Taiwan Fiction and Postwar Urban Experience Week 11

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Taiwan Fiction and Postwar Urban Experience Week 11: Huang Fan and His “Social Problem” Urban Fiction [Nov 21 st, 2013] Instructor: Richard Rong-bin Chen, Ph. D. Adjunct Assistant Professor, Graduate Institute of Taiwan Literature, NTU Unless noted, the course materials are licensed under Creative Commons Attribution-Non. Commercial-Share. Alike 3. 0 Taiwan (CC BY-NC-SA 3. 0)

Huang Fan on His Urban Writing • I have to write “a new breed of Chinese characters” which are completely different from those in Taipei People. (Toushih shenghuo [都市生活], 1987. p. 7) This work is licensed by 張耀仁 for the use of “Course Database of General Education TW” ONLY. The copyright belongs to the above mentioned creator and we do not have the authorization right.

Huang Fan, Penname of Huang Hsiao-chung • 1950: born in Taipei. He is a graduate of Chung Yuan College of Science and Engineering [中原理學院 ]. • In 1979, with “Lai Suo” [賴索 ] , his first piece of fiction, he won the United Daily News fiction competition. • “Lai Suo” is a short story with theme of politics set in the 1970 s, a period which was both confusing and exciting for many Taiwanese. (Lai Suo is a marginal and naïve figure in Taiwan’s “Independence Movement. ”)

• The next year, Huang won the same competition for the second time with “Rainy Night” [雨夜 ] (1980). • Though among Huang’s first pieces of fiction, “Everybody Needs Ch’in Te-fu” [人人需要秦德夫 ] had been rejected for about two years before it was finally published in Hsientai wenhsueh [Modern Literature], the journal founded by Pai Hsien-yung, in 1980, a year later than “Lai Suo. ” • “Everybody Needs Ch’in Te-fu”: Huang’s version of The Great Gatsby.

“Urban Fiction” and “Postmodern Fiction” • In the 1980 s, Huang Fan developed himself into a pioneer in both the spheres of “Urban Fiction” and “Postmodern Fiction. ” • In the former category, his representative works are City Life [都市生活 ] (1987) and Tycoon [ 財閥 ] (1988). • In 1985, he published “How to Measure the Width of a Ditch” [如何測量水溝的寬度 ] (1985), arguably the first postmodern work of fiction in Taiwan.

The Rise of Urban Literature • Made possible by economic prosperity since the 1970 s. • Made possible by the writers’ urban life experience. (For example, lifestyle of apartment dwelling. ) • Political freedom. • City is not only a setting, but also a socialized and institutionalized space. • Social problems: chaotic life, class oppression, urban development, social alienation, etc.

• Postmodern stories or novels do not try to tell story or to make sense because they are mainly about exploring the possibilities of storytelling: that is, how stories can be told and how a plot can be manipulated in order to make readers reflect upon the nature of fiction as a genre. • So the story is not mainly about the event of measuring the width of a ditch, but how to narrate such meaningless a story.

”A History of Condo Sales” [房地產銷售史] (1987) • Buffet-style Construction Project • Characters • A Single／A housewife／A man with two wives • A Feng-shui practitioner • A fashion designer • A private detective • A lottery winner

The Urban Problems: Freeways “Freeways are absolutely the murderers of traditional communities. The towns that freeways cut through have been completely bled of their unique cultures. ” From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved.

The Urban Problems: Sameness in the City • “Isn’t that right? Just to accommodate those freeways, everyone’s been building the same cookie-cutter houses, building higher fences. Grayness envelopes everything. Darkness is everywhere. ” From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved.

The Urban Problems: No Urban Planning “The way Taiwanese people trample their own living environment is simply astonishing. Roads need repair all the time, bridges built with no foresight, tunnels dug everywhere. No street is spared. ” From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved.

The Urban Problems: World Architecture Chop Suey “It’s worse in the big cities. Buildings sprout like weed. We might as well call it a ‘world architecture chop suey’—zero color coordination, no fire escapes, no leisure spaces, all concrete jungle. ” From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved.

Huang’s Short Autobiography in Modern Chinese Writers: Self-portrayals: “Dignity and Conviction: My Literary Odyssey” (1986) From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved. “. . . my homeless family drifted here and there in this metropolis of half a million people. Mother gritted her teeth, squared her shoulders, and did many things that she never wanted to do, while my relatives just stood by and watched, none of them lifting even a finger to help. We stayed at no fewer than twenty places, living among rickshaw-pullers, prostitutes, laborers, hawkers, and vagabonds. Once, we even moved into one of those housing projects for military dependents, where there lived not a single one of us native Taiwanese. . ” From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved.

