Hua Hua You Long Novel Read Online !!BETTER!!

Hua Hua You Long Novel Read Online !!BETTER!!


Hua Hua You Long Novel Read Online

Bao Chongmin (1896-1966) was a Chinese novelist and also one of the contributors to the May Fourth Movement. He became most famous for his novel Jin shizuka chokuto no kotori (Sons of the Yellow Earth: A Novel of the Three Kingdoms), which has been translated into English, French, Italian, German, and other languages. Bao Chongmin was originally a student of the school of neo-Confucianism created by Neo-Confucianists such as Zhu Xi. His work, however, is clearly influenced by Western literary styles, especially those of realism.

I write this novel from the same position that I was born and grew up in China. I was born in the 1950s, my four grandparents were still alive when I was born. They were very conservative people. They believed and still believe that through classical Chinese literature we can learn to have proper emotions and ways of thinking about other people, and we can become strong characters. They never believed in Western culture. They never believed in the stock market, and they believed in working for the benefit of others.

In his vision of Chinese literature, Sen-Lan has been critiqued again and again. This is not the first time. Sen-Lan has predicted the future. For example, he predicted a new style of fiction and named it “Novella” as opposed to Novel. He also predicted a new generation of literature, and he was right. Yet, his actual work has been maligned for its lack of form or for its sub-standard form. He was criticized for his pro-formal elements. Moreover, Novella and Novella have been used to describe the short stories of authors, and to describe the works of Jiang Chen and other realists. Can novelists be novellists? Some of my novels have been divided into novels, but the characters have been developed in the form of short stories. Many people have said that this is a novel with short stories. Sen-Lan also predicted the death of the novel. He has indeed foreseen the death of the novel as a form. But this is neither the first nor the last time that he has predicted the death of the novel. Those who know Sen-Lan, know that he sees the future. That is why he has predictions.

I created Yang Ren. In my novel, he is stubborn like God. He has a hard heart like a rock. In terms of his capacity for emotion, he is like dried wood. However, he is eventually broken and he lets his heart go. Yang Ren is a good man. There are many bad people in the novel. But Yang Ren is a good person. His strong character is the foundation of the entire novel. If the novel doesnt work, then Yang Ren is like a corpse. And if the novel works, then Yang Ren is like clay.
I wrote To Live after watching the film The Story of Qiu Ju. The novel is based on the true life of a woman called Qiu Ju. Qiu Ju was born around 200 years ago. She was around 20 when she fell in love with a handsome man. As she was about to have sex with him, she suddenly remembered that she wasnt a virgin. She was still a virgin at the age of 20.
There was one other thing about the novel that astonished me. Apparently, there had been an ongoing debate in China, ever since Mao’s death, about what would happen to the numerous old people living on the streets (as well as the increasing number of the old in Chinese society generally). One group of intellectuals thought that the way in which China had modernised meant that it could no longer sustain itself, and that it would have to confront this crisis by preserving its old people, and especially the poor. They advocated for the old to be put up in old-age homes and basic medical treatment was to be given to them. They thought of it as a kind of social control, to prevent the rising tide of discontent that the new middle class were experiencing. But the left wing of the party argued that it would be better for the old and poor to be put on the streets. They argued that it would take a short while for them to die off anyway, and that after their death the problem of corpses would be solved. Yu Hua himself has said he has always been sympathetic to the old people on the streets in the 1980s. In an essay written in 1989, he said that the old would be put on the streets so that they wouldnt die a natural death. In the essay, he goes further: ‘Citizens of the new China, if you all permit me to say so, we should be even more humane than the traditional Chinese who have died peacefully in their beds…Being “humane” is not a bad thing. It’s a good thing. But not for the old. It should be said that the Chinese are already extremely generous towards the elderly, and it is only right that they be treated well. The question of where you put the elderly isn’t worth thinking about. If you have the choice of putting them in a nice room or on a street corner, I think you should choose the street corner. It is better to risk the freedom to die than to risk the freedom to live. Not only because old people are Chinese. We all have to die. It’s just that we don’t get to choose when we die, but we do get to choose how we live. We must choose wisely.’

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