especially when family planning officers constantly sweep through towns and villages. Unwanted and unauthorized pregnancies are aborted by force and the women sterilized. The offending families and their neighbours are fined. This policy has many consequences. Desperate parents like Kongzi will try for an illegal second child, hoping that it will be a boy. If so, the elder girl might be sold. If the second is a girl then she might be drowned or sold. Welfare committees in the villagers take part in such transactions making up to 30,000 yuan profit for each sale. In some cases, the infants will be deliberately crippled so that they can be sent to the streets to beg. Child abduction also becomes rampant. Meili's life is exquisitely chronicled in that her misfortunes (including a period of detention in a rehabilitation centre - where she made friends with a prostitute, Suya) are interwoven with the selfishness of Konzi, the charm and beauty of Nannan, their daughter, as she grows up. All that only made the tragedy of the story all the more depressing. `Dark Road' is a relentless indictment of China's one-child policy whereas Mo's `Frog' attempts to see the other side of the policy. Ma, an exiled dissident, may argue that there is no side other than the dark side of that policy. Mo, however, shows that a country that has 900,000,000 people must control its population unless it can feed all of them without depleting the natural resources of the world. The best way to be `green' is not to increase the `carbon footprint'. Population growth is one requisite for economic growth - but that is a capitalist idea. Ironically, China is relaxing its one-child policy now that it is embracing capitalism. Is capitalism the panacea or the ill? Mo seems to think that the system then was right but badly administered by incompetent and corrupt officials, yet he hints that there is hope for the people. Ma is totally pessimistic. His tale suggests that one cannot change fate. Things have a way of turning up in ways beyond one's imagination. If that were the case, perhaps, there might be a glimmer of hope after all - only it's too dark now to see.I have just a comment or two on the translation. Flora Drew (Ma Jian's translator and partner) did an excellent job for one would otherwise not have enjoyed this book so much. However, Nannan was interpreted to refer to herself in the third person ('Me wants to pee') but in Chinese 'I' and 'me' are represented by the same character. Secondly, Nannan calls Meili 'mummy'. Would it not have been more authentic to use 'mama'?
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