“This childhood days are still vivid in my mind. I remember the tarred surface of the road that turned soft and yielding in the afternoon sun; the utility poles that blackened and smelled of rotten timber, the barefoot children who pranced about in the streets, playing cops and robbers, and kicking tin cans. I returned to these old haunts twenty years later, and despite the many changes, the skyscrapers, the traffic lights, the movie theaters, the modernized but vulgar Longshan Temple (I hear that the monk in charge of hospitality can speak fluent English), nostalgia welled up inside me until I became as sentimental as a little girl. ” From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved.

Huang’s Vision of the Modern Urban World “Our present world is slowly taking shape, a mixture of New York, Tokyo, and Calcutta. Some of the old things will be totally abandoned. New communities springing up like forests present a frightening sameness (the era that exists in my memory has vanished beneath the wheels of bulldozers and tractors). Apartment dwellers materialize in droves on the streets. The newspaper takes up global crises, condenses them, and sticks them on page four. From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved.

“Human beings rush about beneath the signposts of modernization and development, cramming themselves full of all kinds of ‘counterwisdom’ from television, ratio, billboards and entertainment pages. Jarring sounds. Dust. An ever-increasing influx of people into the city. Political slogans. Commercial jingles. Always there are people telling you that no one is obliged to be good-tempered, that cheating at the polls is immoral, that you can learn English in seven days, that you’d intimidate the taxman himself, and, finally, that you can be a success before forty. ” From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved.

“Rainy Night” [雨夜] (1980) • • Main characters Chan Pu-mai [詹布麥] Chan’s wife A-hsing [阿興] Chiang Chin-hua [江錦花] Chang Tu-sheng [張塗生] A-hsing’s father

Details of Urban Life • • People with Different Jobs Bus driver Conductress Salesclerk Taxi driver Female information desk clerk (hospital) Nurse/doctor Policeman

Places and Things in the City • • • Bus stop Stores Taxi Hospital Police Station Suburban home Home in the city Bedroom

Theme 1: Meaning of Marriage “Sale. ” “Sale” was just another nonsensical expression, as meaningless as “marriage, ” or “responsibility, ” or “morality, ” or “courage. ” He could call his wife and ask her to come with an umbrella. It was not his fault that the rain was pouring down so heavily. She knew this was the time he came home from work; she also knew that he had left his umbrella at home. He was rather forgetful about things which seemed unimportant to him, such as her birthday, his promise to visit her friends somewhere, or complimenting her purchases, such as a new dress, or a scarf bought from a flea market, or a jacket Source: Huang Fan. (1983, spring ). bought at a crowded sale. (p. 4) Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, Taipei, Taiwan : Taipei Chinese Center, International P. E. N

Nevertheless, seeing the pouring rain, she should feel pity for a hard working man and appear before him with an umbrella. (p. 4) Source: Huang Fan. (1983, spring ). Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, Taipei, Taiwan : Taipei Chinese Center, International P. E. N Marriage makes a man even more helpless, Chan continued brooding. There were things one could manage very well by oneself, but not when there were two people. Still worse, a few inappropriate words might blow up the whole relationship, such as “I am too tired today, ” or “Can we talk about it later? ” or “That is not your business, why bother with it? ” (p. 4 -5) Source: Huang Fan. (1983, spring ). Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, Taipei, Taiwan : Taipei Chinese Center, International P. E. N

“Marriage is sacred. ” Chan recalled these words from the wedding ceremony; but this expression made him shiver all over just like the motto on school walls, “Keep the place clean all the time, ” or the one you saw along the streets, “A good citizen always pays his income tax. ” To him, the word “sacred” recalled a sensation like a nasty skin disease or like the powerful pouring rain; and he himself was like the boy with the bag of oranges, who had to dash into the rain to carry out his study. (p. 4 -5) Source: Huang Fan. (1983, spring ). Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, Taipei, Taiwan : Taipei Chinese Center, International P. E. N

Theme 2: Routine of Modern Life The driver had his lips tightly zipped. It was better this way, thought Chen; a talkative driver might be as horrible as a nagging wife. By now she must have cleared the dining table and would be sitting in front of the television, simmering. No, she would not get angry, not unless there was a target. If he took this boy to the hospital and then went home in the same taxi, it would take nearly an hour. (p. 7) Source: Huang Fan. (1983, spring ). Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, Taipei, Taiwan : Taipei Chinese Center, International P. E. N

By then she would have watched the evening news and weather broadcast—rain, rain which she simply hated. Probably she would remain in front of the television set; channel 3, or 5, or 7, it didn’t matter which. Then she would see her husband standing in the doorway, all soaked. A while later the husband would be at the dinner table eating cold food and shivering all over. ” (p. 7) Source: Huang Fan. (1983, spring ). Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, Taipei, Taiwan : Taipei Chinese Center, International P. E. N

The situation was obvious: he was stuck there, as was the body lying close by. Usually he was in bed by this hour; he would turn on the small lamp at the head of his bed, cushion himself with a pillow and read. Through the open door he could hear the television—his wife always watched television till very late. If she was on the phone, he would be able to hear to kinds of noise broken by intermittent laughter. (p. 13) Source: Huang Fan. (1983, spring ). Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, Taipei, Taiwan : Taipei Chinese Center, International P. E. N

She seemed to be able to laugh wholeheartedly on the phone. How he liked to hear her laughter. Then, he would put down his book and looking through the open door he could see that pair of swinging feet. (How nice they looked in silk stockings!) (p. 13) Now it was nine thirty. Probably she had finished her evening chats on the phone. Probably she had told someone over the phone, “My old man? Who knows where he’s dropped dead ? ” (p. 14) Source: Huang Fan. (1983, spring ). Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, Taipei, Taiwan : Taipei Chinese Center, International P. E. N

Theme 3: Unexplainable Mistake “ Want a cigarette? ” asked the officer. “You think this is a place to sleep? ” Chan shook his head. “What is your name ? ” Chen shook his head again. The officer angrily hit the desk. The noise woke Chan up. “Chang Tu-sheng. ” “ What? ” “ When did you come to know Chiang Chin-hua? ” “ Tonight, ” answered Chan. “No, I did not know her at all. (p. 20 -1) Source: Huang Fan. (1983, spring ). Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, Taipei, Taiwan : Taipei Chinese Center, International P. E. N

Theme 3: Unexplainable Mistake “ Why did you go to the morgue? ” “I don’t know, ” answered Chan while he was thinking. It’s true. I really don’t know. At this moment I don’t know anything. Maybe there is an unexplainable force pulling us together–the boy, the policemen, Chiang Chin-hua, me and that Chang. He must have had a reason to have run away like this. Why did he do it? Perhaps he couldn’t. ” (p. 21) Source: Huang Fan. (1983, spring ). Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, Taipei, Taiwan : Taipei Chinese Center, International P. E. N

Questions to Ponder • What is the relationship between the rain and theme of marriage? [From drizzling to pouring rain. ] • Is Chan a model citizen or foolish and unqualified husband? • Is his wife a good one? • In the end, we see Chan was facing an empty bedroom without the presence of his wife. What is the implication of this closure? • At the end of the story, why did Chan repeat the events happened to him? Why did he lie?

Chan’s Self-image “‘Today’s events proved that I am not merely what you see on the surface. I mean I am not only the man that you see everyday; I deserve your respect. ’ He paused to clear his throat and resumed, ‘It is only natural for a wife to respect her husband. A successful marriage is based on mutual respect. See those well adjusted couples who don’t quarrel? They respect and love each other. This is natural and also very common…’” (p. 24) Source: Huang Fan. (1983, spring ). Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, Taipei, Taiwan : Taipei Chinese Center, International P. E. N

“Tung-p’u Street” [東埔街] (1981) • Tung-p’u Street is a small street where trucks and buses used to passed through. • A newly-built bridge changed everything, with more and more families moving away, and finally it was claimed by Chih-ch’ing, the best friend of the protagonist, as a “dead street. ” • An old man moved away with his family, but came back due to his inability to start over, and died in the end. • A “Highway Hotel” was built near the street, several families moving back, but the Protagonist’s father managed to sell his hardware store and moved away.

• Image of the Bridge Our school was situated beside the big bridge which was then newly-built. We leaned on the window sills and gazed at the cement bridge glittering brightly under the sun. During dry seasons, the level of the stream dropped; stones and boulders with strange shapes appeared in the bed of the stream, and the lower buttresses of the bridge laden with moss could be seen. I often dreamed of this bridge. In my dreams it appeared in different shapes: sometimes its from was distorted, to an extent that became horrifying; sometimes it was transformed into a circular track in a stadium, and people and vehicles went round and round endlessly. (p. 182) Source: Huang Fan. (1994). Ching-hsi Perng and Chiu-kuei Wang(Eds. ), Death in a cornfield and other stories from contemporary Taiwan. Hong Kong ; New York : Oxford University Press

• It’s a Dead Street. However, more often we could bombard it very accurately, and knock it flat. I saw the cars fall into the stream, one after another, until it was so full the river could hold no more. The rest of the cars on the bridge could do nothing but turn around and leave, through the old street that passed by our house. Afterwards, we would slide down the mound, laughing and yelling, and run towards the tree where our bicycles were parked. One afternoon, while we were sliding down the mound, Chih-ch’ing suddenly informed that his family was planning to leave Tung-p’u Street. ‘It is a dead street, ’ he raised his voice, as if to announce it to the world: ‘A dead street !’(p. 183) Source: Huang Fan. (1994). Ching-hsi Perng and Chiu-kuei Wang(Eds. ), Death in a cornfield and other stories from contemporary Taiwan. Hong Kong ; New York : Oxford University Press

The Bridge Wins in the End Finally I stood atop the fortress [the small heap of soil overlooking the bridge] that once belonged to us. Now it had been completely destroyed by enemies from the other side of the river. I felt I was standing on a lonely grave. The bushes hung their heads, the little flowers lost their colours, and many ghostly shadows arose among them. I stood there until it was almost completely dark. Then I slid down the mound, and ran towards the wasteland, alone. (p. 183) Source: Huang Fan. (1994). Ching-hsi Perng and Chiu-kuei Wang(Eds. ), Death in a cornfield and other stories from contemporary Taiwan. Hong Kong ; New York : Oxford University Press

• The Good Old Days. When business was good, my father even took in a young apprentice who slept in the corner where I put my bike. He used to crouch, motionless, between two racks (he was like a rack himself) sorting out the bent nails. Sometimes from the back would come Father’s shouting and the apprentice would reply after quite a pause. Because of that, my father always said he was stupid. One thing he often did for my father was to go into the street to call my ma back home. (p. 186) Source: Huang Fan. (1994). Ching-hsi Perng and Chiu-kuei Wang(Eds. ), Death in a cornfield and other stories from contemporary Taiwan. Hong Kong ; New York : Oxford University Press

My ma loafed around with her neighbours all day long. In those days, she used to wear a Western-style dress with alternating red and green stripes. Occasionally, truck drivers driving by would make vulgar gestures at her. The young apprentice had gone away and my mother had put that Western-style dress away in the wardrobe. Truck drivers no longer appeared on our street, and the drivers of those few cars that passed by kept their heads inside. Except for dust, there was nothing be seen. (p. 186) Source: Huang Fan. (1994). Ching-hsi Perng and Chiu-kuei Wang(Eds. ), Death in a cornfield and other stories from contemporary Taiwan. Hong Kong ; New York : Oxford University Press

The Story of Uncle A-Szu • An old man who had moved into the town. • Used to sell cigarettes and betel nuts. • Couldn’t get used to the new life, and returned. • In the words of the parents, he “can’t start over. ” • He finally died. • The implication of the story?

The Truck Returned The summer holidays finally came. Part of the homework assigned for the summer was to write a diary. I hoped I could faithfully record everything that happened each day in my diary, but somehow I was never able to express myself clearly. I remember the entry that appeared most frequently was: ‘a truck went by. ’ I thought Teacher would be puzzled: why did I spend my day doing nothing but counting trucks? A truck came again! So what? (p. 196) Source: Huang Fan. (1994). Ching-hsi Perng and Chiu-kuei Wang(Eds. ), Death in a cornfield and other stories from contemporary Taiwan. Hong Kong ; New York : Oxford University Press

Trucks came and went, like what I did every day, like brushing my teeth and washing my face. Our teacher would say this: you wash your face and brush your teeth every day, would you write that down every day? When the first truck came into Tung-p’u Street, everyone rushed out to look at it. Mother and I stood under eaves watching how it churned up great clouds of dust, and seeing Fathers face gradually emerge after the dust had dissipated. He and a few others stood under an enormous sign that read ‘ Highway Hotel’. They were all grinning. (p. 196) Source: Huang Fan. (1994). Ching-hsi Perng and Chiu-kuei Wang(Eds. ), Death in a cornfield and other stories from contemporary Taiwan. Hong Kong ; New York : Oxford University Press

Moving into the Town After we left Tung-p’u Street, we settled down in a street in town. The house was directly opposite a filthy little park. The neighbourhood dumped its garbage in a place originally designed to be a fountain. Beside the park, there were a few buildings in the process of construction. By day, a deafening tumult of noise came through the window, but once night arrived, the entire street became deadly quiet. The dried twigs, the stone benches, the fences and railings in the park were like ghostly shadows moving to and fro. Sometimes a car sped by; the headlights shot through the windows, and brought these shadows into your dreams, like it or not. (p. 200) Source: Huang Fan. (1994). Ching-hsi Perng and Chiu-kuei Wang(Eds. ), Death in a cornfield and other stories from contemporary Taiwan. Hong Kong ; New York : Oxford University Press

End of the Story At midnight one wintry day, I was suddenly awakened by a strange-sounding kind of scream. I listened intently; I had heard that noise somewhere before. I thought about it for a while, then I put on my clothes and walked into the sitting room. In the dim light, I saw Father standing beside the window. I moved forward, and looked through the window, but there was only complete darkness, there was nothing at all. ‘What was that noise? ’ I asked. My voice was trembling. (p. 200) Source: Huang Fan. (1994). Ching-hsi Perng and Chiu-kuei Wang(Eds. ), Death in a cornfield and other stories from contemporary Taiwan. Hong Kong ; New York : Oxford University Press

Copyright Declaration Page Work Licensing Author/Source This work is licensed by 張耀仁 for the use of “Course Database of General Education TW” ONLY. The copyright belongs to the above mentioned creator and we do not have the authorization right. 2 Freeways are absolutely the …completely bled of their unique cultures From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved. 10 Isn’t that right? Just to accommodate those …everything. Darkness is everywhere From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved. 11 The way Taiwanese people …, everywhere. No street is spared From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved. 12 It’s worse in the big cities. … spaces, all concrete jungle. From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved. 13 Dignity and Conviction: My Literary Odyssey From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved. 9

Copyright Declaration Licensing Author/Source Page Work 13 . . . my homeless family drifted here and …one of us native Taiwanese. . From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved. 14 This childhood days are still vivid in my …until I became as sentimental as a little girl. From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved. 15 Our present world is slowly … and sticks them on page four. From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved. 16 Human beings rush about beneath the … that you can be a success before forty. From Huang Fan, "A History of Condo Sales, " translated by Kevin T. S. Tang. Published in Words without Borders April 2010. Translation copyright 2010 by Kevin T. S. Tang. By permission of the publisher. All rights reserved. 20 “Sale. ” “Sale” was just another … or a jacket bought at a crowded sale. Huang Fan. (1983, spring ). Rainy Night Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, (p. 4). Taipei, Taiwan : Taipei Chinese Center, International P. E. N 21 Nevertheless, seeing the pouring rain, …before him with an umbrella. Huang Fan. (1983, spring ). Rainy Night Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, (p. 4). Taipei, Taiwan : Taipei Chinese Center, International P. E. N

Copyright Declaration Page Work Licensing Author/Source 21 Marriage makes a man even more …business, why bother with it? ” Huang Fan. (1983, spring ). Rainy Night Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, (pp. 4 -5). Taipei, Taiwan : Taipei Chinese Center, International P. E. N 22 “Marriage is sacred. ” Chan recalled … to dash into the rain to carry out his study. Huang Fan. (1983, spring ). Rainy Night Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, (pp. 4 -5). Taipei, Taiwan : Taipei Chinese Center, International P. E. N 23 The driver had his lips tightly zipped. … taxi, it would take nearly an hour. Huang Fan. (1983, spring ). Rainy Night Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, (p. 7). Taipei, Taiwan : Taipei Chinese Center, International P. E. N 24 By then she would have watched the …table eating cold food and shivering all over. ” Huang Fan. (1983, spring ). Rainy Night Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, (p. 7). Taipei, Taiwan : Taipei Chinese Center, International P. E. N 25 The situation was obvious: he was stuck …intermittent laughter. Huang Fan. (1983, spring ). Rainy Night Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, (p. 13). Taipei, Taiwan : Taipei Chinese Center, International P. E. N 26 She seemed to be able to laugh … feet. (How nice they looked in silk stockings!) Huang Fan. (1983, spring ). Rainy Night Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, (p. 14). Taipei, Taiwan : Taipei Chinese Center, International P. E. N

Copyright Declaration Licensing Author/Source Page Work 26 Now it was nine thirty. Probably she had … where he’s dropped dead ? ” 27 “ Want a cigarette? ” asked the … not know her at all. 28 “ Why did you go to the morgue? ” “I don’t … do it? Perhaps he couldn’t. ” Huang Fan. (1983, spring ). Rainy Night Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, (p. 21). Taipei, Taiwan : Taipei Chinese Center, International P. E. N 30 “‘Today’s events proved that I am not … love each other. This is natural and also very common…’” Huang Fan. (1983, spring ). Rainy Night Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, (p. 24). Taipei, Taiwan : Taipei Chinese Center, International P. E. N 32 Our school was situated beside the big …vehicles went round and round endlessly. Huang Fan. (1994). Tung-p'u Street Ching-hsi Perng and Chiu-kuei Wang(Eds. ) Death in a cornfield and other stories from contemporary Taiwan. (p. 182). Hong Kong ; New York : Oxford University Press 33 However, more often we could bombard it … announce it to the world: ‘A dead street ! Huang Fan. (1994). Tung-p'u Street Ching-hsi Perng and Chiu-kuei Wang(Eds. ) Death in a cornfield and other stories from contemporary Taiwan. (p. 183). Hong Kong ; New York : Oxford University Press 34 Finally I stood atop the fortress [the … down the mound, and ran towards the wasteland, alone. Huang Fan. (1994). Tung-p'u Street Ching-hsi Perng and Chiu-kuei Wang(Eds. ) Death in a cornfield and other stories from contemporary Taiwan. (p. 183). Hong Kong ; New York : Oxford University Press Huang Fan. (1983, spring ). Rainy Night Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, (p. 14). Taipei, Taiwan : Taipei Chinese Center, International P. E. N Huang Fan. (1983, spring ). Rainy Night Chou Chang Jun-mei and Eva shan Chou(Trans. ), Chinese pen, (pp. 20 -1). Taipei, Taiwan : Taipei Chinese Center, International P. E. N

Copyright Declaration Licensing Author/Source Page Work 35 When business was good, my father even …go into the street to call my ma back home. Huang Fan. (1994). Tung-p'u Street Ching-hsi Perng and Chiu-kuei Wang(Eds. ) Death in a cornfield and other stories from contemporary Taiwan. (p. 186). Hong Kong ; New York : Oxford University Press 36 My ma loafed around with her …Except for dust, there was nothing be seen. Huang Fan. (1994). Tung-p'u Street Ching-hsi Perng and Chiu-kuei Wang(Eds. ) Death in a cornfield and other stories from contemporary Taiwan. (p. 186). Hong Kong ; New York : Oxford University Press 38 The summer holidays finally came. …counting trucks? A truck came again! So what? Huang Fan. (1994). Tung-p'u Street Ching-hsi Perng and Chiu-kuei Wang(Eds. ) Death in a cornfield and other stories from contemporary Taiwan. (p. 196). Hong Kong ; New York : Oxford University Press 39 Trucks came and went, like what I …that read ‘ Highway Hotel’. They were all grinning. Huang Fan. (1994). Tung-p'u Street Ching-hsi Perng and Chiu-kuei Wang(Eds. ) Death in a cornfield and other stories from contemporary Taiwan. (p. 196). Hong Kong ; New York : Oxford University Press 40 After we left Tung-p’u Street, we settled down in a street in town. …into your dreams, like it or not. Huang Fan. (1994). Tung-p'u Street Ching-hsi Perng and Chiu-kuei Wang(Eds. ) Death in a cornfield and other stories from contemporary Taiwan. (p. 196). Hong Kong ; New York : Oxford University Press 41 At midnight one wintry day, I was …‘What was that noise? ’ I asked. My voice was trembling. Huang Fan. (1994). Tung-p'u Street Ching-hsi Perng and Chiu-kuei Wang(Eds. ) Death in a cornfield and other stories from contemporary Taiwan. (p. 200). Hong Kong ; New York : Oxford University Press

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